Interior Design September 2022

SEPTEMBER 2022

rockin’ big ideas

Image by Imperfct*

Arbor Ceiling Baffles

Artful acoustics for welcoming spaces

turf.design

Bubble, designed by Sacha Lakic. *$9,990 instead of $12,115 until 12/31/22 for a bed as shown, 79.6” L x 35.5” H x 106.7” D. Price includes one bed for queen size mattress upholstered in Orsetto Flex fabric. Tufted headboard and bed frame. All bed dimensions available, price upon request. Coiffe armchair and ottoman, designed by Stephen Burks. Clic pedestal tables, designed by A+A Cooren. Astréa armchair, designed by Sacha Lakic. Sukato floor lamp and table lamp, designed by Elsa Pochat. Made in Europe.

In-store interior design & 3D modeling services.1

French Art de Vivre Photos by Flavien Carlod and Baptiste Le Quiniou, for advertising purposes only. *Price valid in the USA until 12/31/22, offer not to be used in conjunction with any other offer. Contact store for more details. 1Conditions apply, contact store for details.

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CHROMALIS

by Bradley Bowers Four patterns vividly explore color and movement, imparting dimension to upholstery textiles and wallcovering. The designs are realized on high-performing Supreen® fabric which blends the best of woven and coated technologies to create a liquid-barrier upholstery textile.

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For more information, visit wolfgordon.com/chromalis

CONTENTS SEPTEMBER 2022

VOLUME 93 NUMBER 11

ON THE COVER Occupying a century-old former paper warehouse in Tulsa, Oklahoma, the Bob Dylan Center by Olson Kundig presents an unconventional narrative of the enigmatic musician, starting with a lenticular wall in the lobby dis­play­ing the names of donors on one side and, on the other, a 1986 portrait of him by Lisa Law.

09.22

Photography: Matthew Millman.

features 78 SERIOUS FUN

by Mairi Beautyman

Studio Alexander Fehre turns two buildings into an impressive but playful special-projects facility at the Bosch Engineering headquarters in Abstatt, Germany.

102 GREEN LANTERN

by Dan Howarth

The Martin Goya X Pig Design exhibition venue in Hangzhou, China, shows how communityminded architecture can help young artists flourish.

86 A COMPLETE UNKNOWN 110 COMPLEX GEOMETRY

by Thijs Demeulemeester

by Rebecca Dalzell

Olson Kundig’s orchestration of engaging exhibits and rare photo­graphy at the Bob Dylan Center in Tulsa, Oklahoma, tell a story about the everprivate musician.

94 SHINING STAR

by Edie Cohen

A gleaming volume in Los Angeles by Belzberg Architects houses BAR Center at the Beach, a multigenerational Jewish community facility.

The late Belgian designer Pieter De Bruyne’s fiercely angular postmodern furniture is as uncompromising as it is rare, but the landmarking of his last work, a house in Aalst, Belgium, should earn him new fans.

118 FRESH AIR

by Wilson Barlow and Lisa Di Venuta

From Prague to St. Louis, firms are inventing and repurposing outdoor space with newfound creativity.

ART GRAY

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CONTENTS SEPTEMBER 2022

VOLUME 93 NUMBER 11

special section 41 15 BIG IDEAS

departments 17 HEADLINERS 21 DESIGNWIRE

by Annie Block 24 PINUPS

by Rebecca Thienes 29 MARKET

by Rebecca Thienes and Georgina McWhirter 73 CENTERFOLD Pit Stop

by Nicholas Tamarin

In rural France, Studio Bouroullec and tile manufacturer Mutina build a roadside pavilion for Pascal Rivet’s car sculpture.

162 BOOKS

by Stanley Abercrombie 164 CONTACTS

YUUUUNSTUDIO

167 INTERVENTION

by Wilson Barlow

41 27

Dining

FSCTM-C135991

THE RETURN OF TRADITION

Carl Hansen & Søn celebrates Hans J. Wegner’s impressive design legacy with the reintroduction of the CH24 Wishbone Chair and CH327 table in oiled teak. Wegner often used the tropical hardwood in the 1950s and it now makes a welcome return to his furniture collection. The FSC™-certified wood displays subtle color variations that deepen over time and perfectly frame the soft silhouette of each design.

Find an authorized dealer near you at CARLHANSEN.COM

Flagship Store, New York 152 Wooster St, New York

Flagship Store, San Francisco 111 Rhode Island St #3, San Francisco

Hans J. Wegner

From 1949

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Reliable and consistent so you can be wild and creative.

Treefrog is a prefinished wood veneer laminate that’s consistent in design spaces of any size.

Made in Italy and stocked in USA. See it all and order free samples. treefrogveneer.com

EXECUTIVE VICE PRESIDENT, DIGITAL + STRATEGIC GROWTH SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes The SANDOW Design Group, a unique ecosystem of design media and services brands, including Luxe Interiors + Design, Interior Design, Metropolis, and DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW, a full-scale digital marketing agency; The Studio

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e d i t o r ’s welcome

brave bold big ideas!

Whether lateral, out-of-the-box, possibility defying, reality redrawing, anti-gravitic, or simply science fictional—call it what you will—the proverbial big idea is where it’s at in our greenest of patches: the biggest-denomination bill of our trade makes us really big buck-spenders and spec-ers indeed!

This back-to-school issue is chock-full of them. A volume dedicated to BIG IDEAS has, after all, been one of our traditions (albeit anything but traditional) for many years now, an appointment with our readers today that’s all about tomorrow! And never you mind these unsettled times, this September 2022 edition doesn’t come up short. High fashion meets high tech with smart glasses by London-based studio Layer that allow you to stream media anywhere. Speaking of anywhere, work from everywhere thanks to Paris-based Atelier JMCA, which transformed a Peugeot Boxer into an office by day, bedroom by night. And how about the Bizzy Robotics Home Robot by Whipsaw’s Dan Harden, designed to do simple chores?!

I’ll take one!

Of course, how to implement these big ideas—how to bring them to fruition, expand upon them, and even surpass them—is only a masters game. You can meet a yummy big number of them at work in our features. Belzberg Architects as always pushes beyond boundaries at a multigenerational Jewish community center with a dimensional facade that abstracts the Star of David (brilliant!). Honoring a music legend, Olson Kundig designs the Bob Dylan Center, which tells stories and gives rare glimpses into the private musician’s life (unbelievable!). And a global roundup reveals how firms everywhere are reinventing outdoor space, like a Shanghai rice farm turned movie-screening venue (off-the-charts!).

I trust you’ll appreciate this issue, as I do. Editing and assembling these innovative, imaginative, heartfelt, and community-driven stories was nothing less than a thrill and a great way to kick off fall…and the future! xoxo

Follow me on Instagram thecindygram

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

The design options are endless with Starphire Ultra-Clear® glass: the world’s purest glass — and the ultimate blank slate for your design. starphireglass.com

headliners

Olson Kundig “A Complete Unknown,” page 86 principal, co-owner: Alan Maskin. firm sites: Seattle; New York. firm size: 210 architects and designers. current projects: Recompose burial-alternative facility in Seattle; museums in Los Angeles and Honolulu. honors: Interior Design Best of Year Award; AIA National Honor Award; AIA Seattle Award of Merit. new york: Maskin led the design of the firm’s Manhattan office, which opened in April. rome: While earning his master’s in the late ’80’s, he spent a semester studying architecture in the Italian city. olsonkundig.com

TANYA GOEHRING

“We are a collaborative global design practice whose work expands the context of built and natural landscapes” SEPT.22

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Studio Alexander Fehre “Serious Fun,” page 78 principal: Alexander Fehre. firm site: Stuttgart, Germany. firm size: 13 architects and designers. current projects: Mediaworks Munich office development and Roche LEAP Office & Laboratories in Penzberg, Germany. honors: iF Award; Frame Award shortlist. small beginnings: Fehre started his design firm from home on a laptop when he was 26. broader views: He has a great interest in sociology and the how and why of human behavior. alexanderfehre.de

h e a d l i n e rs

Belzberg Architects “Shining Star,” page 94 founding partner: Hagy Belzberg, FAIA. principal: Lindsey Sherman Contento. principal: Barry Gartin. principal: Kristofer Leese. firm site: Los Angeles. firm size: 27 architects and designers. current projects: The master plan for the Milken Community School, a mixed-use building with a company headquarters, and the Holocaust Museum expansion, all in L.A. honors: Interior Design Best of Year Awards; American Architecture Awards; AIA Los Angeles Design Award.

Pig Design “Green Lantern,” page 102 founder, chief designer: Wenqiang Li. firm site: Hangzhou, China. firm size: Six architects and designers.

Current projects: Firm’s own office in Hangzhou; Neobio entertainment complex in Wuhan, China; Mint nightclub in Shanghai. honors: Interior Design Best of Year Award; Frame Award. humor: Pig is a reference to Li’s especially tubby cat. hobby: His other interests are drawing and music. pigdesign.art 18

INTERIOR DESIGN

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TOP: KIRSTEN WAGENBRENNER; CENTER LEFT: SAM JONES

local: Belzberg’s best and worst day was when his 15-year-old son beat him in a surfing competition. international: Sherman Contento previously lived, worked, and taught in Zurich and Caracas, Venezuela. singer: Leese is a member of a church band. rocker: Gartin’s first concert, at age 13, was the Guns N’ Roses/Metallica Stadium Tour. belzbergarchitects.com

TAGWALL

Architectural Glass Wall Systems www.tagwall.com

Kitsy

encoreseating.com

design wire edited by Annie Block

head in the clouds In Bangkok, the word for cloud is mek. So, when an aesthetician with that surname hired HyperHaus to conceive his 4,800-square-foot beauty clinic, the firm ran with the idea. Upon arrival, clients encounter a “whimsical dreamscape” of a reception, the walls boasting a colorful and exacting pixelated pattern, meant to represent Dr. Mek’s pore-level precision with each facial injection as well as the unique appearance and skin tone of each customer. Ottoman seating is equally diverse, yet all are in rounded, nebular silhouettes. Before patients are called to one of the five treatment rooms, each with a different theme, such as secret rocket or green therapy, they wend their way through what Hyper-Haus calls the “graphic catwalk,” a 25-foot-long corridor defined by a cascade of blue-and-white circles— the ideal spot for before-and-after treatment selfies.

SITTHISAK NAMKHAM

At Dr. Mek Clinic in Bangkok by Hyper-Haus, a custom wall design of stickers and paint, rubber floor tile, and a painted ceiling define the corridor leading to the facial treatment rooms.

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d e s i g n w ire

you say potato

Sculptor and ceramics professor Vince Palacios was born in Michigan and is based in California. Yet for his latest body of work, he references, among other inspirations, Peru—particularly taken with the the notion that a certain tuber symbolizes purity there. For “Haptic Memory,” at Gabriel & Guillaume in New York

Clockwise from below: Potato Tree with Ginger Vines is one of 21 new clay vessels by Vince Palacios appearing in “Haptic Memory,” his solo show and the debut exhibition at Gabriel & Guillaume’s new gallery at 111 West 57th Street in New York, through November 10. Potato Tree with Brown/Tan Vines, Potato Tree with Elephant Vines, and Cave Vessel Orange Lip, all 2022.

COURTESY OF VINCE PALACIOS

this fall, his series of “potato trees” nods to the food’s bulbous and awkward, yet beautiful and essential qualities. “I’m most interested in the unexpected things that emerge in the moment,” he says. Indeed, the vessels are delightfully surprising, a result of manipulating clay by wheel and hand, then treating it with glaze and various flux before it undergoes multiple firings. “We all have bumps and lumps, my goal is to cause viewers to reflect on finding a way of fitting in.” Gabriel & Guillaume has done just that, this exhibition launching cofounders Nancy Gabriel and Guillaume Excoffier’s first permanent location. They’ve chosen to put down roots in the landmarked Steinway Hall (now, with a new adjoining tower by SHoP Architects and Studio Sofield, called 111 West 57th Street), engaging design agency FrenchCalifornia and Cueto Art Advisory to establish 17S, a former duplex apartment, as a soaring, 5,000-square-foot gallery.

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

EXPLORE OUR NEW COLLECTION OF RUGS, CARPET TILE AND BROADLOOM AT SHAWCONTRACT.COM.

p i n ups text by Rebecca Thienes

Hooked on Memphis Nathalie Du Pasquier continues to collide form, function, and color, just as she did as a cofounder of the 1980’s design collective

COURTESY OF RAAWII

Hooks coat racks in painted beech in small (1 hook; center), medium (4; top), and large (6; bottom) by Raawii. raawii.dk

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Vista 1, Atmos wallcovering collection Discover Astek on Material Bank® materialbank.com/astekwallcoveringinc

p i n ups

totally tubular Self-taught artist Axel Chay gravitates to graphic waves and sensual curves for his lacquered-steel lighting and aluminum seating Modulation floor lamp in Green with glass globe and LED, Septum stools lacquered Pink or Green or mirror-polished, and Septum bench lacquered Pink

by Axel Chay, through The Future Perfect.

COURTESY OF AXEL CHAY AND THE FUTURE PERFECT

thefutureperfect.com

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INTERIOR DESIGN

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Why overpay for second rate art when you can collect a masterpiece?

A MunnWorks mirror is a work of art. It enhances any home, much as a major painting does, creating high impact at a lower cost.

MunnWorks.com openorders@MunnWorks.com 914.665.6100 ext. 11

Extraordinary Mirrors

Learn More

Sola Chair by justus kolberg Riza Table by jehs+laub

market Special flooring section edited by Rebecca Thienes text by Georgina McWhirter

SENTIERI DI FILIPPO

the path forward “Never conventional, Michele De Lucchi’s career unfolds through memorable products and architecture.” That’s the verdict of the Compasso d’Oro jury, which recently awarded De Lucchi, who’s the founder of humanist-centered design firm AMDL Circle, its prestigious Career Award. AMDL’s latest product to market is Sentieri, a rug collection for Carpet Edition that is named after the Italian word for pathway yet draws inspiration from the poly­ gonal masonry of Peru’s Cusco walls, Incan architecture from the 15th century. Its segments—in a blend of New Zealand wool, hard-twist wool, and Tencel (a form of rayon)—are modular. That means if not selecting one of the five standard patterns, including Sentieri di Filippo and Sentieri di Alberto, specifiers can pave their own way: The six irreg­ularly shaped polygons can be configured in near infinite combinations of color and form using the manufacturer’s digital platform, my.carpetedition.com. carpetedition.com SENTIERI DI ALBERTO

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Brooke Aitken for Tsar Carpets

Serena Dugan for Erik Lindström

Avery Thatcher of Thatcher

Colin King for Beni Rugs

product Day. standout For the company based in Melbourne, Australia, the Brooke Aitken Design founder debuts Passage, a wool and Tencel collection celebrating the passing of time and the shifting of light. tsarcarpets.com

product Roma. standout The textile-design studio owner is also a fine-art painter, and it’s that work that informed her new series of colorful, graphic rugs inspired

by Mexico City neighborhoods.

product Ether. standout A repeat evoking the interplay of light on water distinguishes the Portland, Oregon, designer’s handmade cement tile that comes in four colorways including Pink-andBurgundy. thatcherstudio.com

product Spoken Lines. standout The lines of rationalist architecture are conveyed on nine handwoven Moroccan wool rugs by the stylist turned product designer, who had them photographed in Italy’s Palazzo Daniele. benirugs.com

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eriklindstrom.com

PRODUCT 4: ADRIAN GAUT; PORTRAIT 4; NICOLE FRANZEN

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

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PORTRAIT 7: NOEL MANALI

Catherine Martin for Designer Rugs

Brad Ascalon for Kateha

Karl Fournier and Olivier Marty for Bisazza

Els Woldhek and Georgi Manassiev for CC-Tapis

product La Palma. standout The Academy Award– winning set designer of films Moulin Rouge! and The Great Gatsby worked with her fellow Australians on Axminster woolnylon rugs replete with lushness.

product Verso. standout The debut rug collection by the Brad Ascalon Studio founder is based on the process by which it is made: The diagonal design has the same ratio as the fiber blends that go into making up the larger fields. kateha.se

product Modulo 3. standout The cofounders of Studio KO have crafted a line of neo-deco marble mosaics, the nine shapes (making up three geometric patterns) in an array of stones including yellow-tinged Giallo Verona.

product Car Park 2. standout The Odd Matter founders continue stretching the limits of processes and surfaces with their wool-silk rug shaped like a puddle and patterned with tire treads, shown in the Glitch Pink colorway.

bisazza.com

cc-tapis.com

designerrugs.com.au

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m a r k e t collection

flooring

From design star Cristina Celestino in collaboration with Ceramiche Giovanni De Maio comes Abaco Celeste, an atmospheric collection of glazed floor and wall tiles based on memories of summers sul mare, or on the sea. The Mediterranean is all over the five SKUs in the collection, from the tidal patterns to the terra-cotta and azure hues.

CRISTINA CELESTINO Thalassa is decorated with seashells and fossils on a rippled blue ground. Amalfi gardens and Hellenistic motifs inspired the decorative borders that edge monotone Chloris. Helios looks just like

beyond the sea

GRAPHÈ

wet sand ribbed by an ebbing tide, while the almost op art look of the spiraling blooms of Graphè evokes perpetual movement. Finally, Peplo’s clean stripes laced by a counter-directional ribbon border pairs with all offerings. giovannidemaio.com

HELIOS

“It’s a dialogue between memory and landscape”

CHIARA CADEDDU

THALASSA

PEPLO

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Bravo Bistro Create spaces that move.

We believe that great design should stand the test of time and be sustainably crafted.

Bravo Bistro. Adaptable settings built for style, comfort, and longevity.

Designed by Landscape Forms. landscapeforms.com

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A QUIN MAR

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paint not by number Artistic compositions wow underfoot 1. Michael Howells’s Yastik 2.1 rug in wool and silk by Millinger + Howells Rug, through Christiane Millinger. christianemillinger.com 2. Moshari Studio’s Brontide KCD#26 Cloud rug in cut wool by Jamie Stern Design. jamiesterndesign.com

3. Lecce rug handwoven in natural wool and dyes by Sergio Mannino Studio. sergiomannino.com

4. Michael Upton’s Ensete tapestry/rug handwoven in New Zealand wool by Upton. whatsupton.com

5. Tempest, Cumulus, and Zephyr carpet tile in solution-dyed nylon by J+J Flooring. jjflooring.com

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6. Ashiesh Shah’s Manthan hand-knotted wool rug in Blue Berry by Jaipur Rugs. jaipurrugs.com

7. Fade 9 rug in hand-spun hand-knotted wool in Ash by Battilossi. battilossi.com 8. Ahmad AbouZanat’s Halo rug in a blend of wool and recycled nylon in Aqua

by JD Staron. jdstaron.com 9. Painted Desert carpet tile in Dynex solution-dyed nylon with permanent stain resistance and Eco-Ensure soil protection technology, from the Inspired Nature collection, by Tarkett. commercial.tarkett.com

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FRANSJE GIMBRÈRE

top of the class Double rapier, a process where two rugs are woven at the same time but in mirror image, was new to Dutch designer Fransje Gimbrère when she began a monthlong scholarship at a Belgian mill to develop a rug for housewares brand Zuvier.

Restricted to machines already set up, she was drawn to one with colored polyester and gray polypropylene yarns. “What I liked most is that the polyester is shiny, and the polypropylene is matte. Immediately I wanted to use this opposition to create depth,” she recalls. The polypropylene dulled the saturation of the polyester but, through experimentation, Gimbrère alighted on two attractive blends: warm Terra and fresh Blue. A stripe of greenish gold in the middle harmonizes the hues.

As for shape, initially, the weaving mill could only make rectangles, octagons, or circles, but Gimbrère pushed the limits to end up with Phila, its silhouette similar to the Greek letter phi. zuiver.com

PHILA

“Every weaver was in sync with their machine, understanding exactly what it does and needs at every second—it was like watching a ballet” SEPT.22

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“The first rug from Verdi’s Tatami collection calls upon nature, tradition, and legacy”

slither this way m a r k e t flooring

La Coral by Colombian textile studio Verdi winds through space like a snake. The multi-piece rug was first unveiled in Dan Brunn Architecture’s Bridge House during Frieze Los Angeles, where it appears to move down a hallway in and out of the walls, an optical illusion created by careful placement of its sinuous shapes. Verdi creative director Tomás Vera uses Peruvian alpaca wool, along with a jutelike fique plant fiber sustainably sourced from Colombia’s Andean region and Verdi’s signature copper and stainless-steel threads, which yields the stripes and checks—based on the irregular banded markings of Colombia’s coral snake. intl.verdi.com.co

LA CORAL

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Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini

Portraits of me.

Kitchen: Intarsio Design: García Cumini

Milano • New York • Paris

cesar.it

some see a lamp. we see part of our legacy.

New PH 5 colors

BIGIDEAS The bold and the beautiful

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b i g ideas 01

“A novel space complements novel teaching methods—and changes old ways of thinking”

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COURTESY OF TAIWAN DESIGN RESEARCH INSTITUTE

brick by brick

COURTESY OF TAIWAN DESIGN RESEARCH INSTITUTE

The classroom at WanFang Senior High School in Taipei, Taiwan, was dismal when 3+2 Design Studio came to it. Poorly lit, with antiquated flooring, minimal cabinetry (making the already-cramped space feel even more so), and prisonlike bars on the windows, it was hardly the kind of place that inspires learning. That changed when the local firm was tasked with redesigning the room as part of the Design Movement on Campus program, sponsored by the country’s Ministry of Education and executed by Taiwan Design Research Institute. “They were open-minded,” 3+2 principal Hsieh Yi-cheng says of the program supervisors. “All they asked for was more storage.” Otherwise, the studio had free reign.

The Brick Lab, as it’s now known, is based around the MPL module of teaching: Make, Play, Learn. In practice, that means students use LEGO bricks as a tool to help them stay engaged with their lessons. The colorful blocks fill new custom drawers along the walls, adding spirit and storage and concealing the window bars in one fell swoop. Modular tables and chairs act like building blocks themselves, able to be easily rearranged to meet teachers’ needs. As for the old flooring, the 3+2 team replaced that with easy-to-clean plastic tile in bright white, which pairs with accents in orange, the color chosen to recall the serenity of Buddhist temples. 3add2.com —Wilson Barlow

SEPT.22

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“Experts in healthcare and architecture join forces to yield modular home construction that puts well-being first”

where the heart is With a mission to change the future of home ownership through affordable, well-designed, and healthy homes, Liv-Connected was launched in 2019 by a doctor and a trio of experienced architects: Herb Rogrove, DO, who’s now CEO; Rogove’s son Jordan and Wayne Norbeck, cofounders of wellness-centric architecture firm DXA Studio; and architect Joe Wheeler, now chief innovation officer. It came about when they were answering an open call for disaster-relief housing, which prompted the foursome to investigate the relationships between equitable, accessible, and healthful construction. The result: Conexus Home, built with cartridges and flat-pack components in sustainable engineered wood, along with metal siding and roofs, cedar porches, birch interiors, and waterproof vinyl flooring and bathroom finishes. Now Conexus+ goes further, complementing the efficient building materials with medical technology. “We’ve partnered with Vayyar and WellAware,” Dr. Rogove explains. “They produce fall-detection technology that’s ready to be integrated into the homes. We also work with the client to integrate off-the-shelf products for monitoring vital signs and communication devices to connect with your doctor via telehealth.”

And while the home designs are timeless, Liv-Connected is looking ahead to provide additional house tech, including air-quality controls, biometric vital statistic sensors, smart mirrors, and consumer wearables. liv-connected.com —Jesse Dorris

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COURTESY OF LIV-CONNECTED

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Since February, Ukraine has been devastated by war, with countless homes and schools destroyed and millions displaced. In response to the ongoing crisis, Kiev-based studio Zikzak has developed Revival, a modular building system inspired by the shipping-container typology.

“People need medical care, education, and a place to live. . .right now,” Zikzak architect Nick Zykh says. “Yet it typically takes a t least a year to construct those structures. Our task is to rebuild Ukraine faster because people want to return to life today.” Revival’s concept employs prefabricated, portable “blocks” to create schools for up to 500 migrant students. Prototypes of the blocks range from 10 to 30 square feet and feature exterior walls of hot-rolled steel, painted patriotic blue and yellow. The modular floor, wall, and ceiling plates are aluminum insulated with mineral wool and reinforced with concrete.

Blocks can be stacked up to three stories high, arranged in a U shape with sliding-glass doors opening to a courtyard, or topped with a roof garden. Zikzak envisions Revival to extend to emergency and long-term housing, university dormitories, and health centers— in times of war and peace. zikzak.com.ua —Lisa Di Venuta

quick study In April 2020, a cohort of resident physicians at “Shipping container–style blocks Massachusetts General Hospital launched CoVent-19.

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

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COURTESY OF ALEXANDER MARCHUK AND KATYA KOZHUKHINA/ZIKZAK

—Colleen Curry

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Onyx™ design without boundaries...

A Colour & Design Inc. Company

denovowall.com | 501.372.3550

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dogs in space

“Bibu is a sustainable,stylish container for pets and their people” 48

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YUUUUNSTUDIO

Literally and figuratively, Bibu explores the far reaches of design. Located within the Gaode Mansion, a tony condominium complex in Guangzhou, China, the 6,800-square-foot pet shop–cum–veterinary clinic fulfills the growing need for pet care due to increased ownership among China’s young consumers.

But there’s nothing earthbound about the three-level venue: It’s a visual mash-up of retrofuturism and space-age imagery with references to 2001: A Space Odyssey. In fact, it’s as if the project by One Fine Day Studio & Partners jumped off the silver screen.

In 3-D, it plays out with a ground floor dedicated to retail space, replete with custom cabinetry and shelving, a café dubbed Doppio, and a parklike play area for customers’ pooches. A stunning spiral stairway in the atrium leads to the mezzanine, where meeting rooms line the hallways. The second floor is given over to the animal hospital and consultation rooms. Throughout, portholes and saucer-shape dome lights abound.

As do “arcs and circular forms, symbols of the universe matching people’s imagination of the future,” lead architect Jump Lee says. “We avoided visually oppressive sharp corners.” Color plays a role, too, with pops of verdant green on the first level, creamy eggshell on the mezzanine, and tranquil blue-gray above. All told, Bibu is eminently pragmatic yet dazzlingly—and, err, doggedly—otherwordly. ofdsp.com —Edie Cohen

YUUUUNSTUDIO

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Italian Treads, Japanese Threads

“A first-ever multinational collaboration yields a collectorworthy luxury vehicle”

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FROM TOP: COURTESY OF FERRARI (3); COURTESY OF COOL HUNTING (2)

Since the 1950’s, Ferrari aficionados have taken the wheel and customized their cars. But the Italian manufacturer has really hit the gas for the Ferrari Roma, a one-off collaboration with the style arbiter of all things auto, Cool Hunting. The project began when the online publication’s founders Josh Rubin and Evan Orensten met with Ferrari Tailor Made chief design officer Flavio Manzoi at the automaker’s New York showroom.

After a brainstorming session, Cool Hunting proposed bringing in Japanese connections they had made on several research trips studying that country’s traditional artisanal crafts.

So, when formulating the exterior paint, the team sought inspiration in Japan’s classic indigo dye processes, in the hopes, Rubin says, “of finding just the right shade, but also creating a new shape for the aluminum fleck that brings a viscous feel to the metallic paint.” For the car’s interior, they worked with Tadaaki Hajime, a weaver at Hajime Shoji, a seventh-generation family textile mill, to create a new, high tensile–nylon upholstery fabric based on vintage kimonos originally produced at the mill. Tsukamaki sword-wrapping techniques found their way to leather-encased door handles. “We pushed the boundaries of what could be done in terms of personalization,” Ferrari’s head of color and trim Silvia Cavallaro adds. For gear plating, the team looked to Kyoto’s copper tea canisters. Finally, eighth-century roketsu wax resist-dyeing was merged with Italian intreccio weaving for the headlining, completing the globe-trotting voyage for a one-of-a-kind car. ferrari.com —Jesse Dorris

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“When robot and woman work together, one-of-a-kind”

the result

BAD OMBRÉ

is completely

UPHORIA AMPHORA

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SEXY BEAST

Architect Virginia San Fratello lives a dual life. Much of her work centers on pushing the boundaries of 3-D printing; in fact, she has a cabin of 3-D fabricated ceramic shingles on her Oakland, California, property.

Another facet of her oeuvre has been experimenting with machine- and hand-manipulated clay, some of it locally sourced, some from her ancestral Italy. This melding of tech and craft is explored through Emerging Objects, what she calls her “make-tank,” and has resulted in three vessels, all about 1 foot tall, as well as representation by New York gallerist Cristina Grajales.

Bad Ombré is made from 3-D printing a single object from two different clay bodies for a gradient effect.

The other two originated from the architect traveling with her 3-D printer (she packs it in a repurposed hard-sided golf bag), particularly when she visited the Italian village of San Fratello and collected 20 pounds of earthenware from a nearby clay-production facility to work with during her C.R.E.T.A Rome residency. At one point, the printer’s X axis was wobbling. “In order to ‘cover up’ the problem, I started twisting elements by hand,” she recalls. “What I was making in tandem with my newfound collaborator yielded pieces that are impossible to replicate.” Her Uphoria Amphora and Sexy Beast “co-botic” vessels are the result: the loops of the former pinched and shaped by San Fratello, the strands of the latter cut into a shag, then blown dry.

“The approach,” she adds, “is probably more representative of what the future of working with robots looks like.” emergingobjects.com; cristinagrajales.com —Annie Block

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COURTESY OF CRISTINA GRAJALES

iClay

Amalfi provides a full suppleness of hand and waterresistant treatment for a durable yet economical leather. With characteristics akin to high-end, luxury leather, it is unexpectedly bleach cleanable. See the entire color palette at spinneybeck.com/amalfi.

“Amalfi is a nature-inspired collection with a beautiful and rich surface structure that I hope inspires a versatile array of end uses and color combinations.”

– Nina Bruun, designer of Amalfi color palette

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“How do you create a place for an artist to work, when the nature of their craft is self-described as ‘placeless?’”

disappearing act

stancearchitecture.com —Edie Cohen

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ROEHNER + RYAN

Aaron Bass and Marie Navarre, an architect and an artist, respectively, are longtime Arizonans who met through a family connection and deepened their friendship through mutual love of the arts. So much so that Navarre, wanting a studio close to her Tempe home in lieu of working from a nearby apartment, asked the principal of Stance Architecture to create one on-site so the “commute” from her modest ranch house would be no more than a few steps. Bass obliged with a 428-square-foot volume built of parametrically arranged, protruding cinder blocks interwoven with native hacienda creeper vines. A “masonry veil” is the architect’s term for the construction, and he dubs the project Missing Studio, which is ironic since it stands out as a stunning presence on the lot. (The irony goes even deeper: Navarre describes her photography-rooted art as “placeless.”) “It’s an object in space, which will continue to disappear within the garden as vines, water, and other natural elements claim it over time,” Bass explains, adding that, ultimately, it will be “perpetually hidden within nature.” Inside, the pragmatic reigns over the poetic. Bass used Baltic birch and sanded Homasote for builtin storage that hugs the north wall. Thus Navarre, a Buddhist, got the humble materials she desired while Bass achieved understated architectural excellence.

Arc features curves born out of nature but with its feet firmly planted in modern technology. This acoustic panel system by German designer Bernd Benninghoff ripples across the wall in soft wool felt mounted to a thin but mighty acoustic substrate. filzfelt.com/arc

“The van is dedicated to professionals using it as much for leisure as for work, with a flexible and modular layout”

work from anywhere

atelierjmca.com —Jesse Dorris

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JULIEN COTTIER

Just because you’re working from home doesn’t mean you need to work from your house. Why not hit the road with a Nomadic Office? Paris-based Atelier JMCA transformed a commercial Peugeot Boxer into a cubicle-cumcaravan using a completely retractable system of 6-inchthick, oiled birch-plywood panels that allows users to turn the van’s 6-by-20-foot interior into a work space by day, and a bedroom at night. Cofounder Angélique Maillard and team made a 3-D laser scan of the vehicle’s interior, from which they were able to create a precise CAD drawing of the bodywork and thus take advantage of every available cubic inch of space. “A freestanding suspended table/desk allows two people to work comfortably and move around easily,” Maillard says. “Then, it can accommodate five people for meals, and, after, fold down at 90 degrees against the bed, which has a real mattress for two people.” Other amenities include a walk-in closet, kitchen, and lavatory, all insulated in cork, the latter two powered by solar panels on the roof and two 20-gallon tanks for both fresh and wastewater. It’s ideal for achieving van-life/work-life balance.

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modulararts.com

Ventanas™ PANEL style: Walnut ©2019 modularArts, Inc. U.S.

Bizbee™ PANEL ©2015 modularArts, Inc.

JULIEN COTTIER

SEPT.22

206.788.4210

Made in the U.S.A.

Burle™ PANEL @2007 modularArts, Inc.

Dune™ PANEL ©2003 modularArts, Inc. | Photo credit: Jessica Delaney Ansel™ PANEL @2021 modularArts, Inc.

TP-LINK DECO

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whip smart DAN HARDEN

SKROLLA

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whipsaw.com —Wilson Barlow

COURTESY OF WHIPSAW

TONAL

Industrial designers are constantly challenged to balance aesthetic vision against technological possibil­ ity. That’s why Whipsaw CEO and founder Dan Harden considers design and engineering to be equally impor­ tant parts of his work. It’s also the reason he named his studio after the two-person woodworking tool, which symbolizes the push and pull of those disciplines.

“In the most sublime concept,” he says, “the engineer­ ing solution and the design solution are inseparable.”

Whipsaw’s portfolio contains several examples of this combination—from chairs to genome-sequencing machines. Some reimagine and beautify household products, such as the TP-Link Deco series of Wi-Fi mesh devices or the WDL Washing Machine. Some look to the future, like the Bizzy Robotics Home Ro­ bot, designed to do simple chores, while others are classic: The bentwood form of the Skrolla chair was perhaps inspired by Harden’s early internship with George Nelson. And an early entrant in the home-gym space is Tonal, which uses electromagnetic resistance instead of gravity. Practically, that means the system can sense the user’s performance capacity and adjust the weight automatically. Visually, that translates to fewer moving parts, thus it’s elegant and minimalist when mounted on the wall. “You have to get into the head of the consumer,” Harden says in reference to the success of his products, some of which are in “Milestones of Contemporary Design” at the Red Dot Museum in Essen, Germany, til spring 2023.

BIZZY ROBOTICS HOME ROBOT

“The details support the whole, creating a flow between micro and macro”

WDL WASHING MACHINE

COURTESY OF WHIPSAW

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“Corbu’s mid-century vacation cabin inspired compact, sustainable versions for today”

field of dreams

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SIMON GERINGER

It’s believed that up to 50 percent of France is undeveloped agricultural land. For its 12th edition, the Biennale Internationale Design Saint-Etienne capitalized on this notion with its theme Parcours des Bifurcations, aka roads, in this case ones that lead to various exhibition sites throughout the country’s east-central region. One is a wheat field along the Rue des Noyers in Firminy, and, in collaboration with the Site Le Corbusier, is where Döppel Studio has conceived “Le Champ des Possibles,” or the field of possibilities. “We come from the French countryside,” says Jonathan Omar, cofounder, with Lionel Dinis Salazar, of Döppel. “This is our first project inspired by that.” Taking cues from Corbu’s 1965 cabin in Provence—at 1,600 square feet, it’s the smallest UNESCO World Heritage Site—and other projects in his cannon, Döppel created six “micro-architectures” that embrace the natural landscape and promote that less is more. Each installation is under 215 square feet, the figure in France that necessitates a building permit, and clad with eco-friendly tarpaulin stuffed with cereal waste from the wheat harvest. “We show,” Salazar explains, “the potential of France’s empty spaces as refuges for the body and the spirit.” They’re on view through January 15, 2023. doppelstudio; biennale-design.com —Nicholas Tamarin

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timeless elegance h a n d m a d e

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B O K A R A . CO M

“As a byproduct of this project, Thai rattan factories were able to stay afloat during the pandemic’s darkest days”

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Thailand-based firm Enter Projects Asia has pioneered the use of natural rattan in contemporary architecture. By fusing 3-D digital design tech­ nology with traditional Thai methods of weaving the sustainable material, the studio creates freeflowing sculptural forms that transform con­ ventional building interiors into places of wonder.

For its first European commission, EPA was asked to bring “balance and calm” to the offices and public spaces of a small ice-making factory in Waregem, Belgium. The firm installed what appears to be a continuous biomorphic element that begins as an internally lit, 25-foot-tall serpentine column in the glass-enclosed double-height lobby. The rattan tube then twists down to follow the ground-floor ceiling into the building’s interior, where it provides lighting, wayfinding, and aesthetic functions, “inviting nature and creativity into an industrial setting,” as EPA director Patrick Keane puts it.

Initiated, developed, and completed during the pandemic, the project was something of a logistical miracle. All interactions between the client in Belgium, the project manager in Japan, the designers in Phuket and Sydney, and the fabricators in Northern Thailand were virtual, courtesy of Zoom. It wasn’t until April 2022, with the project finished, that Keane and the client finally met in person at the site. enterprojects.net —Peter Webster

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EDWARD SUMNER

who’s zoomin’ who

Spills. Splatters. Supreen. Outperforming in the places and spaces where life hits hard. Supreen fabrics offer unparalleled performance with a total liquid barrier, bleach resistance, and stain protection. Fluorocarbon Free and HHI Compliant.

Learn more at www.supreenfabric.com.

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METAMORPHOSIS

“Reuse, craftsmanship, and social responsibility yield unique, awareness-raising furnishings”

caterpillars to butterflies In a nod to the power of transformation, Brazilian designers Fernando and Humberto Campana of Estudio Campana have teamed up with Paola Lenti to eliminate fabric waste. “If it stimulates the imagination, then it still contains an element of life, so how can it be considered landfill material?” Lenti says of the collection’s genesis. The Campana brothers couldn’t agree more. Sifting through a box of textile scraps Lenti sent them, Metamorphosis began to take shape, resulting in five caterpillar-like seating pieces, filled with recyclable polyethylene foam and upholstered with fabric and cord offcuts sewn onto recycled PET felt, plus a vibrant rug, all inspired by the natural world. “Paola expanded on what we considered materially possible,” Humberto Campana says of Lenti. And just like in nature, no two are alike. But diverting landfills isn’t the only mission here: The creations are handmade in partnership with a tailoring atelier in Como, Italy, that offers work opportunities to migrant women. It’s renewal all-around. estudiocampana.com.br; paolalenti.it —Carlene Olsen

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FROM TOP: SERGIO CHIMENTI/© PAOLA LENTI SRL-PH. (3); STEFANO PAVESI/© PAOLA LENTI SRL-PH. (3); SERGIO CHIMENTI/© PAOLA LENTI SRL-PH. (2)

HUMBERTO CAMPANA; PAOLA LENTI

EARTHTECH COLLECTION Earthtech is inspired by an array of organic materials found in nature. Carefully chosen fragments and pigmented shades give this porcelain a unique visual effect.

BOSTON CHICAGO DALLAS EAST HAMPTON HOUSTON LOS ANGELES NASHVILLE NEW JERSEY NEW YORK WASHINGTON DC

stonesource.com @stonesourcellc

b i g ideas13 When Salvation Army Paris decided to install a temporary boutique on a section of the ground floor of a 1960’s modernist structure that once housed the Musée de la Libération, local firm WAO Architecture knew the site was too rich in resources to simply strip bare. Since a hospitality venture had eyes on the building in the 14th arrondissement’s Montparnasse district, all interventions had to be temporary. Very little was demolished, and elements that had to be removed were reused on-site. In fact, the transformation of the 3,230-square-foot space amounted to a kind of transubstantiation: Dropped ceilings were removed and refitted as display tables, illuminated by cleverly reconfigured fluorescent lighting; reclaimed wardrobes became partition wall anchors; a series of 10 metal windows served as shop walls; and numerous cabinets were constructed using OSB and plywood panels found on a variety of other sites. “The place itself inspired us,” WAO founder Minh Man Nguyen says. “We sought to keep its history alive in the new layout, as well as plan for ways in which materials could be reused again later on.” The project is further proof that adaptive reuse can itself be attractive and reusable.

material salvation wao.paris —Jesse Dorris

AURELIEN CHEN

“We reached 94 percent of reused elements, for a space supporting a charitable organization”

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Troupe

Made in America | Versteel.com

not your typical sunnies

High fashion and high tech are no longer mutually exclusive, as proven by the latest innovation from London-based studio Layer: extended-reality glasses called Viture One. “The aim is to stream media anywhere, while the design philosophy is about simplicity,” founder and creative director Benjamin Hubert explains. Throughout a six-month collaboration with San Francisco start-up Viture, Hubert contemplated hundreds of prototypes, crafting gestural drawings and watercolor mockups before arriving at the final product, which looks like a pair of traditional sunglasses yet is anything but. “The smarteyewear space is typically populated by over-designed, overly technical frames,” Hubert adds. “We’re delivering the antithesis of that trend.” Inspired by such timeless styles as the RayBan Wayfarer, the silhouette conceals technical elements, including surround-sound speakers. The frames are paired with a semiflexible, lightweight neckband that discreetly houses hardware and battery. In neutral colorways and finishes— Jet Black, Marshmallow, glossy or matte Indigo—and adjustable prescription lenses, Viture One sees everyone. layerdesign.com; viture.com —Lisa Di Venuta

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COURTESY OF LAYER

“Classic style and 21st-century tech merge into next-gen XR glasses”

ENHANCING LIVES THROUGH DESIGN

YOTA

K I TC H E N S

B AT H S

C LO S E T S

INTERIOR DOORS

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“An educational endeavor explores the relationship between digital and analog, engineered and hand-crafted”

A project that commenced in Los Angeles in 2014 has culminated in Italy, during the 2022 Venice Biennale, thanks to a team comprised of students, robots, and MADWorkshop, the design-innovation incubator cofounded by David and Mary Martin.

Eight years ago, MAD sponsored a University of Southern California undergraduate architecture studio led by Gigante AG principal R. Scott Mitchell to conceive a robotfabricated overpass. The resulting Arroyo Bridge spans 82 feet in brown-orange steel and ipe and earned an AIA award. “The students learned by doing—from design to zoning and actual building,” recalls David Martin, who’s an architect himself. Later, the Martins connected with European Cultural Centre senior exhibition organizer Lucia Pedrana and photographs of the bridge model led to its translation from a pragmatic object to Arroyo Bridge Section, a “purely aesthetic and gorgeous” scaled-down version. The 28-footlong sculpture is aluminum powder-coated Hot Jazz Red and entirely hand-crafted, first in a L.A. warehouse, then air-freighted to Venice Marco Polo Airport, where it was transferred to a barge wending through the Canale Orfanello. A crane hoisted it to Giardini Marinaressa, about 500 feet from the biennale entry, where Mitchell and three USC grad students completed assembly, its parts bolted rather than welded. Part of the ECC’s “Personal Structures” outdoor exhibition, it’s on view through November 27. madworkshop.org; europeanculturalcentre.eu —Edie Cohen

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FROM LEFT: ANDRÉ GUIDOT (2); COURTESY OF MADWORKSHOP

across and beyond

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In 16 durably plush 100% wool and wool-nylon blend styles – from rich textures to graphic, large scale patterns – this curated line offers the perfect way to tailor any space within a space. © 2022 Shaw, a Berkshire Hathaway Company

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1.4014

“At dusk, the pavilion lights up and, like a mirage, it emanates a very particular, cinematic quality”

1

pit stop In rural France, Studio Bouroullec and tile manufacturer Mutina build a roadside pavilion for Pascal Rivet’s car sculpture

TWO ASSISTANT DESIGNERS LED BY RONAN AND ERWAN BOURELLEC

2 6

YEARS TO DESIGN

2

3

MONTHS TO CONSTRUCT

CLOCKWISE FROM TOP: PASCAL RIVET; COURTESY OF STUDIO BOUROULLEC (2); PASCAL RIVET

250

SQUARE FEET

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c enter fold

1. Lincoln is a full-size replica of a 1960 Lincoln Continental by contemporary French artist Pascal Rivet, whose work examines the industrial versus the handmade, challenging the gesture of reproduction. 2. Rivet carved the sculpture out of plywood and eventually paints it in the colors the car was produced at that time. 3. Teenage acquaintances, Rivet asked Ronan Bouroullec to create a shelter for the work, shown here in a rendering, which was planned for a six-week exhibition at Piacé le Radieux, a Le Corbusier– designed arts center in northwestern France. 4. So that it could be a perma­ nent public-art installation, the center’s director Nicolas Hérisson instead proposed that the pavilion be constructed by local craftsman in a roadside field in the small village of Piacé.

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c e n t e r fold

CLAIRE LAVABRE

Partnering with Mutina, with which Studio Bouroullec has had a decade-long relationship, Lincoln Pavilion is made of steel and corrugated iron painted the same red as the manufacturer’s Rombini terra-cotta tile paneling the structure’s interior walls, while the floor is the Bouroullec’s Pico ceramic tile; the ladder enables visitors to get a closeup view of the final painted version of Rivet’s Lincoln sculpture.

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

8685-NG Luxe Mango

sept22

Monuments to innovation

CREATAR IMAGES

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text: mairi beautyman photography: philip kottlorz

serious fun Studio Alexander Fehre turns two buildings into an impressive but playful special-projects facility at the Bosch Engineering headquarters in Abstatt, Germany

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German corporations employ the highest number of engineers in all the European Union, which means they are constantly scouring the globe for qualified staff. So, how do they lure such specialized employees away from the competition? Perhaps by suggesting that, contrary to dour memes, the work life of an engineer in the Federal Republic is, quite possibly, fun.

“There’s a cliche of the German engineer toiling tirelessly away in a little chamber,” designer Alexander Fehre admits.

Which is exactly the kind of work environment that the Studio Alexander Fehre principal and his team sought to avoid creating for Bosch Engineering GmbH, a developer of electronics systems for automotive and other applications, headquartered on a 108-acre campus in the southern German town of Abstatt.

Executives at BEG, a subsidiary of multinational technology giant Robert Bosch, asked Fehre to turn two of its buildings into a facility for special engineering projects that run for a few weeks

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or more. What they got was 48,000 square feet of flexible work space that combines the know-how of an established corporation with the dynamic vitality of a start-up, while infusing the whole with a spirit-lifting sense of play.

The two glass-and-steel buildings, which are about 330 feet apart, are both two stories high. One, known by its number, 204, is a new structure by WMA Architekten; the other, 301, was designed by SFP Architekten in 2004. Having previously conceived headquarters for another Bosch subsidiary, Fehre was already attuned to the conglomerate’s corporate culture and thus able to give the separate interiors a satisfying physical and psychological unity.

Splashes of yellow, shimmering metallic surfaces, warm honey-hued wood, and an abundance of car motifs feature throughout, lending the workplace an upbeat yet focused energy appealing to BEG’s high-profile clients ,such as

Previous spread: The flexible entry in 204, one of a pair of two-story buildings Studio Alexander Fehre has transformed into a project-based work facility at the headquarters of Bosch Engineering in Abstatt, Germany, features Thomas Bernstrand and Stefan Borselius’s Bob modular sofa and ottoman system and custom acrylic side tables.

Top, from left: The entry of 301, the second building, also serves as an exhibition space for automotive products developed by Bosch. Flooring in 204 is painted concrete. Bottom, from left: Bleacher seating in 204’s community hub is MDF veneered in natural or perforated oak.

The terrazzo flooring in 301 is original to the building, which dates to 2004.

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Pagani, an Italian maker of limited-edition supercars that cost $3 million and more.

The combined facility, which brims with flexible furnishings, dozens of meeting-room iterations (in 17 enclosed spaces), and hybrid lounges (in airy, light-filled open areas on all four floors), provides satisfying transitions between a range of spaces, from studious work zones to convivial gathering spots.

“The goal was an open, international feeling that points to very different projects from very different clients in Europe, America, Asia, and beyond,” Fehre explains.

The 2,600-square-foot lobby of 301, where an existing ceiling and some glass partitions were removed but the terrazzo flooring retained, now doubles as a showroom for products developed by Bosch, with a mini race car and a small helicopter among the projects on exhibit. MDF display plinths in reflective teal PVC and oak veneer are surfaces for both meet-andgreet beverages and gleaming engine parts. The dynamic zigzag geometry of the existing stair gains new prominence after its concrete stringers received a coat of glimmering bluegreen lacquer. “It’s called flip-flop paint and comes from the car-tuning industry,” Fehre notes. “The color changes depending on which angle you look at it.”

The 1,600-square-foot community hub on 204’s second floor is dominated by a 12-foot-wide block of bleacher seating, which Fehre refers to as “room furniture.” Built from oak-veneered MDF, and outfitted with crisply tailored cushions, it’s tapped for educational courses, visiting speakers, or simply lunch with a commanding in-house view. Integrated into the back of the unit, a kitchenette with an island lined with barstools provides additional breaktime perches. The surrounding café area includes another piece of “room furniture”: a booth-style seating alcove, one of several scattered throughout the project, offering cozy sanctuary or one-on-one conversations. It’s enclosed in

Top: In a 301 lounge area, perforated oak-veneered paneling surrounds upholstered seating alcoves. Center: Camouflage-inspired foil graphics back Paola Navone’s InOut chairs in a 204 hallway. Bottom: Alcoves are upholstered in a wool-nylon blend, this one fitted with a Corian table and a Hedra pendant fixture.

Opposite: Like the flooring, the stair in 301’s entry is original, but its concrete stringers have been newly coated in flip-flop paint, a reflective lacquer used in the car-customization industry.

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Top, from left: Stefan Borselius’s Dundra stools serve the kitchenette island in 204. Custom acoustic partitions can be moved to make any open space quieter and more private. Bottom, from left: The glass’s graphic foil is custom. Perforated aluminum paneling backlit with LEDs envelops the computer lab in 204.

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perforated veneered paneling, a material that clads some walls and other large-scale elements. “Perforations are a bit pricier,” Fehre admits, “but you enjoy the material more than when it’s flat—and they point to Bosch’s technical approach.”

With a few exceptions (Paola Navone’s elastic-strap InOut chairs, to name one), most seating is cushiony; the Bob interlocking sofa and ottoman system by Thomas Bernstrand and Stefan Borselius—its rounded, modular components, covered in varying hues of wool-blend fabric, can be configured straight or curved—is found throughout. The same fabric, in brilliant yellow, upholsters some of the seating alcoves. “Blues, grays, and greens are key colors of the brand,” Fehre notes, “but yellow, used sparingly, is our little contrast to the Bosch world.” The bright shades pop against the envelope’s otherwise muted palette: exposed concrete, aluminum framing, and gray flooring that’s either painted concrete or monochrome carpet tile.

Of all the enclosed meeting and work spaces, perhaps the most intriguing—and fun—is the computer lab, a 500-square-

foot room with walls paneled in perforated aluminum that is backlit with LEDs. As staffers create desktop simulations of how BEG products might affect vehicle performance, they are surrounded by a dazzlingly pixelated environment that feels like being inside a supercomputer of the future. Or inside an engineer’s dream playroom of today.

PROJECT TEAM PER HOHBERG; JOHANNA PANDER; JOSSE FREUND; MAGDALENA PAPROTNA; INNA STROKOUS: STUDIO ALEXANDER FEHRE. BAIERL + DEMMELHUBER: CUSTOM FURNITURE WORKSHOP. PRODUCT SOURCES FROM FRONT JAB ANSTOETZ: RUGS (COMMUNITY HUB, HALL). GERVASONI: CHAIRS (HALL). HEINRICH SCHMID: PAINT (301 STAIR). DELTA LIGHT: PENDANT FIXTURE (YELLOW ALCOVE). WESTAG & GETALIT: ISLAND LAMINATE (KITCHENETTE). HAWORTH: CHAIRS (COMPUTER LAB). THYSSENKRUPP: PANELING. ECOLINE: LEDS. THROUGHOUT BLÅ STATION: MODULAR SEATING SYSTEM, BARSTOOLS. KVADRAT: UPHOLSTERY FABRIC. STRÄHLE: PARTITION SYSTEM. DU PONT: SOLID SURFACING. SCHÖPFER: CUSTOM FOIL. ALFRED KIESS: CUSTOM PLINTHS. INTERFACE: CARPET TILE.

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Olson Kundig’s orchestration of engaging exhibits and rare photography at the Bob Dylan Center in Tulsa, Oklahoma, tells a story about the ever-private musician

a complete unknown text: rebecca dalzell photography: matthew millman

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Bob Dylan is famously enigmatic. He reinvents his own history, rarely grants interviews, and skipped the ceremony when he won the Nobel Prize in 2016. Dylan’s archive, which the George Kaiser Family Foundation acquired that same year, hardly clears things up.

Now held at the Bob Dylan Center in Tulsa, Oklahoma, its over 100,000 items—including notebooks, recordings, and videos—reveal little about the man himself. For Olson Kundig, the firm selected to conceive the center’s interiors and exhibition design, the musician’s mystique presented an opportunity to take an unconventional narrative approach to the $10 million endeavor.

The project is located in the city’s downtown arts district and shares a block-long building with the Woody Guthrie Center. Both are owned by the GKFF and part of its mission to turn Tulsa into a cultural destination. (Dylan was a disciple of Guthrie, but otherwise has no connection to Oklahoma.) In 2017, the GKFF held a competition for the design of a facility that would house the archive and related exhibits. Architect Alan Maskin, a principal at and co-owner of Olson Kundig—and a lifelong Dylan fan—was relieved to learn that the musician was not involved. “I didn’t want to worry about pleasing Bob Dylan,” he recalls. “I wanted to make a portrait of him.”

Inspired by the Akira Kurosawa film Rashomon, Maskin and his team’s winning proposal tells the story of Dylan’s creative trajectory from multiple perspectives. “Early in his career, Dylan started to create falsehoods and believed they were as relevant as truths,” the architect continues. “It’s interesting to make a portrait of someone who embraces that.”

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Previous spread: In the lobby of the Bob Dylan Center in Tulsa, Oklahoma, by Olson Kundig, a lenticular wall displays names of donors on one side and, on the other, a 1986 portrait of the musician by photographer and filmmaker Lisa Law. Opposite top: An immersive gallery plays a film of archival Dylan footage and music, directed by Jennifer Lebeau, while heat-formed acrylic sheets mimic reams of paper flying out of typewriters set on custom plywood plinths. Opposite bottom: 59 Productions designed the project’s interactive studio control room.

Top: Graffiti artist Eric T. Burke painted the brick facade with a mural based on a portrait by photographer and film director Jerry Schatzberg, who shot the cover photo of Dylan’s 1966 album Blonde on Blonde. Bottom, from left: Six Dylan songs, some relating to the color blue, are showcased in a gallery defined by existing concrete columns that have been painted. The secondfloor landing, with an existing blackened-steel balustrade and oak flooring, leads to temporary exhibitions about other artists and musicians and a private reading room.

The center could never be a traditional museum presenting a static history of Dylan’s life.

Instead, a diverse creative team—including filmmaker Jennifer Lebeau, poet Joy Harjo, biographer Sean Wilentz, and fellow musician Elvis Costello—contributed to the project. Their voices inform what Maskin calls a “cubist portrait” of the artist that can evolve over time.

The site occupies an 11,000-square-foot, two-story building in what was originally a paper warehouse. A century old, its exposed brick walls and thick concrete columns had been retained but the space overall had been modernized for the previous tenant, a gallery.

Olson Kundig conceived the interiors and galleries in tandem. Maskin met with archivists to understand the collection, then developed a narrative arc and drew the floor plan. “I create a storyboard of the visitor experience, informed by imagery and objects, and formulate the environment through a storytelling lens,” he explains. The exhibits had to appeal to a range of audiences, from Dylanologists to casual listeners, and go beyond the musician to explore broader ideas about creativity.

The narrative starts on the street, where a 30-by-90-foot mural of Dylan stares out from the brick facade. The graffiti artist Eric T. Burke painted it based on a rare Jerry Schatzberg photograph and layered it onto existing ghost signage. “Eric let the past permeate through in the same way that history has informed Dylan,” Maskin notes. Visitors enter into a small foyer that establishes the center’s theme with two portraits showing the musician before and after he became a star, and a Dylan quote: “Life isn’t about finding yourself or finding anything. Life is about creating yourself and creating things.” Dylan himself, who’s also a metal worker, made the iron welcoming gate.

A grid of 50 photographs, taken by Law (née Bachelis) in 1966, when Dylan stayed at the Castle, the Los Angeles mansion she lived in with future husband Tom Law, have been enlarged and printed on magnetic sheets to fill the stairwell.

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“The exhibits go beyond the musician to explore broader ideas about creativity”

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Olson Kundig collaborated with 59 Productions, a British design and production studio, on the project’s multimedia installations. “That team has a theater background, which was perfect because we were looking for this to be a visceral experience,” Maskin says. Visitors wear headsets to listen to music and other content. Near the start of the galleries, Lebeau and 59 created an immersive film gallery of archival footage; in a clever bit of stagecraft, sheets of acrylic hang from thin steel rods to mimic paper flying out of typewriters. Elsewhere, visitors can play the part of a sound mixer in a music studio or listen to songs that inspired Dylan at a digital jukebox curated by Costello.

The exhibits explore the creative process in various ways. One gallery digs deep into six seminal songs, like “Tangled up in Blue,” and shows manuscripts and how tunes changed in the recording studio. Beyond is a library curated by Harjo with Dylan’s writing and books that influenced him along with her own work. It segues visitors to temporary exhibitions on the second floor that focus on other artists; current shows feature additional photographs by Schatzberg and “The Gift,” which further delves into the creative process.

The second floor also contains the Bob Dylan Archive, located in a reading room that’s only open to researchers. “We couldn’t let the public in, so we created views in,” Maskin says. He surrounded the room with boxes displaying items from the archive. Among them is a bag stuffed with fan mail from the ’60’s. Dylan held onto it for decades, but, when it arrived in Tulsa, the letters were unopened. No one knows why he kept them. The notes show how Dylan touched many people—but only deepen his mystery. The Bob Dylan Center invites us to draw our own conclusions.

PROJECT TEAM STEPHEN YAMADA-HEIDNER; MARLENE CHEN; HOLLY SIMON; RYAN BOTTS; BRIAN HAVENER; KAREN DUAN; AIYM ZHUMASHEVA: OLSON KUNDIG. LILLY ARCHITECTS: ARCHITECT OF RECORD. TILLOTSON DESIGN ASSOCIATES: LIGHTING CONSULTANT. WALLACE DESIGN COLLECTIVE: STRUCTURAL ENGINEER. PHILLIPS + GOMEZ: MEP. BBI ENGINEERS; CREO EXHIBITS: EXHIBIT FABRICATION. PRODUCT SOURCES THROUGHOUT EKLIPSE ARCHITECTURAL LIGHTING: LIGHTING. BENJAMIN MOORE & CO.; SHERWIN-WILLIAMS COMPANY; SYDNEY HARBOUR PAINT COMPANY: PAINT.

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Opposite top: Elvis Costello curated a digital jukebox with songs by musicians who influenced Dylan or whom he inspired.

Opposite bottom: The second floor currently hosts a temporary Schatzberg exhibit and a wall displaying items from the Bob Dylan Archive; photography: Jonathan Mitchell.

Top, from left: A self-adhering photographic print was applied to the donor wall’s bent-aluminum sections. Words from a Dylan quote were rendered in vinyl, cut, and applied to the stair’s oak risers. Three notebooks contain drafts of lyrics for Dylan’s 1975 album Blood on the Tracks. Bottom: The archive wall, inspired by German cabinets of wonder, contains items such as a piano harp, on which Dylan composed a song, and a bag stuffed with fan mail from the ’60’s; photography: Jonathan Mitchell.

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shining star A gleaming volume in Los Angeles by Belzberg Architects houses BAR Center at the Beach, a multigenerational Jewish community facility text: edie cohen photography: art gray

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Amid the dive bars, fast-food joints, and tattoo stands populating a funky stretch of the famed Venice boardwalk stands a luminescent jewel: BAR Center at the Beach, a community facility that’s part of the Jewish Federation of Greater Los Angeles. Its bright-white, three-dimensional facade, the work of Belzberg Architects, is aglow day and night like a sculptural installation amid towering palm trees backdropped by the Pacific Ocean. Technically, the project is a renovation, since the building originated in 1927. But in the supremely talented hands of BA—specifically founding partner and Interior Design Hall of Fame member Hagy Belzberg and principals Lindsey Sherman Contento, Barry Gartin, and Kristofer Leese—it’s essentially a new-build.

Constructed first as a dance hall, the structure was expanded in the ’50’s with a second floor for housing, which, according to folklore, was utilized as a brothel. In 1964, the pendulum swung the other way with the building transitioning into the Israel Levin Senior Center, a haven for the area’s

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aging population, particularly its numerous Jews.

In 1994, the Northridge earthquake severely damaged the second floor, necessitating its removal. Which is what ultimately brought the project to Belzberg and his team in 2013, leading to its recent completion this summer. “Part of the reason it took so long is that it was donorfunded,” Belzberg takes up the narrative, referring to contributors Bennett and Allison Rosenthal, the center’s namesakes. There were also the complexities resulting from the various “addons that created a Frankenstein’s Monster of a building,” Gartin recalls.

But any visitor walking by who steps inside the airy, light-filled volume would never know it. “It’s a jewel box,” Sherman Contento says of the center, which, among various other activities, offers yoga classes. “It’s a little building programmed to do a lot,” Belzberg continues. Community is the core mission. BAR is conceived as a multigenerational institution bringing together the old and the young through events and activities, both

“The doors are open to everyone, regardless of religion”

Previous spread: At BAR Center at the Beach, a Jewish community facililty that occupies a 1927 Los Angeles building renovated and expanded by Belzberg Architects, dimensional panels of powder-coated aluminum compose abstractions of the Star of David.

Opposite: An oak acoustical system forms the 12-foot ceiling in the community room.

Top: Custom perforated-steel canopies provide shade on the new roof deck.

Bottom: Panels of steel-framed ballistic glass wrap a corner of the 7,000square-foot building.

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spiritual and physical. Its reach is projected to extend past Venice to greater L.A.’s Jewish community at large. In keeping with the neighborhood’s history, however, the doors are open to everyone,

regardless of religion. “50 years ago, Venice was a rich cultural mosaic and a center of diversity when the rest of L.A. was segregated in an ugly fashion,” continues Belzberg, whose firm also designed an addition to the Holocaust Museum LA and the USC Shoah Foundation.

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While retaining the same mandated footprint, BA rebuilt the center’s second story and added another level, bringing the now three-floor structure to 7,000 square feet. Reorganizing spatial configurations, reception, a spacious community room, and a commercial kitchen have been allocated to the ground floor. Classrooms, flex spaces, and a library are on two; they open to a new roof deck that the firm built on top of the community room and outfitted with an angular, chuppahreminiscent trellis to provide shade from the SoCal sun. The top level is a three-bedroom apartment that provides free housing for recent college grads in exchange for them leading on-site activities between senior and younger Jews—a first for community centers within the federation.

Interior finishes are durable while evoking a beachy vibe. BA newly wrapped the brick envelope with white fiber-reinforced concrete mesh, except for swaths on all the elevations, which are now glazed. Flooring is pale wood-look vinyl planks or sand-colored porcelain tile. A slatted-oak screen forms an entry canopy around the reception desk, its surfacing a triangular pattern of laminates in graphic white, gray, and metallic. In the adjacent community room, the slatted wood transitions into an acoustical ceiling system of more triangles.

The roof trellis is another composition of triangles. Clearly, the shape is integral to the project.

Extrapolated from the Star of David, it is the

Opposite top: Beyond a series of four-panel bifold and swing doors, stairs lead to the deck. Opposite bottom, from left: The same oak slats screen the reception desk, a custom composition of laminates. Sandwiched laminate creates a pattern in the glazing.

Top: The custom exterior panels were conceived using Revit, Rhino, Enscape, and Illustrator. Bottom, from left: With vinyl floor tile, the community room can function as a yoga studio. Belzberg calls the roof trellis “the fifth facade.”

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firm’s subtle reference to Judaism. Sustainability was a factor, too. “Making use of its coastal ad­ jacency,” Belzberg notes, BA installed operable windows for natural ventilation as well as energyefficient appliances and fixtures.

Yet BAR’s undisputed standout is the facade— one that bravely sidesteps the Venice norm.

“Typically, projects here integrate with the fabric.

This does not,” Belzberg explains. “It’s meant to attract people and not disappear.” Its dimensional aspect comes from steel-framed panels of alumi­ num powder-coated white. Utilizing four software programs to devise the pattern, the six panel types are, again, triangular in form and mounted on a hexagonal base. They join a glass curtain wall patterned via a sandwiched laminate. The world being what it is today, the glass is ballistic, and the aluminum is treated with an anti-graffiti coating; should vandalism occur, panels can be removed and replaced. “We were posed with a paradox: How to make it open and communitybased, yet secure,” Sherman Contento comments.

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Combined, the elements form an abstracted Star of David in varying scales, as does the glaz­ ing pattern. At night, it’s all backlit by a system of color-changing LEDs. It’s not immediately iden­ tifiable, but, as Leese says, “If you look for it, you can see it.”

PROJECT TEAM JENNIFER WU; JOSH HANLEY; JESSICA HONG: BELZBERG ARCHITECTS. RSM DESIGN: CUSTOM GRAPHICS. NOUS ENGINEERING: STRUCTURAL ENGINEER. NOVUS DESIGN STUDIO: MEP. KIMLEY-HORN: CIVIL ENGI­ NEER. PULP STUDIOS: GLASSWORK. DEL AMO: GENERAL CONTRACTOR. FROM FRONT ALLEMUIR: CHAIRS (COMMUNITY ROOM). STEELCASE: TABLES. KONCEPT: PENDANT FIXTURES. WILSONART: DESK SURFAC­ ING (RECEPTION). VISTOSI: PENDANT FIXTURES. VIB: FLOOR TILE (DECK). LANDSCAPE FORMS: TABLES. STUDIO TK: STOOLS, CHAIRS. BLU DOT: COFFEE TABLE, LOUNGE CHAIRS, SOFA (APARTMENT).

SOURCE INTERNATIONAL: STOOLS. PABLO DESIGN: PENDANT FIXTURES. THROUGHOUT ARKTURA: CUSTOM FACADE, CUSTOM WINDOWS. WOW: FACADE TILE. CEILINGS PLUS: CEILING SYSTEMS, ENTRY SCREEN. SOUND-TEC: VINYL FLOOR TILE. ARCHITECTURAL SURFACES: PORCELAIN TILE. PREMIER STEEL STRUCTURES; JEA BIM STRUCTURAL STEEL DETAILING: CUSTOM ROOF TRELLIS.

Opposite top: The panels are backlit with programmable, color-changing LEDs. Opposite bottom: The three-story structure stands out on the Venice boardwalk.

Top: Porcelain tile floors the 1,500-square-foot roof deck, furnished with Africa stools and chairs by Eugeni Quitllet and Chipman tables by Robert Chipman. Bottom: The building’s top floor is a three-bedroom apartment that provides housing for recent college grads working the center.

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green lantern The Martin Goya X Pig Design exhibition venue in Hangzhou, China, shows how community-minded architecture can help young artists flourish text: dan howarth photography: shuoqian qi

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Many young artists need support in order to achieve their full potential. One of the most impactful ways to assist burgeoning talents, without simply handing them a check, is through the provision of space in which they can exhibit their work. This offering enables them to gather audiences, generate discussions, and garner valuable feedback around their creative endeavors. A vacant, 2,900square-foot commercial studio in the Xiangshan Art Commune, close to the China Academy of Art campus in Hangzhou, has been regenerated with exactly that purpose in mind.

The idea came from Martin Goya Business, an agency founded by Chinese video artist Ran Cheng that organizes exhibitions and performances for creatives born after 1995 (Cheng named his business after an obscure movie character). He invited his hometown friend, Pig Design founder and chief designer Wenqiang Li, to co-create a space that acts as a publicly accessible gallery and a salon in which independent artists can network and exhibit for free.

“The whole environment of contemporary art is institutionalized, commercial, and serious, however, many artists are free, wandering, and disorganized,” says Li, who’s also a painter himself. The intention of this joint venture, named Martin Goya X Pig Design, is therefore to provide a “nest,” Cheng notes, where these young artists are offered space and the opportunity to grow, incubate and hatch ideas, spread their wings, and then take flight into successful careers.

Li applied the metaphor not only to the design of the venue but also the fabrication. He retained the basic shell of the building, then, just as in nature, constructed interventions from a wide mix of found and reused materials to assemble a sanctuary for its users. “The idea is that stray birds pick up city leftovers to construct a nest,” Li says, treating the project with an element of whimsy so as not to fall

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Previous spread: In Hangzhou, China, Pig Design and art agency Martin Goya Business conceived Martin Goya X Pig Design, a verdant-themed, eco-conscious exhibition and performance venue for burgeoning artists that includes a café with a bar topped in stainless steel.

Opposite, from left: With the help of a staple gun, waterproof canvas covers many surfaces both inside and out, while the ceiling was colored to match with low-VOC paint. Steel rods at the entry are arranged to extend to various lengths, resembling a nestlike bundle of twigs.

Top: The venue is a former commercial studio in the Xiangshan Art Commune, close to the China Academy of Art. Bottom, from left: Playful 3-D printed appendages have been affixed to the custom lounge furniture. The steel rods are recycled.

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into art-world tropes. “The act of removing seriousness is the balance point between the space and the design concept.”

The concept is most evidently visualized at the entrance, where recycled steel rods cantilever out at assorted lengths to resemble a brush of metallic twigs and continue inside to form a tentlike canopy and passageway. Visitors follow the horizontal lines into the main space, where the effect is mirrored on the other side of the doorway. More rods protrude from a gap along the top of a far wall, wrapping the nest and visually weaving the areas together.

With time and budget restraints top of mind, the project was completed in just a month. It took only a few days to swath the building’s exterior and interior surfaces in layers of emerald-green canvas using a staple gun, creating a colorsaturated, waterproof shell. “Most visitors are surprised by the material choice,” Li reveals. The same verdant color—chosen for its association with life, growth, and rejuvenation—is repeated across the low ceiling in environmentally friendly paint, enveloping the space in a monochromatic cloak. “To many people in our city, the green canvas has a definite sense of movement, transport, or, more bluntly, a sense of straying,” Li explains.

Given the diversity of the artworks and disciplines showcased—from painting and photography to theater and musical performances—an adaptable, open layout was a must. Durability was also paramount, so black gravel was selected for the floor, filling in between lines of stone pavers that suggest, but don’t dictate, pathways through the room.

To offset the predominantly darker tones, warm lighting emanates from a few sources, including above and behind a curved bar. Positioned opposite the entrance, the counter acts as a café that helps fund the venue’s operation costs

“The color was chosen for its association with life, growth, and rejuvenation”

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Opposite: Gravel covers the floor in between stone slabs to suggest pathways through the 2,900 square feet. Above: The forms of the golden appendages come from scans of Pig Design founder and chief designer Wenqiang Li’s own hands and feet.

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during the day, then serves drinks during evening events and parties. A series of freestanding triangular lamps that echo the form of the entryway corridor also illuminate the moody interior, while similarly angular windows bring in slices of natural light.

Behind a glowing gridded screen is a lounge area, populated with furniture selected from existing samples Li created for earlier projects. All upholstered in matching green, some of the sofas and armchairs appear to sprout human hands and feet in place of regular armrests and chair legs. The designer 3-D printed the gold-toned appendages from scans of his own hands and feet, again injecting humor and lighthearted energy into the project. “We hope that through spatial design, art can be more harmoniously integrated with people,” he says.

Martin Goya X Pig Design offers a model for regenerating commercial inventory in the post-pandemic era. Quickly, inexpensively, and sustainably, Li and his team were able to flip a disused building into a cultural venue that almost immediately benefited the surrounding community. The hope is that once its initial cohort of users flies the nest to greater things, it will continue to grant opportunities to future flocks of artists for generations to come.

PROJECT TEAM CHAO LIU; LILI ZHAO; ZHIWEI YANG; JUNJUN YAN; MENGMENG QIAN: PIG DESIGN.

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Opposite, from left: New windows allow in slices of daylight but not enough to damage artworks. Signage, also canvas, indicates the joint venture between Martin Goya Business and Pig Design.

Top: A custom uplit screen partitions the main exhibition area from the lounge. Bottom, from left: Triangular LED fixtures, also custom, are scattered throughout. A tentlike passageway formed by the steel rods leads from outside the venue to inside.

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text: thijs demeulemeester photography: tim van de velde

complex geometry The late Belgian designer Pieter De Bruyne’s fiercely angular postmodern furniture is as uncompromising as it is rare, but the landmarking of his last work, a house in Aalst, Belgium, should earn him new fans

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From the street, the Van Schuylenbergh House in Aalst, Belgium, looks quite anonymous. Except for an aqua garage door and a pavement-to-roof ribbon of indigo glass incorporating the front door, the white-painted brick facade doesn’t stand out. Only upon entering does it become clear why this apparently modest, three-story residence has recently been landmarked.

Built between 1979 and 1986, the town house is a postmodern Gesamtkunstwerk, the masterpiece of Belgian designer Pieter De Bruyne, who died of kidney disease at the early age of 56, a year after its completion. Except among a handful of connoisseurs, De Bruyne’s name doesn’t ring many bells today. His 175 interiors are hardly known; few have been preserved. None of his more than 200 furnishings and objects are still in production, not even his three lamps for Arteluce and two for Stilnovo. “There are no plans for reeditions either,” says Stoffel Van Schuylenbergh, whose parents commissioned the house, in which he grew up and his mother still lives. “Almost all De Bruyne’s furniture was made by his father’s woodwork atelier, and never in editions of more than 10. Because of bad experiences with the industry, he didn’t want to work with big foreign manufacturers.”

Artist Lucas Van Schuylenbergh, Stoffel Van Schuylenbergh’s late father, met De Bruyne, a graduate of Hogeschool SintLukas Brussels, at an exhibition in the ’60’s. The two men became friends, and the artist began to collect the designer’s work.

“When my father had about eight pieces, he decided to have De Bruyne create a house around the collection,” the son continues. “Only trained as an interior designer, De Bruyne was

Previous spread: In the dining area of the recently landmarked Van Schuylenbergh House in Aalst, Belgium, the masterwork of postmodernist designer Pieter De Bruyne (1931–1987), architecture and furniture blend into a true Gesamtkunstwerk.

Top: In the garden, a graphic metal arcade echoes the geometric forms of the house. Bottom: The residence was designed around artist Lucas Van Schuylenbergh’s existing collection of De Bruyne furniture, though some pieces, like the dining table on wheels, were created specifically for it.

Opposite top, from left: The pyramid skylight floating above the living-dining area epitomizes De Bruyne’s obsession with the forms and proportions of Ancient Egyptian architecture and furniture. The front door’s colored glass and handle are among the few elements that hint at the wonders behind the modest street facade. Opposite bottom, from left: The same color glass, a De Bruyne signature material, illuminates the second-floor stair landing leading to the bedrooms; the sconce is by Gino Sarfatti for Arteluce. A 1996 abstract artwork by Van Schuylenbergh hangs in the stairwell.

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obliged to work with local architect Achiel Hutsebaut, who was much more traditional.”

Nevertheless, for the first time De Bruyne was able to conceive a building in which architecture and furniture blend seamlessly.

“The house is still 95 percent original,” Van Schuylenbergh says. “As a child, I did realize that we were living in something special, something completely different from the houses of my school friends.”

Bathed in blue window light, the compact raw-concrete and painted-brick entry hall leads directly to the living-dining area, which sits under a steel-and-glass pyramid skylight.

(In fact, only one half of a pyramid; De Bruyne used mirrors to make it appear complete.)

“The house is a stack of geometric shapes, which also recur in his furniture: squares, circles, rectangles, and triangles,” Van Schuylenbergh notes. The designer was fascinated by the forms and proportions of the architecture and furniture of ancient cultures, including the Mayan, the Indian, and, most importantly, the Egyptian. He made many trips to Cairo’s Museum of Egyptian Antiquities to take precise measurements of the furniture there, including a Tutankhamun cabinet.

“My research tells me that the Egyptians are the founders of both the grammar and the typology of furniture,” De Bruyne said in a 1984 interview.

Furthermore, De Bruyne determined that pharaonic furniture was made to stand in isolation away from walls, lending it maximum spatial and symbolic impact, a practice he adopted for his own pieces. “And yet he did not call them sculptures, because they do have a specific function,” Van Schuylenbergh observes, which is is certainly the case with the Benares room divider, the largest piece De Bruyne ever created. Inspired by a trip to the Indian holy city, it was designed in 1978 specifically to display Lucas Van Schuylenbergh’s collection of objects and curiosities, and now sits in the top-floor painting studio. The colossal cabinet is full of symbolism: blue for the sky, black for death, white for life, and Top: Following brutalist principles, De Bruyne used raw concrete for the stair and other structural elements. Bottom: Looking up through the skylight reveals that the house is a stack of three geometric forms: a square, a triangle, and a cylinder.

Opposite top: The skylight is really a half-pyramid made to look whole with mirrors; located on the second floor, it borrows daylight via a quarter-circle of glass bricks set in the terrace above.

Opposite bottom: On the third floor, Van Schuylenbergh’s former painting studio now houses the Benares room divider, De Bruyne’s largest piece of furniture, designed in 1978 and inspired by a trip to the Indian holy city.

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fluorescent orange for the city’s famous riverside cremation fires. “Once it was lent for an exhibition at the Design Museum Ghent,” Van Schuylenbergh reports. “They had to use a crane to lift it out of the house. Fortunately, I wasn’t there.”

Travel was a constant creative stimulus for De Bruyne. A visit to Mexico is reflected in such Mayan-influenced designs as 1979’s Palenque 2, a superbly proportioned lacqueredwood and marble cabinet at the center of the solarium off the main bedroom. But Italy was his most frequent destination. Between 1955 and 1985, he made as many as 100 study trips to Milan, including an internship in the offices of Gio Ponti, where he worked on the design of of the seminal Pirelli Tower. Thus, De Bruyne had the talent and the right Italian connections to to work with the leading manufacturers in that country’s booming modern design industry, which he did, a little, in the ’60’s.

But mostly through the next decade he pioneered a rigorous, uncompromising version of what came to be called postmodernism.

At the end of the ’70’s he received invitations to to collaborate with Studio Alchimia and Memphis Group, the nascent superstars of the iconoclastic movement, which could have led to his international breakthrough. De Bruyne did not accept. He found them “too superficial and playful,” and thought of their frivolous creations as “forms without content.” Ironically, his groundbreaking Chantilly cabinet— a 1975 piece based on the meticulous measurement and analysis of of an 18th-century French bureau desk in the Musée Condé in France—was the highlight of “Postmodernism: Style and Subversion 1970–1990,” a major exhibition at London’s Victoria & Albert Museum in 2011. The landmarking of the Van Schuylenbergh House may be another sign that De Bruyne’s recognition quotient is finally on the rise.

Top: With its trio of little pyramids, the living-area fireplace continues the references to Egypt; the pendant fixture above the 1971 glass and padauk-wood coffee table is one of three lights De Bruyne designed for Arteluce in the ’60’s. Bottom: De Bruyne collaborated with local architect Achiel Hutsebaut on the house, its rear elevation influenced by Le Corbusier.

Opposite top, from left: In the main bedroom, the wardrobe and vanity are built-in, while the stacked cabinet is freestanding since, like most De Bruyne furniture, it is meant to be viewed from all sides. Expansive glazing and glass bricks on the roof flood the top-floor landing with light, which penetrates the lower floors. Opposite bottom, from left: Palenque 2, a 1979 cabinet named for the ancient Mayan city, another strong influence, commands the solarium off the main bedroom. The foot of the built-in bed incorporates a cabinet containing a projector for watching movies.

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text: wilson barlow and lisa di venuta

fresh air From Prague to St. Louis, firms are inventing and repurposing outdoor space with newfound creativity See page 120 for Golden Barnyard: Cockaigne of Everyman, a food-processing area turned events site in Shanghai by Wutopia Lab. Photography: CreatAR Images.

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“It’s like an endless harvest that’s been frozen in time”

Wutopia Lab project Golden Barnyard: Cockaigne of Everyman, Shanghai. standout On a working rice and rapeseed farm, a 2-acre expanse once used for food processing has been converted into a place for outside movie screenings and similar activities, named after the land of plenty from medieval lore, complete with rolling piles of “grain” in porous yellow concrete. photography CreatAR Images.

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“Ecology, landscape, and architecture are beautifully intertwined”

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Hosper project VisKringloop, Wieringermeer, Netherlands. standout A collaboration between the landscape architecture firm, artist Pé Okx, and ecologist Cor ten Haaf, visitors can climb a painted-steel staircase for a birdseye view of this earthwork, its ripplelike forms symbolizing the life cycle of the fish that live within and part of a 40-acre site devoted to improving their migration between fresh and salt water. photography Pieter Kers.

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KOGAA project Air Square, Prague. standout A partnership with hot-air balloon maker Kubíček Visionair yielded prefabricated, recyclable partitions of inflatable FR-coated polyester that, when supported by a base of CNC-cut plywood planks, can be arranged into a 20-foot-high, interlocking circle for a partially shaded and protected plug-in park or performance locale. photography Clockwise from top left: Javier Antón; Marcia Davis; Kubíček.Studio; Josema Cuttilas.

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“Materials are locally sourced, durable, easy to maintain, and rich—without being precious” “We took a different approach to a long-term urban-planning solution for underused space”

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“We’ve made a beloved community landmark and site of impromptu gatherings safe and welcoming”

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Kiku Obata & Company project Spring Church, St. Louis. standout Courtesy of the Pulitzer Arts Foundation, the limestone shell of a 19th-century Gothic revival–style church ravaged by fire has been fortified and revitalized into a combination open-air house of worship/public art space, which recently featured Jordan Weber’s installation All Our Liberations, its three tiers painted with words by local poet Cheeraz Gormon. photography From left: Virginia Harold; Alise O’Brien (2).

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OVER 150 YE AR S OF INNOVATION

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EDITORS’PICKS Look for the icon throughout, signifying a Material Bank Brand Partner, and discover materials from more than 450 brands at materialbank.com

CARNEGIE

STANDOUTS WRAPPED IN XOREL BIO - BASED POLYETHYLENE TEXTILES WITHSTANDS AGGRESSIVE CLEANING FROM THE XOREL ARTFORM RANGE

BRAND PARTNER

Curves ahead! The 3D panels of Artform Ridge, with its 0.5-inch Quiet Core substrate, provide an NRC rating of .90 while looking sculptural and elegant. carnegiefabrics.com

LAUNCH EDITORS' PICKS

standouts polished stainless steel frame bolster back com also available

ATELIER DE TROUPE

An instant classic, the Dada lounge chair—upholstered in Dedar velvet and Maharam leather—pairs art deco influences with modernist lines. atelierdetroupe.com 132

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LAUNCH EDITORS' PICKS

U-AK

During time spent at home throughout the pandemic, Marta Pascual became intrigued by common plumbing parts like elbow pipe fittings, an interest now translated to her Periscope mirror. u-ak.com

STANDOUTS

3D - PRINTED IN SPAIN MADE OF BIO DEGRADABLE PLA IDEAL FOR DRESSING TABLES

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standouts

138” long maison pierre frey fabric limited edition of 30

Fashion and furniture collide with this sofa of sartorial folds designed by Stefano Pilati, former creative director of Yves Saint Laurent and other couture houses. pinto.design

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PORTRAIT: DAVIT GIORGADZE

PINTO PARIS

LAUNCH EDITORS' PICKS

UNIKA VAEV

Inspired by the berries of its namesake tree, Holly's soft, round absorbers made of recycled fabric mitigate low-frequency sound waves, while opal glass globes cast even, diffused light. unikavaev.com

STANDOUTS AVAILABLE WITH OR WITHOUT LIGHTING VERTICAL AND HORI ZONTAL VERSIONS DESIGNED BY HALLGEIR HOMSTVEDT AND RUNA KLOCK

BRAND PARTNER

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LAUNCH EDITORS' PICKS

ASTEK

Created using fluid watercolor techniques, the company’s Flaneur wallcovering is a gestural interpretation of a map that evokes the excitement of travel. astek.com

STANDOUTS DIGITALLY PRINTED TO ORDER TO THE CLIENT ’ S SPECIFICATIONS PRINT ON ANY IN - STOCK SUB STRATE OR CLIENT ' S OWN

BRAND PARTNER

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LAUNCH EDITORS' PICKS

STUDIO ELISE LUTTIK

Assume first position! This lamp sports an adorable translucent silicone tutu posed as if mid arabesque, hence its name: Ballerina. eliseluttik.nl

standouts made in the netherlands marble base

19.7” high x 20.9” wide

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LAUNCH EDITORS' PICKS

STANDOUTS

48” X 48” MURAL MADE OF 8” TILES FROM THE WILDER COLLECTION PAINTED ON A MATTE - FINISH SURFACE

BRAND PARTNER

TILEBAR

Thirty-six small-format porcelain tiles form the delightful Protea Leaves Mural by Angela Harris, its pretty botanical pattern sure to enliven any interior—or exterior. tilebar.com

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LAUNCH EDITORS' PICKS

STANDOUTS

13” SEAT HEIGHT DESIGNED BY TAKESHI SAWADA DEDAR NIMBUS UPHOLSTERY

EO

Fluffy wool bouclé upholsters kids’ stool Sheep x Dedar, its zoomorphic oak feet combined with little beech ears that function as a backrest or as grab handles. eoplay.dk

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LAUNCH EDITORS' PICKS

BRAND PARTNER

ARTISTIC TILE

A rhythmic patchwork of colorful marble and quartzite blocks set into Nero Marquina comprises Pinnacle Fete—the entirety fluted for extra panache. artistictile.com

STANDOUTS WALL TILE CARVED TRIANGULAR FLUTES INLAYS OF AZUL MACAUBAS , ROJO ALICANTE , AND OTHER COLORFUL MARBLES

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LAUNCH EDITORS' PICKS

standouts powder - coated mounts to the wall

3 sizes

PULPO

Sebastian Herkner’s uber-sculptural aluminum Como shelving for the German brand comes in three enticing colors: chrome, smoky gray, and richly patinated fango green. pulpoproducts.com

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LAUNCH PARTNERS // SEATING

standouts pleat detail low - profile swivel tilt mechanism bases : wood legs , 4- star with foot pads , 5 - star with casters , disk , wire frame

TUOHY FURNITURE

Pleat is an array of chairs based on an organically shaped, molded bucket seat that is ergonomic, adaptable, affordable, and finely detailed. tuohyfurniture.com

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FLOORING

// LAUNCH PARTNERS

STANDOUTS

10 COLOR STAINS REAL WOOD WITH THE ADDED STRENGTH OF ACRYLIC TONGUE - AND - GROOVED AND END - MATCHED

BRAND PARTNER

NYDREE FLOORING

The company’s Textured Plainsawn White Oak flooring is distressed by wire brush to give a lightly weathered look and infused with acrylic for outstanding durability. nydreeflooring.com

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

STANDOUTS

65% RECYCLED CONTENT UL CERTIFIED FOR NO VOCS

24 COLORS CLASS A FIRE RATING PER ASTM E 84 LEED & LBC PRODUCT DECLARATIONS

BRAND PARTNER

FSORB

The company’s new acoustic panels made of PET felt have performance attributes aplenty, living up to their tagline: “Quiet spaces create peaceful minds.” fsorb.com

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FLOORING

// LAUNCH PARTNERS

STANDOUTS MADE IN THE U . S .

FROM THE AMTICO COLLECTION , ALLOWING SIGNATURE LAYOUTS

112 STYLE /COLOR COMBINATIONS

BRAND PARTNER

MANNINGTON COMMERCIAL

The accent color palette of Active Lines digitally printed LVT is customizable, while the design's interplay of grids and linear patterns captures the dynamic flow of the urban environment. manningtoncommercial.com

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LAUNCH PARTNERS // FLOORING

TARKETT

With superior infection control and organic patterning, iQ Granit and iQ Eminent vinyl sheet flooring is all about the power of restorative design. tarkett.com

STANDOUTS CHEMICAL RESISTANT CONTINUOUS SURFACE WITH HEAT - WELDED SEAMS CAN BE CONTINUALLY RESTORED WITH A DRY BUFFING

BRAND PARTNER

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

STANDOUTS HAS THE MATTE TEXTURE OF MICRO - CEMENT

3 SIZES 7 COLORS

BRAND PARTNER

NEMO TILE + STONE

Aziza porcelain tile for floors and walls marries Moroccan color schemes with the softer tones of tinted cement—and has a natural, crackled effect that looks handmade. nemotile.com SEPT.22

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LAUNCH PARTNERS // KITCHEN & BATH

DURAVIT

Minimalist and timeless, the Duravit No.1 collection of washbasins, tubs, toilets, vanities, and more forms a series that can upgrade your bathroom living space from top-to-toe. duravit.us

standouts budget - conscious price comprehensive product range

38 products

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

GARDEN ON THE WALL

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

STANDOUTS CLASS A PER FLAME SPREAD & SMOKE INDEX SEAMLESSLY INSTALLED

BY GOTW TEAM PUBLISHED HPD & CPHD VOC COMPLIANCE HIGHEST VISUAL & LONGEVITY STANDARDS

PHOTO BY GRAHAM WASHATKA

BRAND PARTNER

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LAUNCH PARTNERS // FLOORING

STANDOUTS SOUND ABSORBING AND SLIP RESISTANT LOW MAINTENANCE , LONG LIFE

100% CARBON NEUTRAL FOR THE FULL PRODUCT LIFE CYCLE

INTERFACE

Norament Pado is a modern take on terrazzo flooring, featuring a mix of variegated color chips embedded in a high-performance material—rubber. nora.com/us 150

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TOP PHOTO: ELMAR WITT/NORA

BRAND PARTNER

SEATING

// LAUNCH PARTNERS

LELAND FURNITURE

Designed by Altherr Désile Park, the elegantly casual and adaptable Gemma collection for informal collaboration features a system of three veneers—oak, walnut, and colored birch—and pleasingly rounded geometries. lelandfurniture.com

STANDOUTS COLLECTION INCLUDES TABLE , CHAIR , AND LOUNGE VARIOUS COLOR , UPHOLSTERY , AND LEG OPTIONS

4 - LEG WOOD OR SLED BASE

BRAND PARTNER

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

STANDOUTS FOR MILLWORK , CASEWORK , COUNTER TOPS , FURNITURE , TABLETOPS , CABINETS FOR USE IN HOSPITAL ITY , EDUCATION , HEALTHCARE , RETAIL , OFFICE , AND MORE

BRAND PARTNER

FORMICA CORPORATION

Inspired by nature and handcrafted processes, the SurfaceSet 2022 collection introduces four solid colors, six wood grains, 10 patterns, and two textures into the company’s beloved laminates range. formica.com

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

ANN SACKS

“We fell in love with fluting, and now we’ve added pleats!” says chief designer Deedee Gundberg of the company’s new modern and dimensional tile, Belcaro Pleated. annsacks.com

STANDOUTS SHOWN IN NUBO VERDE MARBLE SHAPE CAPTURES THE INTERPLAY OF LIGHT AND SHADOW ALSO IN WHITE ( AMELIE ) AND LILAC MARBLES

BRAND PARTNER

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LAUNCH PARTNERS // FLOORING

BENTLEY MILLS

Inspired by the postpandemic return to much-missed cultural experiences, the flooring expert debuts Daytripper, a carpet collection of four patterns with subtle depth, shimmer, and unique scale and proportion. bentleymills.com

standouts expo hall , gallery hop , pop - up shop , and free day patterns pvc - free bentley premium nylon

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

STANDOUTS CRAFTED IN SMALL BATCHES IN MICHIGAN PATENTED LIGHT CONDUCTING TECHNOLOGY MYRIAD TEXTURES AND PATTERNS ; CAN BE CAST IN MANY SHAPES

BRAND PARTNER

SENSITILE

Light-conducting Sensitile Terrazzo tiles and slabs are composed of micro-concrete and resin that together create a subtle shimmering, twinkling effect that’s ohso enticing. sensitile.com

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STANDOUTS

12” X 36” 3 PLANK STYLES IN 8 COLORWAYS NET - POSITIVE IMPACT

BRAND PARTNER

MOHAWK GROUP

Mirroring the tweed and twill fabrics and sartorial detailing of classic suiting, the Timeless Tailored collection of modular carpet tile brings sophistication to flooring. mohawkgroup.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.com

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CROSSVILLE, INC.

Featuring a new leathered finish that’s silky-soft to the touch, the Owen Stone porcelain tile collection is luxurious for bare feet yet suitable for high-traffic environments. crossvilleinc.com

STANDOUTS IN BEIGE , BROWN , GRAY , OR BLACK

24” X 48”, 12” X 24” AND 24” X 24” FOR INDOORS AND OUT

BRAND PARTNER

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MIX

// LAUNCH PARTNERS

BRAND PARTNER

SPARK MODERN FIRES

FORMICA CORPORATION

The Spark Linear Burner System can transform an existing wood-burning hearth into a gas fireplace, or create your own custom fireplace like the above with burner lengths of up to 6 feet. sparkfires.com

The 22 wood grains, colors, and patterns of the company’s SurfaceSet 2022—think Gold Braze and Pecan Walnut—are ripe for imaginative interpretation. formica.com

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STANDARD TEXTILE Create the appearance of a minimalist platform bed without the cost of one with the one-piece Circa Bed Wrap, available in eight ready-to-ship colors. interiors.standardtextile.com

Bernhardt Design Bombom

SEPT.22

INTERIORDESIGN LAUNCH

LC3

SPECIAL - ORDER PROGRAM FLORALS , GEOMETRICS , AND MORE MAIN MATERIALS : CERAMIC , CAST METAL , AND COLORBODY PORCELAIN

DALTILE Stare

daltile.com

BRAND PARTNER

LC4

INTERIORDESIGN LAUNCH

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Artek and the Aaltos: Creating a Modern World Nina Stritzler-Levine with Timo Riekko New Haven, Connecticut: Yale University Press, $65 696 pages, 840 illustrations (180 color)

Adjaye: Works 2007–2015, Houses, Pavilions, Installations, Buildings

by Peter Allison New York: Thames and Hudson, $90 300 pages, 462 illustrations (192 color) Handsome and impressive, this new monograph follows Adjaye: Works 1995-2007, also by Allison and reviewed here in 2017. We hope they will keep coming. Born in Dar es Salaam, Tanzania, in 1966, and a graduate of the Royal College of Art, London, Sir David Adjaye has become one of the world’s most highly respected architects and among the most international. This book alone shows projects in the U.S. and the U.K., along with others in Russia, China, South Korea, Germany, Austria, Belgium, France, and Ghana. He has taught at Princeton, Harvard, Yale, and the Royal College of Art, and now has offices in London, New York, and Accra, Ghana. The scope of his work is as varied as its locations: houses and housing, markets, schools, shops, galleries, a library, and a bridge.

As the book clearly demonstrates, there isn’t one Adjaye look or style, but there is undoubtedly a signature level of quality and imagination. In his own words, the architect considers “the fundamentals of light, materiality, and context.” Projects are accompanied by plans and sections, while a chronology at the end includes a small black-and-white photograph of each design— temporary pavilions and exhibitions as well as buildings, and some objects and furniture, all worth our attention.

This is a great expansion in both text and illustrations of a 2016 exhibition catalog, which was given the 2018 Philip Johnson Award by the Society of Architectural Historians. One of its aims is to make clear the working relationship of Alvar Aalto and his wife Aino Marsio-Alto, who shared an office, a letterhead, and design responsibilities “long before Charles and Ray Eames were a couple.” It also makes clear their close ties with Artek, the company that manufactured their much-admired bentwood furniture.

We learn that Artek was founded in 1935 by the Aaltos themselves and two of their close friends: Maire Gullichsen, a wealthy client for whom Aalto’s famous Villa Mairea would be designed, and Nils-Gustav Hahl, an art critic. They were not only founders but also active participants, Hahl as managing director, Gullichsen as gallery director and first chair of the company’s board. Marsio-Alto served as artistic director and head of the drawing office.

Aalto himself created an international network of Artek product distributors, while attending to “innumerable production matters.” But beyond learning about Artek, we are treated to a summary of contemporary art and craft (Calder, Legér, Moroccan rugs), a parade of Aalto buildings and interiors (including the Villa Mairea), and Aalto excursions into designs with glass, textiles, and lighting. With great generosity, this book gives us visions of a design genius that we may never have seen before.

b o o k s edited by Stanley Abercrombie

What They’re Reading...

Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm

by Dan Charnas New York: Farrar, Straus, and Giroux, $30 458 pages, 63 black-and-white illustrations “I had been anticipating this bio since seeing it announced last year on Twitter and pre-ordering it then. I’m a huge Dilla fan. He’s one of those artists who is so prolific that you just keep uncovering more of—and about—their work. This is the first time his process has been explored and broken down scientifically.

There are things about Dilla’s methodology I relate to. The offkilter approach to creativity, where there is room for error, but still with intent. Accepting imperfection, even expecting it as a part of the entire creative process, helped with the homeware collection I’ve got coming out this fall. I think it’s some of my most important design work to date—and that includes my Curves seating line and my upcoming collaboration with Jean Paul Gaultier.”

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BOTTOM RIGHT: MICHAEL ROUSSEAU

Sean Brown Founder of Sean Brown

Illustrations by Patra Jongjitirat Pictured: Rosie Li Showroom

There’s a lot of design to explore in New York City.

Follow NYCxDESIGN’s Self-Guided Journeys on nycxdesign.org to explore hidden gems in every borough, hear from local designers on inspiration they draw from creative communities around them, and immerse yourself in New York’s vibrant design scene.

At NYCxDESIGN, our non-profit unites the diverse design creators and industries of New York City. With our city’s creative community at the heart of our mission, we share the stories that make New York City a true driver of innovation, culture, and design. Join NYCxDESIGN’s Self-Guided Journeys for a designfilled experience that is undeniably defining the future of design locally and internationally.

THANK YOU TO OUR ONGOING SUPPORTERS

c o n ta c t s DESIGNERS IN SPECIAL FEATURE Hosper (“Fresh Air,” page 118), hosper.nl.

Kiku Obata & Company (“Fresh Air,” page 118), kikuobata.com.

KOGAA (“Fresh Air,” page 118), kogaa.eu.

Wutopia Lab (“Fresh Air,” page 118), wutopialab.com.

PHOTOGRAPHERS IN FEATURES Art Gray (“Shining Star,” page 94), artgrayphoto.com.

Philip Kottlorz (“Serious Fun,” page 78), philipkottlorz.com.

Matthew Millman (“A Complete Unknown,” page 86), matthewmillman.com.

Tim Van de Velde (“Complex Geometry,” page 110), tvdv.be.

DESIGNER IN CENTERFOLD Studio Bouroullec (“Pit Stop,” page 73), bouroullec.com.

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INTERIOR DESIGN

SEPT.22

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 Fau Boulevard, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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Honoring significant contribution to the field of interior design and architecture

2022 inductees Yves Béhar fuseproject Claudy Jongstra Studio Claudy Jongstra Will Meyer and Gray Davis Meyer Davis Mavis Wiggins TPG Architecture

12.7.2022 6:30 PM The Glasshouse NYC

Beehive kilns from the American West, the Roman tempietto at San Pietro, mud huts made by the Musgum people of Cameroon: These are some of the forms that African-American artist, University of Chicago professor, and community activist Theaster Gates held in mind when he conceived Black Chapel, the 21st Serpentine Pavilion on the gallery’s grounds in Kensington Gardens, London. At 35 feet tall, with 2,160 square feet of interior space, it’s the largest pavilion yet, and the first conceptualized by a non-architect.

The stained timber-and-steel structure evokes a religious austerity that befits its name.

It’s meant to be a secular place for meditation, reflection, and healing, as well as a stage for a summer of programming that includes lectures, tea ceremonies, and experimental music.

Inspired by the Rothko Chapel in Houston, inside is a new series of “tar paintings” by Gates, whose late father was a roofer. “The pavilion resembles a memorial,” Gates says, “not only to the legacy he shared with me but also the ways in which his vocation has become mine.”

It took a team to bring the project to life, starting with Gates and Sir David Adjaye, who provided key architectural support. They were then paired with activist Sharon Prince, founder and CEO of Design for Freedom, a groundbreaking initiative by Grace Farms that advises on the sustainability and ethical labor practices behind construction materials. Further, Black Chapel has been acquired by Therme Group, a leading well-being company, which will relocate the pavilion when its current run ends October 16.

dark matter

—Wilson Barlow

i n t er vention

IWAN BAAN/SERPENTINE

SEPT.22

INTERIOR DESIGN

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Introducing SURROUND A new podcast network by SANDOW Showcasing the best architecture and design shows

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Work from Anywhere

Haworth Collection Mexique by Cassina