Interior Design June 2023

JUNE 2023

at work, at play

Image by Imperfct*

Plaid Ceiling Scapes

Artful acoustics for welcoming spaces

turf.design

woven textiles, the contours of the Oaxacan landscape and the weathered patina of architectural materials.

All Cultura carpet tile styles are optimized for low embodied carbon and are carbon neutral.

Visit our NeoCon showroom 1014 to experience the entire Cultura Collection of Tile, Rugs, Broadloom and LVT.

Photo Credit: Our design team as they explored the Oaxacan culture

Photo Credit: Our design team as they explored the Oaxacan

Building Connection through Culture — The Cultura Collection was inspired by the natural beauty found in the Oaxacan community and culture. Vibrant colors and rich textures capture the local essence and pay homage to the culture’s intricate

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CONTENTS JUNE 2023

VOLUME 94 NUMBER 5

ON THE COVER In Liberec, Czech Republic, the renovation of a 1914 Roman Catholic rectory into the public IGI Library by Atakarchitekti encompasses a contemporary plywooddetailed addition for community activities.

Photography: Tomáš Souček.

features 104 COMING AROUND AGAIN

by Laura Fisher Kaiser

For the London workplace of law firm and repeat client Milbank, LSM’s sinuous, sustainable, and sunlight-filled interiors make an openand-shut case for a return to the office.

112 HUMAN RESOURCES

by Rebecca Dalzell

Analog connection with students, faculty, and the city drove the concept for the very digital Boston University Center for Computing & Data Sciences by KPMB Architects.

120 FANTASY LAND

by Giovanna Dunmall

Rapunzel World by HaasCookZemmrich Studio2050 at the headquarters of German organic food producer Rapunzel Naturkost may not be a theme park yet it’s utterly magical.

128 BANKING ON IT

by Lauren Gallow

JPMorgan Chase & Co. invests in its future at the firm’s regional headquarters in Washington by Studios Architecture.

06.23

136 INSTITUTIONAL KNOWLEDGE

by Wilson Barlow and Georgina McWhirter

From an historic arts academy in Rome and a school outside New Delhi to a public library in New York, seven cultural projects shine with creative skills and smarts.

152 VIDEO GAMES

by Joseph Giovannini

The pixelated world of Minecraft inspired the playful cubic structures that dominate software developer Pricefx’s Prague office addition

by CollColl.

GARRETT ROWLAND

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principal chair, designed by bodil kjaer, 1961 - made in denmark by karakter

karakter muuto herman miller carl hansen vitra kartell bensen knoll flos artek artifort foscarini and more!

visit hivemodern.com or call 1 866 663 4483 please inquire about our a&d trade program

CONTENTS JUNE 2023

06.23

VOLUME 94 NUMBER 5

walk-through 57 SOLE SISTERS

by Edie Cohen 61 BACK TO THE OFFICE

by Edie Cohen

With the possible permanent disruption of the commercial landscape, these workplaces showcase—and underscore the importance of—flexibility, collaboration, and inclusion.

departments 23 HEADLINERS 27 DESIGNWIRE

by Annie Block 34 BLIPS

by Lisa Di Venuta 38 SHOPTALK 44 PINUPS

by Lisa Di Venuta 49 CREATIVE VOICES Fresh Air

by Peter Webster

Architect Alda Ly and her minority-owned, majoritywomen firm bring their effervescent, human-centric vision to furniture showroom design for the first time.

77 MARKET edited by Rebecca Thienes text by Georgina McWhirter and Stephen Treffinger 99 CENTERFOLD Taking Root

by Athena Waligore

In a Canadian park, an installation by Polymetis integrates not only natural materials but also vines that will eventually climb the towering structure.

199 CONTACTS 203 INTERVENTION

by Wilson Barlow 57

JARED KUZIA

198 BOOKS

by Stanley Abercrombie

RESIDENTIAL ST YLE .

C O M M E R C I A L C A PA B I L I T I E S . roomandboard.com/business 800.952.9155

on the block, serve it up, and from scratch

BENTLEYMILLS.COM

editor in chief chief content officer

Cindy Allen, hon. IIDA MANAGING DIRECTOR

ART DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

CREATIVE SERVICES

Annie Block

Marino Zullich

DEPUTY EDITOR

PARTNER SUCCESS MANAGER

Edie Cohen

Olivia Couture

SENIOR EDITOR

SENIOR PREPRESS AND IMAGING SPECIALIST

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSISTANT EDITORS

Wilson Barlow Lisa Di Venuta ASSISTANT TO THE EDITOR IN CHIEF

Igor Tsiperson

digital SITE EDITOR

Carlene Olsen SITE PRODUCER

Brooke Robinson

Vivian Cohen BOOKS EDITOR

Stanley Abercrombie EDITOR AT LARGE

Elena Kornbluth CONTRIBUTING EDITORS

Raul Barreneche Mairi Beautyman Rebecca Dalzell Jesse Dorris Laura Fisher Kaiser Craig Kellogg Jane Margolies Murray Moss Jen Renzi Peter Webster Larry Weinberg

interiordesign.net @interiordesignmag @intdesmag @Interior Design Magazine

CONTRIBUTING PHOTOGRAPHERS

Benny Chan/Fotoworks Jimmy Cohrssen Art Gray Eric Laignel Michelle Litvin Garrett Rowland

CHAIRMAN

Adam I. Sandow CHIEF EXECUTIVE OFFICER

Erica Holborn CHIEF OPERATING OFFICER

Michael Shavalier CHIEF DESIGN OFFICER

Cindy Allen CHIEF SALES OFFICER

Kate Kelly Smith

Chemetal at its most colorful.

Introducing Transparency, new from Chemetal’s Surface Mode collection. Transparency features laser cut designs in powder coated colorways, plus a custom frame system. Learn more at chemetal.com

chemetal.com

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

by SANDOW, a video production studio; and SURROUND, a podcast network and production studio. SANDOW Design Group is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling, and specifying architecture, design, and construction materials.

EXECUTIVE VICE PRESIDENT + DESIGN FUTURIST

AJ Paron EXECUTIVE VICE PRESIDENT, STRATEGY

Bobby Bonett SENIOR VICE PRESIDENT, PARTNER + PROGRAM SUCCESS

Tanya Suber VICE PRESIDENT, HUMAN RESOURCES

Lisa Silver Faber VICE PRESIDENT, BUSINESS DEVELOPMENT

Laura Steele DIRECTOR, VIDEO

Steven Wilsey

kimballinternational.com

VISIT OUR NEW CHICAGO SHOWROOM DURING FULTON MARKET DESIGN DAYS 318 North Carpenter Street | Floor 7

vice president publisher Carol Cisco marketing

advertising

DIRECTOR

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Greg Kammerer 646-824-4609

CAMPAIGN MARKETING MANAGER

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This magazine is recyclable. Please recycle when you’re done with it. We’re all in this together.

The way we work has changed.

But the way we furnish offices hasnʼt. Until now.

Introducing Gira from B+N. ™

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Truly all-day power needs.

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Endless Panel Options Gira lets you remodel your workspace anytime without hiring contractors. Removable panels snap onto fixtures and come in a variety of sustainable materials.

SEE OUR POP-UP DURING NEOCON 1052 WEST FULTON ST., CHICAGO

e d i t o r ’s welcome

leading the way…

I sometimes wonder about the mysterious knack for self-inflicting pain that we often experience at the most inappropriate times. Let me explain.

Smack in the middle of trade show season, when the entire design scene is intent on bouncing around from Milan (Salone del Mobile) to Chicago (NeoCon), with a major New York stopover to boot with ICFF—and don’t forget our big NYCxDESIGN Awards—we at Interior Design saw fit to add the tonnage of a major issue to the general zaniness. I mean, seriously?!

But no regrets: We are battle-hardened pros, after all.

This month’s content is densely populated with innovative workplace solutions, which we need to deliver none too soon to anyone who plies their trade in this patch. Trends have settled down into the current reality: In most big cities, the office space inventory has the word “glut” somewhere in the assessment, sorry to say. The most immediate interpretation of that suggests only the best will do! Which means only the most competitive, nimblest, and, above all, talented will prosper in the field. For getting folks back to the office, it’s brass-tacks time.

But fret not, we are here to help! LSM inspires a London law firm with a whole lot of light…and art. CollColl gets jiggy in Prague with a massive pixelated structure—and a sculptural slide—for a software developer. And Studios Architecture helps the nation’s largest bank invest in its future at a historic building in D.C. Plus, we round out a very commercial issue with a roundup of cultural work (think library, school, art academy, etc.) that brings everyone together.

Thanks, all, for designing the way forward. Keep on keepin’ on—and see you all soon at NeoCon! xoxo

Follow me on Instagram

thecindygram

JUNE.23

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CollColl “Video Games,” page 154 partner: Krištof Hanzlík. partner: Šimon Kos. firm site: Prague. firm size: 12 architects and designers. current projects: Prague Planetarium addition; Altron core data center in Sharjah, United Arab Emirates; Altron research data center in Johannesburg. czechia: Hanzlík’s mother and Kos’s grandmother are friends, which is how the architects met, with Kos joining the collaborative while still at university.

ŠIMON KOS

headliners “We work in an interdisciplinary way, hence our name, which stands for collaborative collective”

KRIŠTOF HANZLÍK

italy: For the Czech pavilion at the Biennale Architettura 2023 in Venice, CollColl designed a performance exhibition titled “Hiring!” collcoll.cc

VÍTEK BEDRNA

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LSM “Coming Around Again,” page 106 founding partner: Debra Lehman Smith. firm sites: Washington; New York; London. firm size: 35 architects and designers. current projects: South Station Tower in Boston; 18 Blackfriars mixed-use development in London; Covington & Burlington offices worldwide. honors: Interior Design Best of Year Awards; IIDA National Award. student: Lehman Smith is an alumna of the College of Design at the University of Kentucky, where she now serves as an advisor. professional: Before founding LSM in 1991, she spent 12 years at SOM. lsm.com

h e a d l i n e rs KPMB Architects “Human Resources,” page 114 partner: Paulo Rocha. firm site: Toronto. firm size: 150 architects and designers. current projects: 351 King Street office and Massey Hall restoration-expansion in Toronto. honors: Lieutenant Governor’s Ontario Heritage Award; Canadian Architect Award of Merit; Governor General’s Medal.

HaasCookZemmrich Studio2050 “Fantasy Land,” page 122 partner: Martin Haas. associate: Sinan Tiryaki. firm site: Stuttgart, Germany. firm size: 45 architects and designers. current projects: Campus HafenCity in Hamburg, a bike station with café at the Europaplatz in Tübingen, and Smart Mobility Hub in Stuttgart, all in Germany. honors: Deutscher Nachhaltigkeitspreis German sustainability award; TerraFibra Award. lensman: Haas is also a filmmaker and creates drone movies of his projects. early start: Tiryaki began his career working at the firm while still an architecture student. haascookzemmrich.com 24

INTERIOR DESIGN

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FROM TOP: DAVID PARRY; GUNTAR KRAVIS; FREDERIK LAUX (2)

roots: Rocha is from Porto, Portugal, where his grandmother established and operated a school for fashion design. branches: He attended the University of Toronto to become an architect, like his dad. kpmb.com

Studios Architecture “Banking on It,” page 130 principal, board chair: Marnique Heath, FAIA. associate: Ethan Levine. firm hq: Washington. firm size: 167 designers and architects. current projects: Howard University Bond Bread/WRECO redevelopment and Franklin Park renovation in Washington; a cultural project in Los Angeles. honors: Interior Design Best of Year Award; GSA Honor Design Award; AIA|DC Design Awards; Washington Business Journal Best Sustainable Development. fixer: Heath was appointed by Mayor Muriel Bowser to serve on the ReOpen DC committee after the COVID-19 pandemic. teacher: Levine lectures on advanced computer applications in architecture at the University of Maryland. studios.com

JUDY DAVIS

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READ & ROLL.

Did you know COVID relief funds can be used for agile furniture? Contact us to learn more.

SPACE: The mobile all-school storage solution.

SPACE works everywhere – reading to robotics. Enhances student agency. Cuts clutter.

Extends resources. And stores 40% more than casework.

SPACE is the way to go. See it in motion at vsamerica.com/space

VSAMERICA.COM 704.378.6500 INFO@VSAMERICA.COM

design wire

edited by Annie Block

It was nearly a decade ago that Interior Design launched the NYCxDesign Awards, each winner in the 50-plus categories receiving a custom Lladró Guest statue to take home. Now it’s the Spanish porcelain brand’s turn to mark a milestone—and it’s muy grande: its 70th anniversary.

Every playful Lladró piece—from jewelry and objets to lamps and dishware, some collaborations with such lum­inaries as Jaime Hayon and Marcel Wanders—has been handmade by artisans in its sole factory in Valencia since 1953. Two ventures mark the occasion, both “testaments to our boundless creativity,” CEO Ana Rodríguez says. First is a new downtown Manhattan flagship, which replaces the uptown location to better reflect the brand’s connection to art and fashion.

To conceive the 1,500-square-foot Meatpacking district space, Lladró tapped fellow Valencian outfit Carmen Baselga Taller de Proyectos, which devised a series of arched portals amid a sage, peach, and sand-tone palette, “a chromatic spectrum that provides a welcoming sensation for visitors,” Baselga notes. It’s there that they can spy The Porcelain Revolution, the “interactive” anniversary book that features wear­able masks, self-adhesive tattoos, and vivid pages of smile-inducing products including that iconic Guest collection.

feliz cumpleaños

Clockwise from bottom left: As part of its 70th anniversary this year, Lladró has released a hardcover coffee-table book called The Porcelain Revolution. Among the 244 pages is The Guest sculpture by Paul Smith from 2014 and the 2020 Coral cake tray. The new Manhattan concept store, by Carmen Baselga Taller de Proyectos, features CNC-cut, lacquered-wood partitions that play with perspective while guiding visitors through the product sections.

COURTESY OF LLADRÓ

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CLOCKWISE FROM TOP LEFT: TANTAN LEI; ALAN KARCHMER; KUOMIN LEE; WANG TING; SHANR; SHELSI LINDQUIST

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winning lineup

IIDA selects the recipients of its annual competitions

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Design is on a role. According to the top 200 firms surveyed for our Interior Design Giants research, they made $5.5 billion in fees last year, surpassing the decade high of $5.4 billion in 2019. What’s also rising? The number of entrants to IIDA’s Annual Interior Design and Will Ching Design Competitions (the latter honoring the work of commercial firms with five or less employees).

Winners in seven categories were selected from 300 international submissions by a jury made up of Sarah Kuchar-Parkinson, Kuchar owner and creative director; Leyden Lewis, Leyden Lewis Design Studio founder and creative director; and Wimberly Interiors SVP and global director, Margaret McMahon.

“No detail or corner was left unstudied in these spaces,” Kuchar-Parkinson says. All, including hometown project 800 Fulton Market by Skidmore, Owings & Merrill, will be celebrated in Chicago on June 11 at IIDA’s black-tie gala, which kicks off the NeoCon trade show.

1. Entertainment winner Capital One Hall, Tysons, Virginia

firm HGA 2. Showrooms & Exhibition Spaces winner Dong Fureng House Museum, Ningbo, China

firm WIT Design & Research 3. Restaurants, Lounges, & Bars

winner The Moving Kitchen, Taipei, Taiwan firm JC Architecture & Design 4. Corporate Space Large winner CCD/Cheng Chung Design headquarters, Shenzhen, China firm CCD/Cheng Chung Design 5. Retail winner LAK concept store, Guangzhou, China firm Pone Architecture 6. Will Ching Design Competition

winner Kann restaurant, Portland, Oregon firm Fieldwork

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d e s i g n w ire

From top: Johnston Marklee converted an historic Los Angeles showroom, originally built in 1948 as the Max Barish Chrysler-Plymouth dealership, into Roberts Projects’s new 10,000-square-foot gallery, its volumetric central hall displaying Kehinde Wiley’s “Colorful Realm” for the space’s January opening. Large display windows in the painted stucco facade were filled in but the existing ficus tree was retained. Skim-coated concrete flooring tops the original terrazzo.

Architects Sharon Johnston and Mark Lee have built an impressive portfolio of significant cultural projects, such as the Museum of Contemporary Art Chicago renovation and the groundup Menil Drawing Institute in Houston. All are pared-down and sculptural with a sensitivity to scale and an inclusion of natural elements. Their latest endeavor continues that through line while also incorporating adaptive reuse. Roberts Projects, a welcome addition to the gallery scene in Johnston Marklee’s hometown of Los Angeles, occupies a 1940’s, former car dealership in the Mid-Wilshire district. The second commission from the client, the new gallery is three times the footprint of the original Culver City location, encompassing three intimate exhibition areas plus a daylit central hall. The “largely symmetrical interior plan,” the firm notes, not only supports RP’s range of output but also its mission: to present a diverse program emphasizing museum-quality, installation-based exhibits by an international roster of emerging, mid-career, and established artists. A Kehinde Wiley exhibition inaugurated the space earlier this year; Evan Nesbit’s “/'sın.ke.si ̵s/” runs through July 8. Meanwhile, Johnston Marklee is at work renovating Roy Lichtenstein’s New York studio, a massive, former factory building, into the Whitney Museum’s permanent site for its independent study program.

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INTERIOR DESIGN

JUNE.23

ERIC STAUDENMAIER

open road

Let it Be sofa designed by Ludovica + Roberto Palomba

Made of Stories

by people who design, craft and live.

Handmade with love in Italy to last generations, since 1912. poltronafrau.com

Scan to activate the augmented reality experience.

Clockwise from top left: Plain Cuts Remediated SS1902 and Plain Cuts Remediated Light SS2301, both in colored resin and glass; Plain Cuts Stone and Steel #9; and Plain Cuts Stone and Steel #1 are appearing in “Unding: The Restoration of Existence,” South Korean designer/artist Wonmin Park’s solo ex­ hibition at Carpenters Workshop Gallery in New York, on view through July 27.

South Korea, France, Germany, and the U.S. have come together at Carpenters Workshop Gallery in New York. “Unding: The Restoration of Existence,” is designer/ artist Wonmin Park’s 11-piece exhibition of art furniture that exemplifies and responds to the theories of philosopher Byung-Chul Han, both men born in Seoul, but now living in Paris and Berlin, respectively. The show’s title plays with the German concept unding, which roughly translates to an environment that has become futile, or more specifically, objective absences that are displacing real-world objects through the increasing ubiquity of digital reality, and the German word dinge, or things; Park, a graduate of the Design Academy Eindhoven in the Netherlands, added the strike­ through to get to nonobject. “With the development of digital technology and urbanization, the experience of nature and real objects has become distant,” Park explains.

Indeed, one look at the pieces in his Plain Cuts table series surely closes that gap, as they resemble volcanic rock or any icy glacier. Joined by chairs, benches, and a floor light, “Unding” is Park’s U.S. debut.

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INTERIOR DESIGN

JUNE.23

COURTESY OF CARPENTERS WORKSHOP GALLERY

multi culti

it’s in to be out

®

NeoCon Booth #7-8086

Twins Collection by Sebastian Herkner

®

B r i n g i n d o o r s t y l e o u t s i d e w i t h t h e n e w Tw i n s C o l l e c t i o n . C o m p r i s i n g o f t w o t w i n v e r s i o n s , e a c h w i t h i t s o w n i d e n t i t y, t h i s c o l l e c t i o n p l a y s w i t h m a t e r i a l s . T h e f i r s t i s e n t i r e l y m a d e o f teak, simple and natural. The other is an interesting mix of teak and aluminum, original and u n i q u e . Tw i n s i s a c o m p l e t e c o l l e c t i o n t h a t c r e a t e s p e r f e c t e n v i r o n m e n t s a n d s e t t i n g s , b o t h by themselves and by mixing playfulness and functionality with other materials, products, d e s i g n s , a n d s t y l e s . Tw i n s o f f e r s d i n i n g c h a i r s w i t h a n d w i t h o u t a r m r e s t s , l o u n g e a r m c h a i r s , sofas, and tables, with a wide range of fabric options. emuamericas llc

800.726.0368

www.emuamericas.com

70 years of manufacturing experience in outdoor furniture.

“Made in Italy” at its best.

BESPOKE WOVEN BEAUTY

Brent Wadden prefers the term paintings. Indeed, any of the seven large-scale works in “Whimmydoodles,” his solo exhibition at Pace Gallery Los Angeles through June 24, the title a nod to Bill Nye’s description of the overwhelming feelings that come with thinking about climate change, would fill a room with color. Informed by First Nations folk art and the Bauhaus movement, Wadden’s process involves deploying different textures of secondhand fibers (some salvaged from old clothing, others sourced on eBay) mounted on canvas, then using a backstrap and floor looms to weave yarn one foot at a time. The show pairs new and earlier compositions—like the 8-foot-tall, blue-and-seafoam Untitled, 2023 No. 86754 and the 4 ½-foot-wide black-andwhite Untitled, 2021 No. 86764—all with an op art air.

A monumental project for the design studio, Haiku is the culmination of complex design and focused hours of concentration and time. Like a beautiful tapestry, Haiku is a poetic dream in 4 stylized, rich, quiet colorways offering itself to many design applications. A Type II Phthalate-Free Vinyl with an Osnaburg backing and bleach cleanability, Haiku is a masterpiece that will enhance any room.

We’ve moved! Visit us in Fulton Market during NeoCon 2023

—Lisa Di Venuta

1550 W Carroll Avenue | Suite 205C | Chicago, IL

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COURTESY OF BRENT WADDEN AND PACE GALLERY

Though he works primarily in textiles…

screen

BLOCKS made

COURTESY OF BRENT WADDEN AND PACE GALLERY

bl ips stack

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What sea changes are shaking up workplace design?

“The post-pandemic workplace is experiencing a grassroots emphasis on wellness and sustainability.

Employees expect clean air, access to the outdoors, choice in how they work, and healthy, resilient buildings.”

—Sim Nabors, Ratio Design

“Workplace strategy has never been more important. Client buy-in and need for these services has increased since the pandemic, which has accelerated the growth of this practice within our firm.”

“With the dissolution of barriers between public and private life, workplace design is increasingly informed by a more residential- and hospitalitydriven approach. Creating a compelling atmosphere that emphasizes wellness and invites employees to come to work is paramount. The emphasis on human rather than physical assets is a major trend.”

—Lou Switzer, The Switzer Group

—Emily Strain, Corgan

“With everything in flux, clients are asking for shorter leases, resulting in a desire for design elements that can be relocated with them.”

—Rob Moylan, SmithGroup

“COVID-19 was simply the tipping point for changes already underway, disrupting the workforce supply chain and accelerating distributed teams. With talent demanding flexibility, employers must offer creative strategies, or they’ll lose out to competitors who genuinely support flex work with both HR policies and IT infrastructure—rather than via gestures that masquerade as flexibility, like specifying how many days people can work from home. The workplace experience will evolve by employee choice, not mandate.”

—Janet Whaley, Cuningham 38

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“Employers are recognizing that the workforce is composed of real people with diverse needs.

Accommodating these requirements is not a trend but a responsibility that employers and designers must see as fundamental to the new workplace.”

—Mark Simpson, BDP

s h o p talk

That’s Sir Norman Foster’s philosophy for building a sus­ tainable future. Yet his current retro­ spec­tive spares no detail—and is the largest dedicated to a living architect.

“Norman Foster,” at the Centre Pompidou in Paris through August 7, spans 21,500 square feet and more than 130 Foster + Partners completed and cur­ rent projects, including 270 Park Avenue, the all-electric, 60-story skyscraper for JPMorgan Chase’s New York headquarters scheduled to bow in 2025; the Great Court at the British Museum from 2000; and Mars Habitat,

Doing more with less… a 2015 NASA-backed competition for a 3D-printed modular habitat, represented via never-before-seen drawings, models, dioramas, videos, and photographs, some taken by Foster himself over his 60-year career.

—Lisa Di Venuta

J P M O R G A N C H A S E TO W E R

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FROM LEFT: NORMAN FOSTER; DBOX/FOSTER + PARTNERS; YUKIO FUTAGAWA

bl ips

CLOCKWISE FROM TOP: NORMAN FOSTER; FOSTER + PARTNERS; NIGEL YOUNG/FOSTER + PARTNERS

JUNE.23

INTERIOR DESIGN

Solutions for buildings.

Designed for people.

All of our architectural products serve a distinct, functional purpose–from louvers to wall coverings to every detail we perfect–like our entrance mats and grids in the JPMorgan Chase Tower lobby. At the same time, we never lose sight of the effect a building has on people. The inspiration it provides. The satisfaction it brings. For 70 years, we’ve based our success on the idea that putting people first is the foundation for building better buildings. And, for 70 years, our partners have depended on us for architectural product solutions.

Are you ready to think beyond the building with us? Visit c-sgroup.com.

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THE TAILORED COLLECTION Thoughtfully designed and carefully curated, making it easy to create sophisticated spaces that address every need.

Designed by EOOS. Made by Keilhauer.

KEILHAUER.COM

©2023 Keilhauer LTD.

p i n ups text by Lisa Di Venuta

rock star In her Time Over Time series, sculptor Dawn Bendick balances uniquely cast glass into terrific totems of color, light, and history time rock stack xv, 2022, approximately 20 inches high, in milk and dichroic glass, cast in Bethersden marble, limestone, and breezeblock salvaged from a British medieval church, and a custom programmable lighting system by Dawn Bendick, through Charles Burnand Gallery. charlesburnand.com;

GRAHAM PEARSON

dawnbendick.squarespace.com

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TM

Collaborate & Create At the foundation of culture is connectivity, the driving factor in returning to a shared workspace. With our newest flooring collection, we celebrate the collaborative process. Visit us at Design Days to explore the art that emerges when we create together. Fulton East, Chicago | June 12–14

Learn more and register to visit our showroom, go to: contract.tarkett.com/colab

p i n ups

linear narrative The Greek alphabet, minimalism, and sustainability inspired an urban outdoor seating series by designer Daniel Rybakken

EINAR ASLAKSEN

Ypsilon bench and sofa, both 8 feet long, in linseed oil–proofed ash or Kebonised FSC-certified pine glulam beams and galvanized steel powder-coated Pastel Green (also available as an 11-foot-diameter round bench and in more than 200 standard RAL colors) by Studio Daniel Rybakken, through Vestre. vestre.com; danielrybakken.com

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We’ve always been sustainable and always will be.

Spinneybeck | FilzFelt knows natural materials. With a legacy started five decades ago sourcing the finest full grain upholstery leather, the product line now includes a full range of natural materials including 100% wool felt, wood, and natural cork.

These materials go it alone or are paired with high-performing recycled substrates that up the ante of performance for the ceiling, walls, and dividing space.

For more of our story, please visit filzfelt.com/sustainability.

teknion.com

fresh air

Architect Alda Ly and her minority-owned, majoritywomen firm bring their effervescent, human-centric vision to furniture showroom design for the first time

FROM TOP: COURTESY OF ALDA LY ARCHITECTURE; PIPPA DRUMMOND

Top: The founder of Alda Ly Architecture (right), with directors Tania Chau (center) and Marissa Feddema (left) on a site visit in Iceland. The firm’s first foray into production furniture design, the six-piece Bao collection of ottomans for HBF.

The Wing chain of women’s coworking clubs may have closed last year, but the influence of its highly Instagrammable interiors—Gen Y pinks and blues, velvety jewel tones, brass and terrazzo embellishments—lives on, not least in the work of architect Alda Ly, who founded her eponymous Brooklyn-based firm in 2017 when tapped to conceive those memorable spaces. But it’s as much the seminal project’s humanistic ethos as its jaunty aesthetic that the New Zealand-born, California-raised Ly and her majority-women team continues to practice and develop, one that puts emphasis on deep listening and hands-on collaboration with clients throughout the design process.

Parsley Health, a concierge-style medical practice, was another important pre-pandemic client. “The team there loved what we’d done with the Wing and sought the same feeling, comfort, and ease for the centers,” Ly reports. “Looking for fresh ideas, Parsley came to us precisely because we had no healthcare experience. The founder said she wanted the space to heal you, which we really latched onto.” Alda Ly Architecture did intensive research on biophilic design—“A very trendy word,” Ly admits, “but for us it meant more than bringing in plants”—and began investigating all the physiological effects that an interior can have on its occupants. The results were warm and welcoming Parsley locations in New York and Los Angeles that felt more like homes than medical offices. By using natural materials, soft lighting, and thoughtful layouts, the ALA team was able to create environments that put patients at ease and help reduce anxiety.

Women’s healthcare and wellness projects have become something of a firm specialty, but enterprises as disparate as media giant Bloomberg, Korean dessert parlor Lazy Sundaes Café, and women’s personal products brand Athena Club have all been clients. Recently, ALA designed its first furniture collection and showroom—both for textiles and furnishings company HBF. We spoke to Ly and directors Tania Chau and Marissa Feddema about that and other ALA projects.

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c r e at i v e voices The Bao ottoman collection for HBF is your first production furniture. How did you get the commission?

Tania Chau: We think a lot about how to give workspaces a sense of welcome and hospitality along with comfort and flexibility. HBF was interested in having those qualities in its furniture, so it was a good match to bring our philosophy to the pieces. The brief was specific, but we had many conversations and worked collaboratively with HBF to determine the form. As specifiers, we see what clients are looking for, so we brought that perspective—as well as what we think we could use in our own projects—to the development process.

What about the design itself?

TC: We care about materiality and tactility. Because HBF has a long tradition of craftsmanship, we wanted to feature wood, really showcase its natural beauty and other advantages. The oak bentwood-loop handle on some of the pieces achieves that, but it also provides function and flexibility, doing double duty as a chair back, for instance. We also thought there should be detail and interest, so a contrast signature stitch is available as well as quilting for the top of the seat.

HBF then asked you to design its New York showroom?

Alda Ly: Yes, the relationship was really comfortable, so it made sense to continue developing it. The space, which used to be a fashion showroom, had an open area under a huge skylight but was otherwise very closed in. We opened it up so that every point has access to the skylight, and you feel the full expansiveness of the amazing space, like an oasis in

the city. Since the displays change over time, there had to be flexibility with a conversation zone in the middle featuring a lot of the lounge furniture. But some things needed a permanent home, like textiles, which have their own niche. Because it’s a challenge deciding what a fabric will look like in a given setting, we put in an overhead light fixture that allows designers to adjust the color temperature to their particular project.

You’ve recently completed two New York facilities for Tia, the women’s healthcare provider, after completing Los Angeles and Phoenix spaces. What difference did the East Coast location make?

AL: It’s exciting to have projects in our own backyard— Williamsburg and SoHo, neighborhoods we live in—because we not only get to work on them from start to finish but also understand the demographic and know what it feels like to live in this city.

From top: Reflecting ALA’s commitment to the health-minded workplace, the “wellness hallway,” an intimate, soothing ancillary space in the new HBF showroom in New York. The primary lounge-furniture area showcased under a large existing skylight. Seating for socializing and events at the clean-lined appliance-free bar.

Opposite, from top: Textiles displayed in a niche where the color temperature of overhead LEDs can be adjusted to experience the fabrics in different light conditions. The New York office of Athena Club, a women’s personal products brand, featuring custom sofas and other curved, feminine forms.

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PIPPA DRUMMOND

Marissa Feddema: Tia SoHo is on the second floor of a classic cast-iron building; it was fun to work on a truly historic space, which we hadn’t done before. The Williamsburg clinic is in a two-level storefront, an unusually exposed location for a

FROM TOP: PIPPA DRUMMOND; REID ROLLS

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c r e at i v e voices

medical facility where people may be in robes. Because Tia has strong community and educational components, we created a ground-floor waiting and lounge area for those activities and put what we call the wellness suite downstairs in a quieter, more intimate area that feels separate from the street.

Did the clinics’ materials and color palette change from West Coast to East?

MF: One advantage of working with a partner over time is that we get to evolve as the brand evolves. Tia’s earlier locations were focused more toward millennials, so the palette was bright—citrusy, with whites and bold, punchy colors. On the East Coast, they’re speaking to a larger audience, so the tones are a little more neutral, warmer—clays, mauves, and creamy shades.

AL: Tia’s branding also changed a little because the services they offered in the East were expanding—for instance, meno­ pause became a focus—and as the branding transitioned, we transitioned the look of the spaces.

Clockwise from top left: Sculptural PET-felt ceiling fins along a consulting-room corridor at Tia Williamsburg, the Brooklyn location of the women’s full-service healthcare platform with seven nationwide sites, six designed by ALA. Repeating the sculptural form, the entrance to the lower-level wellness suite. The terrazzo-clad reception desk at Tia SoHo in Manhattan. The waiting area, featuring residentially inflected furnishings.

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REID ROLLS

What’s next?

MF: It’s kind of a dream project. We have a client who coldcalled us in the middle of the pandemic, asking us to design a café and theater in Reykjavik, Iceland. It’s coming soon, so stay tuned! —Peter Webster

IN PARTNERSHIP WITH DAVIS FURNITURE

Vida Tables: Bringing Spaces to Life

BY DANINE ALATI

Hanna Willman designs an aesthetically refined and highly functional new collection of tables for Davis Furniture.

In its first-ever collaboration with a female industrial designer, Davis Furniture has launched Vida, a line of tables conceived by German designer Hanne Willmann. “I view my design process as an ongoing search for sense and sensuality within design,” Willmann offers, “and I utilized that approach as I worked with Davis Furniture for this initial collection. The Vida collection strikes a perfect balance between something new and fresh, while still being true to the ‘Davis aesthetic.’”

Available in an occasional, small meeting, and conference table version, Vida features an organic yet geometric form with a slim-profile and a curved, solid-steel, powder coated base exuding a refined aesthetic. The round cantilevered top of the occasional table seems to be suspended within the curved embrace of the base. The conference table features two of these curved bases mirroring each other beneath a delicate oblong surface. And as if two of the curved bases of the other two tables overlap, tha Vida small meeting table has a seamless drum base with an aperture on each side.

Vida tabletops come in a choice of ash, oak, and walnut veneers; standard laminates; and Fenix™ Innovative Materials in a range of colorways; all with a reverse bevel edge. Bases are available finished in one of Davis’s more than 30 powder coat finishes, and power may be integrated to the meeting and conference versions.

Learn More

Mudra Chair by Stefan Diez Vida Table by Hanne Willmann

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

walk through The lobby of 179 Lincoln Street, a five-story, multi-tenant office building originally containing the United Shoe Machinery Company, has been reno­vated with a textured plaster–coated wall CNC-cut with a fluted pattern inspired by the ornamentation on the 1899 structure’s beaux arts exterior; opposite the desk, stairs descend to parking and fitness facilities.

sole sisters firm: atelier cho thompson site: boston

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FROM FRONT BENDHEIM: BALUSTRADE GLASS (LOBBY). ARMADILLO: RUG (COLLABORATION). WEST ELM: TABLES (LOBBY). THROUGH GESTALT: STOOLS (EVENTS). HUGO & HOBY: CUSTOM TABLES. CRUMP & KWASH: CHAIRS. THROUGHOUT KATY SKELTON: CUSTOM LIGHTING. FARROW & BALL: PAINT. SPINNEYBECK: LEATHER. SEAN THORNHILL: ARTWORK. LAM PARTNERS: LIGHTING CONSULTANT. CADWELL DESIGN & SIGN: CUSTOM SIGNAGE. MC NAMARA SALVIA: STRUCTURAL ENGINEER. COMMERCIAL CONSTRUCTION CONSULTING: MEP. BUTLER ARCHITECTURAL WOODWORKING: MILLWORK. STRUCTURE TONE: GENERAL CONTRACTOR.

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Christina Cho Yoo and Ming Thompson sat back-to-back in their studio course at Harvard University Graduate School of Design.

Upon earning their masters’, they started their architecture careers at Bohlin Cywinski Jackson before establishing Atelier Cho Thompson in San Francisco in 2014. Today, the womanowned business has grown to a team of 14, most of whom are female. As for project type, the studio is all over the map, literally and figuratively. Cho Yoo, who also has an engineering degree from Stanford University, oversees West Coast work, which ranges from the renovation of a Bay Area home to developing innovative learning spaces for a Houston school. Thompson, who teaches at the Yale School of Architecture, runs East Coast projects out of ACT’s New Haven, Connecticut, office, which recently completed 179 Lincoln Street, the reimagining of 8,000 square feet of shared spaces in a 19th-century office building in Boston.

Designed by Peabody & Stearns in 1899, the full-block beaux arts edifice originally housed the United Shoe Machinery Company. Hundreds of years later, it had been converted to a multitenant configuration and purchased by real estate company EQ Office. ACT’s second project for EQ, the scope entailed renovating sections of the building’s five floors, including the lobby, into a mix of areas supporting socializing and cross-pollinating. The structure, as Thompson recounts, “had been mostly abandoned and misused,” and was devoid of today’s must-have amenities.

To draw new and improve conditions for existing tenants, her rehab plan was to “offer opportunities beyond what’s experienced working from home.”

Initial efforts were subtractive. Removing decades worth of carpet and vinyl tile in the lobby revealed handsome terrazzo flooring requiring only patching. Next, bringing the “exterior ornamentation inside,” Thompson notes, translated to a “fluted” focal wall CNC-cut with slender arches, some fitted with padded leather, a nod to shoe manufacturing, to function as backs for a built-in banquette. The reception desk is similarly grooved, “but at a different scale, so it reads more hospitality than security,” Thompson continues. Streamlined globe pendant fixtures, almost art moderne in feel, glow from above.

The fluting, leather, and lighting continue in the adjoining events space and fifth-floor collaboration area. Both feature walls of original brick, which Thompson unearthed and retained the holes and pocks to celebrate the site’s age. She learned from interviews that occupants expressed more interest in a historic rather than a futuristic setting, and took that into consideration in conceiving signage, crafted in solid brass, just like the shoe building’s original mail chute. —Edie Cohen

JARED KUZIA

Clockwise from top left: The custom company-directory signage is polished brass, the material matching some of the building’s 19th-century details. Walls of original brick enclose the fifthfloor collab­or­ation space. Below Katy Skelton’s custom pendant fixture, electrical and mechanical apparatus are concealed within the lobby’s built-in bench, its seat and back cushions upholstered in leather. Crump & Kwash Lloyd chairs and Grazia&Co Iva stools serve the tables and counter, all custom, in the adjoining events space. Also custom is the white-oak lobby desk, which stands on terrazzo flooring uncovered during renovation.

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back to the office With the possible permanent disruption of the commercial landscape, these workplaces showcase—and underscore the importance of—flexibility, coll­ aboration, and inclusion

See page 70 for the Montreal office of creative experience firm M.A.D. Collectif by Ivy Studio.

ALEX LESAGE

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zikzak architects project Levelstudio, Almaty, Kazakhstan size 1,076 square feet standout A cocreation between architect and client, also a design firm, the office has been conceived as a creative workshop for sharing knowledge, which is expressed via an overhead corrugated tube winding through in varied configurations for implied meanings—sinuous and open suggesting access to new inspiration, knotted signifying the intersection of ideas— backdropped by neutral tones with jolts of energetic cobalt.

IHOR YASHIN

zikzakarchitects.com; levelstudio.kz

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“We created a lifestyle-oriented interiors template for an automotive-sector project”

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kokaistudios project Nio Delivery Center, Shanghai standout A former factory has been trans­ formed into a welcoming, almost residentialfeeling warehouse and delivery center for the electric carmaker. A facade of aluminum louvers screens three interconnected buildings containing reception, offices, and lounge, re­tail, and interactive display zones, plus the Joy Camp play area, all outfitted with acoustic ceiling panels, terrazzo, bamboo, and custom minimal furnishings. kokaistudios.com

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RAWVISION STUDIO

size 129,167 square feet

RAWVISION STUDIO

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groupgsa project Westpac at Parramatta Square, Sydney size 193,750 square feet standout New quarters for the financial-services company employ the midnight-blue and orange tones of campfires to not only unify the site’s eight floors but also symbolize the concepts of gathering and engagement, which are echoed in the feature stair’s landings that are large enough to double as social hubs and meeting rooms out­ fitted with top-level technology to allow remote workers feel as if on-site. groupgsa.com

TOBY PEET

“Workplace will evolve as a site for collaboration rather than ownership of a desk and chair”

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TOBY PEET

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ivy studio project M.A.D. Collectif, Montreal size 3,600 square feet standout An office and events space for a group producing fashion and art festivals and content is both industrial and flirty, the former print shop reenvisioned with a lounge/café zone defined by walls of ceramic tile and exposed studs, a monolithic marble bar served by bright lilac stools, and a sinuous banquette upholstered in metallic purple velvet. More blush tones appear in the central block used for photo and video shoots. ivystudio.ca

ALEX LESAGE

“We combined raw, low-cost materials with luxury elements”

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“The city, building, and visionary work it now houses informed the layered environment”

civilian project Newlab Detroit at the Book Depository size 270,000 square feet

BRIAN W. FERRY

standout What was designed by Albert Kahn in 1936 as a post office, then became public-school book storage, has been adaptively reused, with Gensler collaborating on core and shell, into an innovation hub for entrepreneurs, engineers, and scientists investigating mobility and societal issues. Interiors provide ample sunlight and spaces for robotics, prototyping, and idea exchange, kicked off by a reception desk in faceted pressed steel and joined by custom, vintage, and, appropriately, MillerKnoll pieces. civilianprojects.com

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of the built, grown and meta worlds. mohawkgroup.com | Space 377

mushroom. Visit us for more designs that emerge from the interdependence

Wild Dyer explores the rich textures and hidden pigments of the humble

Wild Dyer

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“What we learn from a post-occupancy evaluation will inform future projects worldwide”

huntsman architecture group project Moody’s, New York size 37,000 square feet standout Data gathering to determine why employees would gather at a physical site informed the concept for the data-driven investor-services giant’s redesigned office, and “interaction” was the key word. The ensuing scheme deployed various settings for primarily heads-up collaboration, including the loungelike North Landing, framed with acrylic rods and conversation-starting city views. huntsmanag.com

GARRET ROWLAND

—Edie Cohen

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www.neolith.com

workplace education healthcare

drift

DriftTM seating has inspired distinctive community spaces, from informal meetings and brainstorming sessions at the office to casual gatherings in healthcare settings. The highly popular series has expanded to include swivel and caster base options, connecting people and places wherever the day takes us.

globalfurnituregroup.com

• Red List Free • Carbon Neutral • Luxury, Dematerialized • Healthy Materials •

NeoCon preview June 12-14, theMart, Chicago

market edited by Rebecca Thienes text by Georgina McWhirter and Stephen Treffinger

poltrona frau

BAY LOUNGE

Foster + Partners senior partner and head of industrial design Mike Holland spent hours with his team analyzing how travelers occupy waiting areas like airport boarding gates—research that informed Bay Lounge for Poltrona Frau. The unit’s hardwearing recyclable components include ergonomically molded plastic seating with nylonupholstered cushioning plus super-slim armrests spaced at generous intervals. You can specify a single row of seating, sure, but the modular system really shines when configured as back-toback rows, the gap between them big enough to accommodate cables. The seating is pretty future-proof, too, with plug-and-play integration of personal screens, lighting, and induction charging for phones. poltronafrau.com

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Jill Malek for Astek

Zach Manuel of Martin Brattrud

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product Ascend. standout The designer’s steady and unyielding line-work forms mountainous peaks that evoke earth’s majesty in a mural that can be specified on cream grass-cloth or type II vinyl substrate. astek.com 78

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Johan Kauppi and Nina Kauppi for Glimakra of Sweden

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product Nido. standout Chicly monochrome occasional tables—offered in circular and rectangular versions—float a quarter-rounded top (in solid ash or walnut, stone, quartz, or solidsurface) on an exposed powdercoated steel base. martinbrattrud.com

Anna Dawson for Heller

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product GreenFrame. standout Greenery gets a prominent role even in daylight-lacking interiors courtesy of Kauppi & Kauppi’s solidash screen integrating plant lighting and flowerpot saucers. Through Thinkspace. thinkspaceoffice.com

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product Swell. standout Heller president John Edelman spied the wavy coatrack/catchall prototype at ICFF’s student exhibition and put it in production. At lifecycle’s end, the polyethylene unit can be sent back (free!) and ground into powder for making new product. hellerinc.com

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

Geraldine Blanchot Fortier for Pallas Textiles

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product Lingo. standout New from the KI subsidiary is a six-pattern series of tactile and refined polyester blends that company VP Dean Lindsley calls “a casual collection created with the intention of warmth and comfort.” pallastextiles.com

Stefan Borselius and Thomas Bernstrand for Blå Station

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product RUT. standout Delivering hominess to contract spaces, the Swedes’ 29.5inch sofa modules, with chunky oak legs, can be arrayed any which way atop the chromed-steel Hbeam base. Through Scandinavian Spaces. scandinavianspaces.com

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Amanda Hopkins and Erin Helm of Patcraft

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product Material Edit. standout Abstract objects Helm created while learning to use tools at a makerspace sparked the organic patterns of her resilient flooring, which pairs with the collection’s Hopkins-designed carpet tile.

Sebastian Herkner for Davis Furniture

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product Seba. standout The designer’s second collection for the brand continues his exploration of ancillary furniture with a comfy chair that boasts a scooped-out frame, generous seat, and concealed casters. davisfurniture.com

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“The collaboration highlights hip-hop’s textures, patterns, and rhythms, showcasing its energy, optimism, and rich history” marketcollection

neocon

GRAFFITI MICHAEL FORD

shaw contract On Instagram he’s known as the “hip-hop architect” and it’s that passion for the musical form—currently celebrating its big 5-0—that infuses Michael Ford’s new carpet tile collection. The multihyphenate talent, whose social justice–minded firm, BrandNu Design, has offices in Detroit, Dallas, and Madison, Wisconsin, brings a conceptual, research-informed approach to his work, and this series is no exception.

Dubbed Mike Ford x Shaw Contract, the five rhythmic, energetic patterns honor and interpret different facets of hip-hop culture, from the makeshift cardboard platforms that break-dancers of the 1970’s and ’80s laid on the ground to use as dance floors to the complexities of lyrical analysis. In DJ, vertical lines mimic the stacked records carried to parties; MC reflects the artistry of rap lyrics through mathematical analysis; and Graffiti channels the collective public art form and fluid lettering styles via a layered composition. Tiles are made from EcoSolution Q solution-dyed recyclable nylon fiber that offers excellent color retention and reduced soiling. Pass the mic! shawcontract.com MC DJ

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PINDROP: TUXEDO IN CRISP WHITE, HEATHER GREY, SHALE, IRON & BLACK. TEXTILE: SHANTEL MARTIN, WELL WELL WELL - WHITE WALLCOVERING: ONSLOW WS – PEARL QUARTZ

m o m e n t u m a co u s t i c s .co m

CHASING PAPER X HYPHEN & CO. NAUTICAL KNOTS

SHELLY SPARKS

chasing paper “This collection embodies the celebration of summer”

m a r k e t c o l l e c t i o n neocon

Ready for a summer vacation? Interior designer Shelly Sparks, founder of Hyphen & Co. studio, launches a sunshine-infused, Aperol spritz–ready collection of wallpapers with Chasing Paper. “After years spent grounded during the pandemic, we wanted a visual reminder that travel is the essence of inspiration, creativity, fun, and imagination,” she says. The ambition, she continues, was to design a collection that could be incorporated into different types of spaces, and indeed, “all the patterns work beautifully in both residential and commercial contexts.” The 10 prints have a maritime theme with shades of Amalfi Coast glamour. Motifs include lemons, shells, nautical knots, cabana stripes, and mermaids and mermen. The Chasing Paper x Hyphen & Co. collection is available in three substrates: peel-and-stick (a poly-woven fabric with a low-tack adhesive backing), traditional wallpaper, and faux grass-cloth commercialgrade type II vinyl. chasingpaper.com

CABANA STRIPE

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Backdrop Creating Place.

Inspiring Moments Outside.

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

Backdrop : The one solution for every site.

Designed by Landscape Forms in collaboration with KEM STUDIO. Landscape Forms | A Modern Craft Manufacturer

m a r k e t neocon

RALIK

“The fully modular system brings endless possibilities to any space with its quick and tool-free linking” ICHIRO IWASAKI

arper Japanese designer Ichiro Iwasaki’s latest for Italian furniture company Arper comprises round-cornered seating components, which pair with same-shaped mini tables that slot in seamlessly to provide structure and hard surface options. The modular elements of Ralik include an ottoman, a seat with backrest, and a bench—all available in one- and twositter configurations—that can be grouped together (or not!) as desired, ganged in small clusters or forming a larger and more complex composition. Loose lumbar cushions add extra comfort, while charging outlets speak to contemporary needs.

The petite L-shape recycled-polypropylene legs are practical, ensuring easy access underneath for cleaning. Finally, both the upholstery and the legs come in a variety of hues so designers can color-block to their hearts’ content. arper.com

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A CARBON NEUTRAL PRODUCT BY COSENTINO

Introducing Pietra Kode: the Italian stones of yesteryear recoded by DEKTON for contemporary architecture and design.

VICENZA KODE

VK01

NEBBIA

VK02

AVORIO

Cosentino North America 355 Alhambra Cir Suite 1000, Coral Gables, FL 33134 / 786.686.5060 Find inspiration at cosentino.com ™ @cosentinousa

VK03

GRIGIO

TRAVERTINO KODE

VK04

GRAFITE

TK05

SABBIA

TK06

MARMORIO

CEPPO KODE

GK07

CEPPO

m a r k e t neocon

kirei “Now, any designer can specify the custom look their clients want with the added benefit of acoustic performance”

GEO

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Flexibility is important, especially when designing public spaces.

To wit: Kirei Ink, a set of four collections and 48 pre-designed acoustic panels that are completely customizable. Geo is especially adaptable, blending bold geometrics with subtle gradients and calming ombrés.

The panels are made from 60 percent postconsumer-recycled PET and are low-VOC and Red List free. Did we mention any print can be applied to any of the company’s products? “Having high-resolution ondemand printing technology in-house elevates the entire Kirei line,” says Michael DiTullo, who directed Ink’s creation. kireiusa.com

Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini

Portraits of me.

Kitchen: Intarsio Design: García Cumini

cesar.it

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PARADISO ELLIE MOSER

“I hope designers utilize these textiles to connect people and nature within their interior projects”

momentum textiles & wallcovering Aesthetically delicate yet applicable to the most high-traffic commercial settings, the Paradiso collection abstracts botanical motifs like cacti and birds-of-paradise, distilling them into their essential graphic elements. “This collection inspires through color, texture, and boldness,” says Momentum senior designer Ellie Moser. “I hope designers connect with its biophilic elements.” The namesake pattern is a feast of tumbling geometrics woven of two-ply cotton punctuated with a tonal slub yarn. Two solids are included in the collection’s mix: silky Boheme and linen-blend Lark. Each design incorporates recycled polyester, and all are NSF 336 Compliant and Greenguard Certified. momentumtextilesandwalls.com

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Troupe

Visit Troupe Made in America

“It’s a crisscrossing sound container, taking a classic style to new aesthetic heights”

m a r k e t c o l l e c t i o n neocon

THE RIGHT EXPOSURE

turf Workplace acoustics are more important than ever in the return-to-office era—in particular, visually appealing solutions that truly enable focused work within an open plan (otherwise, why not continue WFH?). Plaid, by Chicago company Turf, fits the bill. The crisscrossing acoustic ceiling system is offered in varying layouts, connections, profiles, finishes, and colors. Leave the T-grid open for a loosely industrial aesthetic or insert a continuous tile cap in textured patterns for a traditional coffered ceiling look. Space the grid how you like, with wide or narrow gaps, and select the depth of the baffles. Choose from 32 hues or one of eight wood-look styles created by digitally printing a realistic grain on the 9mm PET felt (60 percent preconsumer recycled). With caps, the NRC rating can reach .95—meaning, of course, that a whopping 95 percent of sound in the space is absorbed. turf.design 90

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Make Your Masterpiece Artist-inspired tones and textures. Timeless and on-trend hues. Quality and comfort endorsed by Ultrafabrics.

Uf Select brings it all together — at a competitive price point and with curated Quick Ship availability.

Photography and styling: Lauryn Stone

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tone it down Ground bolder design moves in a base of muted hues and soft palettes

1. Eye solid white oak lounge chair with oiled finish by Ethnicraft. ethnicraft.com 2. Drift outdoor sofa upholstered in Pelham Cement polypropylene by Room & Board for Business. roomandboard.com/business 3. Gensler’s Fiellø height-adjustable desks in powder-coated steel and oak veneer by HAT Collective. hatcollective.com 8

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4. LimeLite nesting chairs with forward-tilt one-piece polypropylene shell and steel legs by KI. ki.com 5. Wave-X fabric woven with proprietary X-Static silver antimicrobial fiber

by ArcCom. arc-com.com 6. Dance Floor bleach-cleanable postconsumer-recycled polyester fabric by Carnegie Fabrics. carnegiefabrics.com 7. Martin Ballendat’s Ease Up chairs in injection-molded polypropylene with CFC-free high-density polyurethane-foam padding by Stylex. stylexseating.com 8. Captivate rugs in hand-loomed New Zealand wool by Mannington Commercial. manningtoncommercial.com

fun and function Graphically charged furniture and textiles add flair to the workplace

1. BuzziBurner acoustic pendant light

and BuzziHug semi-enclosed privacy booth with built-in table, USB charging ports, and optional LED light by BuzziSpace. buzzi.space 2. Flex Single tables in seated, standing-height, and height-adjustable

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versions with steel frames, HPL worksurfaces, and optional casters or glides by Steelcase. steelcase.com 3. Adadesk aluminum rocking desk with writing shelf in Honey by Fermob. fermobusa.com 4. OmniRoom modular aluminum

room-in-room system with wallmounted furniture assembled with a patented no-tools click-in system and available with 100 ready-to-use room layouts by Mute. mute.design 5. Axis collection fabrics in 100 percent postconsumer-recycled polyester

by Mayer Fabrics. mayerfabrics.com 6. Silicone Skyline outdoor upholstery fabric made of silicone with a 500,000 Wyzenbeek double-rub rating by Designtex. designtex.com

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COS MOS + GALAXY

N E W C H I C AG O S H O W R O O M LO C AT I O N

Gazing into the illuminated canopy of the night sky, with its cascade of stardust and moonlit celestial spaces, offered the stellar inspiration for Cosmos and Galaxy.

Organic silhouettes are reflected with subtle colorations with nuances of warm and cool neutrals that flow across 18” x 36” tiles. Cosmos and Galaxy are the perfect light, airy coordinates to many other products within our portfolio.

J J F LO O R I N G . C O M

1101 W. Fulton Market Suite 200 Chicago, IL 60607

hightower studio

FLOTE

Everyone into the (office) pool! The Flote collection of lounge chairs, ottomans, and sofas was inspired by a simple pool float, providing the sensation of support. “My guiding principle is that better moments lead to a better day, which leads to a better you,” says Hightower design director Shawn Sowers. “A playful, beautiful, and comfortable seat can create one of those better moments.” The piece can be specified with double-needle stitching, a contrasting welt, or a zipper, and the powder-coated base is offered in 13 colors. hightoweraccess.com

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“Flote brings an instant sense of relief and lightness to the sitter”

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ON NEUTRAL GROUND Create a foundation for a multi-layered space. With rich texture and subtle flecks of color, On Neutral Ground features twelve color groupings in multiple constructions designed to seamlessly coordinate throughout a space. Casually eclectic, yet lived-in look with hyper-texture and enhanced tactility, it’s flexible and sensorial. Constructed with EcoSolution Q100™ yarn and an EcoWorx® backing, the collection has low-embodied carbon and is carbon neutral. © 2023 Shaw, a Berkshire Hathaway Company

PATC R A F T.C O M | @ PATC R A F T F LLO O O R S | 8 0 0 . 2 4 1.

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taking root In a Canadian park, an installation by Polymetis integrates not only natural materials but also vines that will eventually climb the towering structure

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designers, engineers, fabricators, landscape architects, and consultants led by Polymetis cofounders Nicholas Croft and Michaela MacLeod SQUARE FEET OF CORTEN STEEL

1-3: COURTESY OF POLYMETIS; 4, 5, 8: COURTESY OF GEORGE THIRD & SON; 6: GEOFF WATTS/SPEARHEAD; 7: PAUL LANGAIS/GPM CIVIL CONTRACTING

1. An early card stock model with acrylic figurine depicts Pergola Garden, a permanent sculpture for West Cambie Neighbourhood Park in Richmond, British Columbia, by Polymetis that will eventually be covered in Akebia vines. 2. An early Rhinoceros rendering reveals the tall pavilionlike form. 3. More renderings helped finesse the

feet of Alaskan 149 linear yellow cedar

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cutting and milling files for the structure, which would be made of Corten steel and Alaskan yellow cedar. 4. Tests at the steel fabricator’s Burnaby studio determined how materials would interlock and the piece would be shipped to the park site in four large, prefabricated sections. 5. In total, 256 pieces of steel were CNC-cut and welded together, including segments that formed the outer faces. 6. At the woodworker workshop in Nelson, cedar boards were CNC-milled into 144 individual pieces, glued together, and then shipped to site. 7. Plywood formwork provided support for the three poured-concrete piers that ground the installation. 8. The steel sections were assembled with ladders and a hydraulic crane and secured to the concrete piers with anchor bolts.

“It’s a dynamic sculptural object that will evolve into part of the natural and physical fabric of the park over time”

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1. Polymetis, a multidisciplinary Toronto firm, con­ ceived of Pergola Garden as a site-specific artwork that doubles as a shade canopy and gathering point in the 6-acre West Cambie Neighbourhood Park.

2. Nine White Chocolate Akebia vines planted at the bases are expected to grow 10 feet a year, covering the 17-foot-high structure in greenery in three years.

3. Lengths of 4mm stainless-steel cable will provide support for the plants, which flower in the spring with fragrant blooms. —Athena Waligore

ANDREW LATREILLE/LATREILLE ARCHITECTURAL PHOTOGRAPHY

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Hoom Guest

encoreseating.com

ROLAND HALBE

june23

The sky’s the limit

text: laura fisher kaiser photography: eric laignel

coming around again For the London workplace of law firm and repeat client Milbank, LSM’s sinuous, sustainable, and sunlight-filled interiors make an open-and-shut case for a return to the office

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom con­crete sink serves the men’s bathroom.

Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

“We tailored every inch to be active, energizing, and conducive to good work”

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In early 2020, after months of anticipation, LSM had just completed the New York headquarters of international law firm Milbank when the pandemic forced staff to Zoom from home indefinitely. Nearly two years later, as restrictions eased, LSM unveiled Milbank’s London office at 100 Liverpool Street, the net-zero, amenities-packed, mixed-use anchor of the city’s revitalized Broadgate neighborhood. This time, however, things were different. Cube culture was out; remote work and 30-second commutes were in. What would it take to make folks embrace office life again?

In a word: “joy,” according to Milbank managing partner Julian Stait. The new workplace had to signal that, “People here are at the center of what we do.” To that end, says LSM founding partner and Interior Design Hall of Fame member Debra Lehman Smith, “We tailored every inch of the 100 Liverpool space to be active, energizing, and conducive to good work. It is very different from one’s home, and that is very intentional. This is an escape from home. With every detail we thought about what would make the client want to be here.”

Previously, Milbank’s London operations comprised 54,000 square feet split between four noncontiguous floors in two adjacent buildings in the Moorgate area. Since moving 1 mile east, the office’s 140 attorneys now occupy 90,000 square feet on two inter­ connected floors, with spectacular views of St. Paul’s Cathedral.

The site sits adjacent to a cross-rail hub, which appealed to Milbank’s commitment to sustainability. In fact, the entire project was in many ways a large-scale recycling effort. Hopkins Architects created the L-shape base building by connecting two old structures with a rotunda topped by a glass canopy, then stripped the tired 1980’s cladding from the original and replaced it with an undulating glazed facade. Retaining 32 percent of the original steelwork

Previous spread: The new London office of Milbank by LSM, which also designed the law firm’s New York head­ quarters, occupies the top two floors of 100 Liverpool Street, is wrapped by terraces, and features several site-specific artworks to harmonize with the building’s curved curtain wall.

Opposite top: Linear LEDs slice through polished stainless steel along the atrium’s stairway connecting the eighth and ninth floors, while a built-in bench supplements 375 chairs by Walter Knoll and LSM’s custom sofa.

Opposite bottom: Paul Morrison’s Cyclorama encircles both atrium levels, where flooring is Italian marble bordered by Basaltite.

Top, from left: An Eero Saarinen side table reflecting Morrison’s mural. Downstairs, a block-print detail of Integration of Hope, 2021 by Idris Khan. Reception’s polished stainless steel–clad column. Bottom: Khan’s mural comprises 15 layers of handmade gesso.

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and 49 percent of the concrete significantly reduced the embodied carbon in the new structure, and 99.8 percent of waste associated with the project’s construction was diverted from landfill.

LSM amplified and echoed the curvilinear vibe throughout the interior, from custom crescentshape sofas and dimpled workstation corners to a contrasting marble floor border that highlights the organic geometry as it snakes around the curvy floor plate. However, when it came to laying out workstations and enclosed offices along the perimeter of the long floor plate, Lehman Smith and team relied on regular geometry for efficient space planning.

The upper floors of the building were progressively stepped back to reduce massing from the fine grain of the urban fabric and create a series of planted terraces. “The terraces and the ability to work and meet within a garden setting were major factors in the selection of this site,” Milbank partner Suhrud Mehta explains. Since the law firm was the lead tenant, leasing the top two floors, eight and nine, LSM was able to tailor the building to the client’s needs while it was still under construction. That included adding and relocating doors for greater access to the rooftop English garden as well as installing an electrical infrastructure to power special outdoor events. LSM also moved building services away from key terrace views and expanded the HVAC and ventilation systems to accommodate a robust, round-the-clock food-service program.

The two most dramatic bespoke moves were cutting a new slab opening for an interconnecting stairway in the atrium and then, with the help of art consultant Patrick Morey-Burrows, commissioning three large-scale, site-specific pieces by contemporary artists. “Each of them is a brilliant star!” proclaims Lehman Smith, whose signature has long been creating workplaces to embrace amazing art.

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Left: Hopkins Architects created the L-shape base building by con­ necting two old structures with a rotunda topped by a glass canopy, then replacing the 1980’s cladding with a glazed fa­cade. Top, from left: A Jenny Holzer series adds color to a perimeter conference room with Graph chairs by Jehs+Laub. Morrison’s bold botanicals complement the organic, curvilinear structure.

Bottom: A stretched ceiling caps a meeting room with Eames Aluminum Group chairs around a customized Logan table by Andreas Störiko.

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom con­crete sink serves the men’s bathroom.

Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

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As staff and visitors enter the atrium and make their way to conference and office spaces, they pass through and around Paul Morrison’s Cyclorama. His overscale, monochromatic botanical motifs encircle the curved walls on both levels and play off the black-framed glazing in a way that is reminiscent of a Victorian garden conservatory.

Another focal point that draws circulation to key spaces is Idris Kahn’s Integration of Hope, 2021, which covers an entire rounded wall on the eighth floor. Composed of 15 layers of handmixed gesso—consisting of slate and marble dust, Prussian blue, and ultramarine pigments— the result is a violet tone so intense that it can only be described as sonorous. What looks like a color study from afar takes on new meaning as one draws closer and realizes that Khan has used oil paint to hand-stamp overlapping words and phrases that express his ideas about diversity and inclusion into an abstract, universal language.

Out on the terrace sits Jeppe Hein’s Sine Curve I, a sculptural installation of head-height reflective panels arranged in a meandering formation. As the viewer moves about, their own reflection bounces around, shifting the focus from themselves to the London skyline, to the office behind them, and back. It’s a good reminder to stay focused in a world that is at sometimes unfamiliar and disorienting—and to stop and smell the roses on the terrace before getting back to work.

PROJECT TEAM REBECCA MONTESI; MARIO DEGISI; YUN GUI; DONNIE MORPHY; MARK ANDRE; EVIE SOILEAU; SHAHRAM AMERYOUN; JAMES BLACK MC LEISH: LSM. FISHER MARANTZ STONE: LIGHTING CONSULTANT. ART SOURCE: ART CONSULTANT. AKT II: STRUC­ TURAL ENGINEER. HILSON MORAN: MEP. UNIFOR: MILLWORK. SPECIALIST JOINERY GROUP: METALWORK. STRUCTURE TONE: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SPINNEYBECK: CHAIR, SOFA UPHOLSTERY (ATRIUM). KNOLL: SIDE TABLE. WILKHAHN: CHAIRS (CONFERENCE ROOM), TABLE (MEETING ROOM). QUADRANT: CARPET (CONFERENCE ROOM, MEETING ROOM). NEWMAT: CEILINGS. MECHOSHADE: PANELING. CASSINA: TABLE (BREAKOUT). INTERSTUHL: CHAIR (OFFICE). VORWERK: CARPET TILE (OFFICE AREA). SAS: CEILING SYSTEM. ULTRAFABRICS: ULTRALEATHER. THROUGHOUT CAMPOLONGHI: FLOORING. ERGONOM: FURNITURE SUPPLIER. DULUX: PAINT.

Opposite top: Theodore Waddell’s 713 table stands in a breakout space between conference rooms defined by demountable glass partitions. Opposite bottom: Sine Curve I by Jeppe Hein enlivens the terrace.

Top, from left: LSM’s slab cut between floors allowing for the custom stair. Inverted corners of custom adjust­ able workstations upholstered in leatherlike Ultraleather. An office along the perimeter. Bottom: To control acoustics in the office area, Ultraleather panels walls and carpet tile is CE-, GUT-, and Green Label Plus–certified.

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human resources Analog connection with students, faculty, and the city drove the concept for the very digital Boston University Center for Computing & Data Sciences by KPMB Architects

text: rebecca dalzell photography: tom arban

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Previous spread: At the Boston University Center for Computing & Data Sciences, a ground-up, 19-story building by KPMB Architects, a section of the interior’s butterfly staircase swirls above the ground-floor lounge, an open space with BU–red custom ottomans and Simon Legald’s Fold stools intended to promote collaboration across disciplines.

Top: An atrium lounge occupies each of the building podium’s five levels and is furnished with Hee Welling’s About a Lounge 81 swivel chairs. Bottom, from left: The facade’s diagonal aluminum louvers and mirrored sawtooth glass provide sun shading, components that contribute to the building’s sustainability goals. An Alphabet of Light System fixture by Bjarke Ingels Group illuminates an elevator bank.

Opposite: LED spots are recessed into the painted steel of the stair, which winds up the atrium.

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Computer science is about people. Much as it feels like machines are taking over the world, there are still programmers behind every innovation. Azer Bestavros, the associate provost for computing and data sciences at Boston University, has noted that, “Technology is not creative; people are creative.” So when KPMB Architects, a collaborative, interdisciplinary practice based in Canada that has delivered millions of square feet of projects in such sectors as education, healthcare, and hospitality and is committed to shaping a more equitable and sustainable future through design, won the competition for the university’s new Center for Computing & Data Sciences, Bestavros emphasized that the building should meet the needs of the students and staff members who would use it. KPMB met the challenge with a human-centered, Jenga-style tower that welcomes artists and engineers alike.

The project grew out of a surging interest in data science at BU. Enrollment in related courses soared between 2007 and 2017; as technology touches all of us, even humanities majors understand they need basic knowledge of the field. Further, the mathematics, statistics, and computer-science departments, which previously had separate buildings, needed to come together. A surface parking lot in the heart of campus was ripe for development.

KPMB won the competition in 2013, but the 345,000-squarefoot, 19-story building didn’t break ground until 2019. “The initial brief was a hub for interdisciplinary computing fields, with classrooms, labs, and research institutes,” KPMB partner Paulo Rocha begins. The university was also looking to “create an iconic building to situate BU on the skyline and in the world.” Later, the client added sustainability requirements to help meet its goal of being carbon neutral by 2040. KPMB conceived a transparent five-story podium with a café and collaboration spaces around an atrium; department offices, collaboration zones, and meeting rooms occupy the floors above. Two computer labs and 12 classrooms are spread across the building, which is open to everyone on campus.

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Located on Commonwealth Avenue near the Charles River, the center sits in a largely low-rise neighborhood. At first glance, the glass-and-steel tower might seem out of place, yet it relates to its context in subtle ways. Alternating between sections of glass and aluminum are reddish-brown louvers, the color referencing the local brick row houses, and the podium aligns with surrounding roofs. The latter also engages with the street, allowing pedestrians to see students moving through the atrium. “Academic buildings are often introverted,” Rocha says. “Our building is porous and open, with an inside-out, outside-in feel that connects to the city.”

KPMB broke down the structure’s 305-foot height with cantilevered square volumes that rotate around the core. Every two or three floors, the volumes shift 23 feet clockwise, opening up the roof on the one below to form a terrace. “It’s a vertical campus,” Rocha explains, “that helps form an identity for the different departments and gives them access to outdoors.”

A communicating stair runs through the tower, and people are never more than a couple of flights from one of the eight terraces. Walkable floor plates determined the scale of the volumes, so it’s easy for colleagues to meet and gather. There are no corner offices; colorful collaboration areas get the city and river views instead.

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The cantilevered blocks make a lively statement on the skyline, and Rocha aimed for the interiors to have a similar energy.

The podium’s atrium fosters a sense of connection across disciplines, and a black steel butterfly stair creates what he calls “a ribbon of movement” within it. “Atriums with nothing in them feel too vast,” he says. “The stair brings visibility to what’s going on inside and livens up the space.” Students can enter from the east or west and take stairs that meet on the second floor; it then winds up to the fifth. Another more gradual stadium stair, lined with terraced white-oak benches, connects the first two floors. Jolts of Boston University red are sprinkled throughout—in the fabric upholstering custom ottomans and Hee Welling swivel chairs, in the area rugs anchoring atrium lounges, and on the cushions padding the stadium stair.

Joining all the scarlet is a healthy dose of green: The Center for Computing & Data Sciences is one of the most environmentally responsible buildings in Boston, if not New England. For one, there are no gas lines: 31 geothermic wells 1,500 feet underground provide heating and cooling. It’s also resilient, set 3 feet above the Charles River Dam to guard against floods. Insulated with triple-glazed windows, the facade has a solar-shading system consisting of angled aluminum louvers and vertical fins of mirrored sawtooth glass. The diagonal and upright lines

Top from left: One of 50 collaboration zones, each with a PET-felt ceiling. The stair’s visibility through the windows. Consistent collaboration-zone colors in each corner of every floor. The stair’s white-oak liner and handrails. Bottom: Surrounded by hemlock paneling, cushioned white-oak stadium seating forms a terraced collaboration and study space between the first and second floors.

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Top, from left: Yoom modular sofas by Anthony Land and a writeable surface outfit another collab zone. Internal atrium windows reveal an exposed intumescent-coated steel structure. Bottom: A flexible top-floor event space features flip-top tables lined with Lievore Altherr Molina’s Catifa 46 stacking chairs and Charles River views.

Opposite: KPMB rotated the 305-foot-tall building’s cantilevered square volumes clockwise to yield eight terraces.

alternate between volumes and look like a kind of binary code; their placement depends on where natural light has to penetrate deep into the floor plate.

The KPMB team had to balance the need for an energy-efficient envelope with the desire for openness. A passive house design wouldn’t fly. “Do you want clients to look through a small window or be enveloped in the city?” Rocha asks. “Sustainability is not just about numbers. It also has to be about how occupants feel.

A space that immerses you in the city has a positive effect.” His firm’s work asserts that even in our data-driven world, people should come first.

PROJECT TEAM BRUCE KUWABARA; MARIANNE MCKENNA; LUIGI LAROCCA; LUCY TIMBERS; DAVID SMYTHE; KAEL OPIE; TYLER LOEWEN; MELISSA NG; MATT KRIVOSUDSKY; TYLER HALL; AMIN MONSEFI; VICTOR GARZON; SAMANTHA HART; NICHOLAS WONG; OLIVIA DI FILICE; JASON CHANG; FOTINI PITOGLOU; CAROLYN LEE; KAYLEY MULLINGS; ARMINÉ TADEVOSYAN: KPMB ARCHITECTS. DOT DASH: LIGHTING DESIGN. ENTUITIVE + LEMESSURIER CONSULTANTS: STRUCTURAL ENGINEER. BR+A CONSULTING ENGINEERS: MEP. NITSCH ENGINEERING: CIVIL ENGINEER. SUFFOLK CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT NORMANN COPENHAGEN: STOOLS (GROUND FLOOR). STYLEX: SOFAS (ATRIUM LOUNGE, YELLOW COLLABORATION). LA PALMA: SIDE TABLES (ATRIUM LOUNGE, GREEN COLLABORATION). HAY: SWIVEL CHAIRS (ATRIUM LOUNGE), STOOLS (PURPLE COLLABOR­ ATION), CHAIRS (GREEN COLLABORATION). ANDREU WORLD: COFFEE TABLES (ATRIUM LOUNGE), WORK TABLES (COLLABORATIONS). ARTEMIDE: LIGHT FIXTURE (ELEVATOR BANK).

HOWE: TABLES (EVENT SPACE). ARPER: CHAIRS. THROUGHOUT MILLWORKS CUSTOM MAN­ UFACTURING: PANELING. NORVANIVEL: CUSTOM OTTOMANS. FINDEISEN NADELVLIES: RUGS. ARMSTRONG CEILING: FELT CEILING SYSTEMS. SHERWIN-WILLIAMS COMPANY: PAINT.

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text: giovanna dunmall photography: roland halbe

fantasy land

Rapunzel World by HaasCookZemmrich Studio2050 at the headquarters of German organic food producer Rapunzel Naturkost may not be a theme park yet it’s utterly magical

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A visit to Rapunzel World in Southern Germany does not involve meeting the fairytale character with the famously long hair. Rather, you’ll be touring the new visitor center at the Legau headquarters of Rapunzel Naturkost, one of Europe’s best known organic food producers. But given the 81,400-square-foot, four-level structure’s soaring sculptural form, evocative architectural details, and otherworldly aura, it could well be home to the girl with the flowing locks.

The company’s motto Wir machen Bio aus Liebe roughly translates to We make organic out of love, and the visitor center was designed to radiate some of that warmth and passion. “Our brief was to make ‘organic’ a tangible ex­ perience and to offer a deeper look into the world of Rapunzel Naturkost,” says Martin Haas, partner and cofounder, with David Cook and Stephan Zemmrich, of HaasCookZemmrich Studio2050, the firm that helmed the project.

Trifurcate in plan, the facility unites three wings under a floating roof that, at one end, not only rises to a 70-foothigh peak but also plunges to the ground, creating an imposing, towerlike volume. Comprising 120,000 multihue ceramic tiles on an all-timber frame, the flowing canopy forms a dynamic, shimmering skin that envelops the building, making it a boldly imaginative presence that nevertheless integrates into the landscape through its use of wood, clay, and other natural or renewable materials.

At the heart of the center is a monumental spiral staircase inspired by the long braid Rapunzel let down from her tower. A sinuous form in oak and spruce sustainably forested in Germany and Austria, the twisting stair rises from the basement through the lobby atrium up to the roof terrace where a crow’s nest atop the tower gives visitors a panoramic vista of the surrounding Allgäu countryside and the Alps beyond. Despite weighing 13 tons, the 48-foot-tall triple-spiral is selfsupporting and, like the roof, appears to be floating. It’s a feat of engineering that required its own structural consultant. “Fabrication was carried out in individual segments in eight stages,” Haas explains. “The primary load-bearing

Previous spread: At organic food producer Rapunzel Naturkost’s headquarters in Legau, Germany, the roof of the new visitor center, Rapunzel World, by HaasCookZemmrich Studio2050 rises to a 70-foothigh towerlike peak at its northern end.

Top, from left: Oak-plywood rings bearing wayfaring signage complement raw-concrete columns and ter­ razzo flooring. The clay roof tiles have a special engobe finish that allows them to absorb and release water, helping to naturally regulate the building’s interior temperature. Bottom: Among the center’s features is a two-story coffee roastery in the tower wing.

Opposite: Locally produced custom furniture, including a live-edge oak communal table, outfits the terrazzofloored restaurant in the central atrium, dominated by a massive spiral stair.

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“Despite weighing 13 tons, the 48-foot-tall triple-spiral stair is self-supporting and, like the roof, appears to be floating”

Above: A glass-walled conference room is located on the second floor, where parquet flooring is end-grain oak blocks.

Opposite top: Rising four levels from the basement to the roof and topped with a skylight, the self-supporting structure comprises 6-inch-thick oak and spruce laminated-veneer stringers with an integrated balustrade. Opposite bottom: Landscaping, which includes hillocks, flagstone paths, and a flower meadow, extends to a roof terrace that can also be accessed via an exterior stair.

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element is formed by the stair stringers integrated into the balustrade, made of curved 6-inch-thick laminated-veneer lumber.” Once on-site, the segments were lifted in by crane via an opening in the roof and joined together with the help of slotted plates. Any wood waste was used to create end-grain block parquet flooring for other areas in the visitor center.

Among Rapunzel World’s amenities are an interactive exhibition area and an organic market as well as a restaurant, cooking studio, yoga room, wine bar, and coffee-roasting plant, which occupies an airy two-story glass-enclosed space in the tower wing. “It’s the only part of the building that has to be mechanically ventilated, since the heat loads exceed normal levels,” notes HaasCookZemmrich associate and project architect Sinan Tiryaki. He also admits that housing such an extraordinarily diverse range of features in a single building raised one pedestrian but particularly time-consuming hurdle: bureaucracy. “It was a major challenge to get the mix of functions— meeting place, food production, supermarket—under one roof in terms of regulations, standards, and codes.”

Getting the right kind of roof tiles presented another set of problems.

“We wanted them to appear wild and alive like nature itself, with no one tile looking exactly like another,” Tiryaki continues. Engobing, a pre-firing process that adds distinctive color and texture to ceramic surfaces, produces the visual effect the architects had in mind. “The tiles pass through three separate color stations,” he adds, “where nozzles spray them with dif­ ferent earth tones, ranging from rustbrown to ochre,” before spending 60 hours in a 1,000-degree kiln. The closest manufacturer HaasCookZemmrich could find that still had the right equipment for the technique was in Switzerland, even though that conflicted with the firm’s—and Rapunzel Naturkost’s—local-sourcing ethos.

In fact, architect and client shared a strong commitment to human- and environment-friendly practices. “We got a counterpart who trusted us and supported our ideas,” Haas reports. “This made many things easier.” As did the project’s location, which was nearly ideal because the surrounding area is

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chock-full of skilled craftspeople and artisanal manufacturers, many already having established relationships with the food company. For instance, much of the custom built-in furniture like food counters, wall benches, and the wine bar was made by a local carpenter, while chairs, tables, and other moveable pieces were produced by a local family-run woodshop that uses regionally sourced timber. And when the architects say locally made, they mean it: The two companies are an 8- and 15-minute drive from the center, respectively.

The rural location also inspired the landscape design, which includes hillocks, a flower meadow, an orchard, and a tropical greenhouse in which coffee plants grow. Playful exterior details abound, such as custom rainwater downpipes made of small copper buckets stacked up to reach the wide overhanging eaves, while picturesque dormer windows project from the roof, each an ideal perch for any Rapunzel to sit and watch the world below.

Haas, too, is susceptible to the general sense of enchantment. “The most beautiful moment of surprise during construction was when the roof-truss rafters were installed,” he says. “Suddenly you could see the shape of the entire building.” Pure magic.

PROJECT TEAM LISA RUIU; LENA LANG; YOHHEI KAWASAKI; ARIANE PREVEDEL; KATHARINA HOPPENSTEDT; ELISABETH WIEST; XUN LI; FELIX WOLF; SABRINA CARRICO: HAASCOOKZEMMRICH STUDIO2050.

DESIGNGRUPPE KOOP: CUSTOM GRAPHICS. RAMBOLL STUDIO DREISEITL: LANDSCAPE ARCHITECTURE. ECOPLAN INGENIEURE: STRUCTURAL ENGINEER. TRANSPLAN TECHNIK-BAUPLANUNG: MEP. MÖSLANG SITZMÖBEL; SCHREINEREI KONRAD: CUSTOM FURNITURE WORKSHOPS. GEB. FILGIS: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT SPENGLEREI LERCHENMÜLLER: CUSTOM DOWN­ PIPES (EXTERIOR). PROBAT: ROASTING MACHINERY (COFFEE ROASTERY). HOKON: CUSTOM STAIR (ATRIUM). THROUGHOUT GASSER CERAMIC: ROOF TILE. GLAS TRÖSCH: GLASS. GIPP ESTRICH INDUSTRIE- & DESIGNBOEDEN: TERRAZZO FLOORING. HANS STEIDELE: RECYCLED CONCRETE. GÜTHLER GLASFASSADEN: CUSTOM FACADE. HOLZBAU ENDRES: TIMBER TRUSSES, FRAMES. HAGA: PLASTER.

Top, from left: At nine different points along the wide roof overhang, custom copper buckets threaded on chains serve as sculptural rainwater downpipes.

In addition to the central spiral, each wing has its own interior staircase in recycled concrete, a material used throughout the 81,400-square-foot center.

Bottom: A wine bar with an adjoining cellar occupies the base­ment level.

Opposite: The roof is studded with six dormer windows like this one, shaped and positioned to frame views of the surrounding campus and land­ scape beyond.

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banking on it

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text: lauren gallow photography: garrett rowland

JPMorgan Chase & Co. invests in its future at the firm’s regional headquarters in Washington by Studios Architecture

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom con­crete sink serves the men’s bathroom.

Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

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The nation’s largest bank, JPMorgan Chase & Co., is also one of the oldest, tracing its origins to the late 1700’s. “Respecting history and supporting art and culture have been a part of our DNA since inception,” explains Farzad Boroumand, the bank’s executive director and global real estate head of design. It was only fitting, then, that when choosing a home base for its new mid-Atlantic headquarters, the financial institution would purchase a venerable property: the 1922 Bowen Building in the heart of D.C.’s Historic Fifteenth Street Financial District.

Much like JPMorgan Chase itself, which is a synthesis of many institutions that have merged or been acquired over the years, including First Republic Bank last month, the Bowen is a hybrid of several early 20th–century structures that had been combined and expanded in phases.

Although the 12-story limestone edifice is not landmarked, its listed status and contribution to a historic district stipulated a sensitive renovation—and an equally conscientious design partner. After inviting proposals from several firms, the client selected Studios Architecture.

“Studios stood out by suggesting innovative interior solutions that were appropriate to the classical exterior,” Boroumand recalls.

The firm’s work at the LEED Silver–certified headquarters, totaling 231,000 square feet, encompassed a subterranean mechanicals level, the lobby and an adjacent ground-floor community center, four levels of employee and executive workspace, and a client center with a terrace. The primary challenge was to deliver the perfect marriage of old and new.

“The client sought a modern scheme that spoke to who JPMorgan Chase is and would carry the organization, with its rich history, into the future,” says Studios board chair and principal Marnique Heath, who teamed with

Previous spread: At JPMorgan Chase & Co.’s regional headquarters, a 231,000-square-foot, seven-level Washington project by Studios Architecture, Douglas Levine’s Tsai sofa and Oanh chairs surround Luca Nichetto’s Luca nesting tables in the library, part of the client center floor.

Opposite top: Terrazzo flooring flows through the lobby, where walls and the custom reception desk with belting-leather inset are limestone and millwork is walnut and oak. Opposite bottom: Custom laminated, mirrored panels clad the client center’s elevator lobby, with Sean Lavin’s Klee chandeliers.

Top, from left: Space Copenhagen’s Lunar lounges furnish a seating vignette in the center’s waiting area.

A stair screened in oxidized-bronze balustrades and glass fins leads up to the executive suite. Bottom: The facade’s arched ironwork transoms are original to the 1922 Bowen Building, while the revolving door, curved side­lights, and canopy above—all glass—are new.

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the client to lead the project with the support of Studios associate Ethan Levine, both architects from the firm’s D.C. office.

Many of the gestures, Levine notes, “were centered on thresholds, creating opportunities for visitors to pass into the bank and make them feel a sense of belonging.” That starts at the main entry sequence leading from Fifteenth Street. The client requested that it convey welcome and a sense of transparency, which Studios answered by introducing a glazed portal with revolving doors and, above, a glass canopy.

In the lobby beyond, the team restored the existing decorative ironwork detailing the marble portals’ arched transoms, framing them with new dark-oxidized bronze screens featuring an abstracted version of the same triangular motif—a contemporary yet continuous expression. Overall, the scheme centers on interventions that compliment, rather than copy, the existing elements, Levine says. “The interior is an amalgam: We kept the best of the old and contributed new features intended to hold up just as well.”

In that same vein, Studios installed terrazzo floors in a custom mix throughout, a “timeless and incredibly durable material that marries well to both the modern and the historic,” Heath explains.

The vibe of welcoming access extends to the community center occupying the building’s north end. A mix of work and lounge areas furnished with clean-lined pieces lends abundant adaptability, as do retractable walls that subdivide the space as needed. Besides serving as an event venue for confabs like community board meetings and nonprofit fundraisers, the 1,750-square-foot multipurpose center gives spatial expression to JPMorgan Chase’s recent financial commitment to supporting the greater Washington economy and helping close the racial wealth divide in the region through measures like flexible low-cost loans and investment in philanthropic capital.

The client center, up on the building’s 11th floor, houses various conference rooms and meeting areas as well as a generous terrace.

Continuing the transparency theme, Studios carved out a doubleheight volume along the terrace-side perimeter, which serves as an airy waiting area. The firm also made substantial facade alterations here, expanding the glazing to create more openness and invite broader views of the Washington Monument and the White House.

A new feature stair, its balustrade incorporating the same metalwork used on the ground floor, leads to the executive level on 12.

An elevator bay with tinted, mirrored panels and a series of LED mobile-esque chandeliers provides access to the three renovated floors of flexible work areas accommodating some 500 employees. Architect and client collaborated to uncover future-oriented strategies for the office proper. “We investigated entirely different models of working, incorporating features such as virtual meeting spaces and more homelike and lounge-y environments,”

Top: A custom-stained hemlock slatted ceiling distinguishes the subdivisible community center, with Samuel Lambert’s Dot Linear Suspension pendant fixtures and Joe Gebbia Neighborhood sofas. Center: In the client center conference area, a custom composition of Stencil pendants illuminates Francesco Favaretto’s Bombom swivel chairs and Bao armchairs by EOOS. Bottom: Palisades Grid shelving divvies a work lounge, lit with BuzziDome acoustic pendants.

Opposite: The lobby’s oxidized-bronze screens feature a custom pattern that abstracts the existing original metalwork.

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“The concept needed to carry an organization with a rich history into the future”

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom con­crete sink serves the men’s bathroom.

Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

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Opposite top: Railway Carriage Classic dividers and alternating patterns of nylon carpet tile distinguish separate seating zones in a work lounge, with Anderssen & Voll’s Connect Modular sofa. Opposite bottom: Andrew Neyer’s Astro Light pendants float above Naoto Fukasawa’s Common benches in the office entry.

Top, from left: Petrified moss garnishes custom environmental graphics. The glazing was expanded along the terrace, improving indoor/outdoor con­ nection. Bottom: Aeron chairs by Bill Stumpf and Don Chadwick and Antenna Fence desks distinguish a workspace.

Heath recalls. A diversity of furniture types and finishes, along with 2,500 square feet of open lounges on each work floor, encourages staff members to access different settings as they shift activities throughout their day.

Ultimately, the Bowen Building stands as an example of how legacy institutions like JPMorgan Chase can build a framework for serving their communities on multiple fronts— one that acknowledges the past while making much-needed modern interventions to cocreate a better future for all.

PROJECT TEAM ASHTON ALLAN; MONICA CASTRO; KRISTIAN PASSANITA; TAMMY CHAN; RUBEN SMUDDE; JENNIFER HICKS; JESSE WETZEL; KATHERINE LUXNER; JUNE ZHU; MARIA PERCOCO; GABRIEL BOYAJIAN: STUDIOS ARCHITECTURE. GORDON: LANDSCAPE ARCHITECT. INTERIOR PLANTSCAPES: INTERIOR PLANTINGS. MCLA: LIGHTING DESIGNER. TCE & ASSOCIATES: STRUCTURAL ENGINEER. GHT: MEP. COLUMBIA WOODWORKING; JEFFERSON MILLWORK & DESIGN: MILLWORK. BOATMAN & MAGNANI: STONEWORK. GILBANE BUILDING COMPANY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT BRIGHT CHAIR: SOFA, CHAIRS (LIBRARY).

MODERNFOLD: SLIDING DOOR. B&B ITALIA: SHELVING. BERNHARDT DESIGN: TABLES, CREDENZA (LIBRARY), SOFA (COMMUNITY CENTER), COFFEE TABLE, WHITE LOUNGE CHAIRS (CONFERENCE AREA). SPINNEYBECK: DESK LEATHER (LOBBY).

SHICKEL CORPORATION: CUSTOM SCREENS. FLOS: CUSTOM PENDANT FIXTURES (LOBBY, CLIENT CENTER). BENDHEIM: CUSTOM PANELING (ELEVATOR LOBBY). TECH LIGHTING: CHANDELIERS. WHITEGOODS: COVE LIGHTING. STELLAR WORKS: ARMCHAIRS (WAITING AREA). CASSINA: TABLE. EMERALD IRONWORKS: CUSTOM STAIR. PLANTER­WORX: CUSTOM PLANTERS (WAITING AREA, TERRACE). PILKINGTON: GLAZING (EXTERIOR). BOON EDAM: REVOLVING DOOR. ALPOLIC: CANOPY. SKYFOLD: RETRACTABLE WALLS (COMMUNITY CENTER).

LAMBERT&FILS: GLOBE PENDANTS. VIBIA: PENDANT FIX­ TURES. DATESWEISER: WORKTABLES. ARPER: CHAIRS. MARTIN BRATTRUD: BANQUETTES. 9WOOD: CEILING PANELS (COM­ MUNITY CENTER, OFFICE ENTRY). LONDONART: WALL­COVERING (CONFERENCE AREA). WALTER KNOLL: BLUE LOUNGE CHAIRS. AXIS LIGHTING: LINEAR PEN­DANTS (CONFERENCE AREA, LOUNGE). BUZZISPACE: DOME PENDANT (LOUNGE). SPACESTOR: CUS­TOM SHELVING. STYLEX: COFFEE TABLE. SCANDINAVIAN SPACES: LOUNGE CHAIRS. MUUTO: SOFA, OTTOMANS. ASTEK: WALL­COVERING. NAUGHTONE: TWO-TONE SOFA. MILLIKEN: CARPET TILE (LOUNGE, WORKSPACE). ANDREU WORLD: TABLES (TER­R ACE). JANUS ET CIE: STOOLS, CHAIRS, SOFA. TUUCI: UMBRELLA. STEPSTONE: PAVERS. ANDREW NEYER: PENDANT FIXTURES (OFFICE ENTRY). ADLER DISPLAY: ENVIRONMENTAL GRAPHICS. GREENMOOD: PETRIFIED MOSS. VICCARBE: BENCHES. HERMAN MILLER: TASK CHAIRS (WORKSPACE). KNOLL: WORKSTATIONS. ARMSTRONG: CEILING TILE. APPLIED IMAGE: PRIVACY GRAPHICS. THROUGHOUT EVENSONBEST: FURNITURE SUPPLIER. TRANSWALL: GLASS PARTITIONS. GUARDIAN GLASS: EXTERIOR GLAZING, FINS. KAWNEER: CURTAIN WALL, STOREFRONT SYSTEM. EGE: CARPET TILE, RUGS, BROADLOOM. SHERWIN-WILLIAMS: PAINT.

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See page 142 for the Větrník Kindergarten in Říčany, Czech Republic, by Architektura. Photography: Filip Šlapal.

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text: wilson barlow and georgina mcwhirter

institutional knowledge From an historic arts academy in Rome and a school outside New Delhi to a public library in New York, seven cultural projects shine with creative skills and smarts

“The original character of the early 20th–century rectory has been retained”

atakarchitekti project IGI Library, Liberec, Czech Republic. standout The town’s former Roman Catholic rectory dating to 1914 has also been an orphanage, a kindergarten, and a vocational school, before now becoming the public library with a contemporary metal-clad addition for community activities. The original building’s exterior masonry can be spotted throughout the new space, which incorporates exposed concrete and wooden details such as oak floor planks and custom plywood bookshelves. photography Tomáš Souček.

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“There’s an indissoluble link between the structure and the surrounding greenery”

alvisi kirimoto and studio gemma project Hub, Luiss Libera Università Internazionale degli Studi Sociali Guido Carli, Rome. standout The cantilevered upper portion of this new campus building’s two volumes, housing an amphitheater with vibrant sound-absorbing Acoustico paneling and stadium seating, plus two classrooms, is raised to put it in direct connection with the leafy canopy for a kind of modernized treehouse. The space below, which has stabilized gravel flooring, is both open-air and sheltered, perfect for outdoor events and classes. photography Marco Cappelletti.

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Neri&Hu Design and Research Office project Qujiang Museum of Fine Arts, Xi’an, China. standout The crowning glory of the firm’s innovative, mixed-use museum extension for retail and events programming is a lanternlike structure dubbed “the Beacon.” Clad in red travertine slabs, the cylindrical edifice features evenly spaced portals that usher light down into the walkway wrapping the cylinder’s base, while, up top, a hollowed-out, bowl-shape amphitheater with stepped seating encircles a lightwell that descends straight through the core. photography Zhu Runzi.

“We took the idea of a glowing lantern as the guiding concept”

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“It’s conceived to expand children’s modes of expression and instigate self-learning”

vijay gupta architects project Vedanya, Gurugram, India. standout Formulated to encourage play, ex­ ploration, and activity, the simple, open layout of this grammar school, its name derived from veda, or open mind, revolves around a central atrium, following research showing that a child’s cognitive and social abilities develop best when they can move freely. Curvilinear elements, double-height volumes, and vertical and hori­ zontal interconnections create a floor plan that flows, with points of discovery everywhere. photography Courtesy of VGA.

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India Mahdavi project French Academy in Rome. standout A reinvention of half a dozen rooms at Villa Medici, the frescoed 16th-century location of a longstanding artists academy and residence known for hosting such luminaries as Galileo and Claude Debussy, brings the renowned Tehran-born, Parisbased architect’s signature use of color and geo­ metry to bear on the spectacular late Renaissance setting via such bespoke furnishings as a marquetry four-poster bed and a graphic rug inspired by the villa’s gardens. photography François Halard.

“Custom furniture pieces serve as privileged spots for observing the surrounding heritage”

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“It reimagines the traditional role of a library as an energetic town square”

Gensler project Brooklyn Heights Library, New York. standout Peppered with such Danish classics as Alvar Aalto stools and Jens Risom chairs, the 1962 structure turned state-of-the-art facility located at the border of a residential community and a civic district connects both areas through a doubleheight lobby with unimpeded neighborhood views.

Linking the two arms of the L-shape plan is the circulation desk, its inviting rounded form echoed in the built-in seating, which gets bathed in readingfriendly natural light from a window wall. photography Scott Frances/courtesy of Gensler.

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“The project provides students with a whole new experience, its spaces bringing architecture and design for the benefit of learning”

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architektura project Vě trník Kindergarten, Ř íčany, Czech Republic. standout Colorful pagodas resembling storybook buildings compose the multivolume structure, their irregular shapes yielding classroom plans that are dynamic and engaging.

To reach them, the pint-size students first enter the atrium, where a “spider web” play area is made of rope and actual tree trunks, one of several interventions openly displaying structural and technical elements to encourage curiosity in and understanding of how things work. photography Filip Šlapal.

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“Our goal was to build an object for children that’s playful, not institutional”

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video games The pixelated world of Minecraft inspired the playful cubic structures that dominate software developer Pricefx’s Prague office addition by CollColl text: joseph giovannini photography: boysplaynice

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For the Prague office of Pricefx, the standard workplace cubicle just wouldn’t do. The MO of the global software company, its products helping businesses price goods and services, is predicated on flux: The number and type of clients, which range from newly hatched start-ups to long-established corporations, shifts by the day and even the hour, requiring different spatial configurations intended to stimulate creative dialogue. It wanted smart, performative flex space that acts as a physical corollary to the dynamic digital environment in which its clients work and think on-screen.

In 2016, Pricefx hired CollColl—the interdisciplinary firm, its name a portmanteau of “collaborative collective,” founded by partner Krištof Hanzlík—to design an easily adaptable workplace on a half-floor of an openplan office building. Hanzlík and his team mixed hot desks, coworking spaces, lounges, and open areas with phone-booth enclosures, offices, and small and large meeting rooms. Two years later, the architects expanded the footprint to occupy the full 9,000-square-foot floor. Then in 2020, at the height of the pandemic, when the very concept of office space was in free fall, in a leap of optimism the company re-engaged CollColl to expand to the floor below. But with COVID putting the fundamental viability of such facilities into question, the mandate for flexibility was greater than ever.

CollColl is a small, avant-garde group with a portfolio of both experimental and commercial projects. The success of the two previous efforts in shaping a flexible office landscape suggested the firm’s approach to the new lower level. “We wanted to create a fluid space in which there would be some separation but without distinct rooms,” says Hanzlík, who lead the team along with partner Šimon Kos. “Pricefx throws events for 30, 40, 50 attendees, and there’s a constant flow of people.”

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Previous spread: A massive, pixelated structure of oak-veneered particleboard cubes serves multiple functions in a recent full-floor addition to software developer Pricefx’s Prague office by CollColl.

Opposite: The structure incorporates a custom stainless-steel tunnel slide and a staircase connecting the new space to the original floor above.

Top, from left: The mouth of the slide, signaling the workplace’s intentionally playful vibe. Patricia Urquiola’s Glove-up armchairs and CollColl’s pfx 02 table in the café.

The gym area with a billiard table at one end of the structure. Bottom: Serviced by Studio Vono’s Nyiny stools, the reception desk doubles as the café bar, on which the company logo is displayed via an interactive LED-grid behind the solid-surfacing face.

“We wanted to create a fluid space in which there would be some separation without distinct rooms”

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A stainless-steel tubular slide linking the two floors spills into the new main entry, setting a tone that signals the importance of play in a workplace intended to stimulate creative ideas. The playfulness is reinforced by the reception desk, which not only doubles as a coffee bar but, thanks to a grid of LEDs behind its translucent solid-surfacing face, also functions as an interactive billboard on which pixelated images, including the company logo, appear. Nearby, a “gym” area equipped with a billiard table and a punching bag offers actual fun and games, further encouragement for informality and interplay.

Perhaps the most challenging request on the client’s wish list was for a conference table that could seat 50 people during workshops— about twice the number possible previously.

Rather than designing a single-purpose room, however, CollColl used seven pairs of glass double doors to partition off one end of the roughly rectangular floor, creating a buildingspanning flex space with windows at both ends. This large light-filled area easily accommodates a row of six separate desks—each seating six—that extension leaves quickly turn into a continuous 50-person table: Close the doors and, voilà, an instant conference room.

Folding wall panels allow the long space to be divided in half for smaller meetings.

The major architectural issue for CollColl was how to connect the two floors for a free flow of traffic. For inspiration, Hanzlík and Kos looked at Minecraft, the interactive video game in which Lego-like objects are assembled into digitized, three-dimensional environments. Landscapes and buildings, populated by block-headed figures, are constructed by simple addition and subtraction, a cube at a time. Further inspiration came from architectural model making, in which box forms are used to create mass and suggest function.

Changing the dimensions of a cube or a box, whether virtual or physical, alters its perceived role: Depending on its relative size,

Top: Along with providing terraced seating, the structure encloses storage space. Center: Antonio Citterio’s Unix chairs and Ad Hoc table outfit a meeting room with Vela Evo pendant fixtures. Bottom: Flooring is vinyl in the café, where CollColl’s BendOver sofa sits under Sysloop’s hexagonal LED grid.

Opposite: A video lounge offers a moment of relaxation within the cubic structure, which comprises 16-inch-sided modules.

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Top, from left: State-of-the-art equipment in the AV studio. A seating grotto illuminated with concealed LEDs. Helping dampen noise, acoustic ceiling foam behind the light grid. Bottom: Using extension leaves, six Studio Bouroullec Joyn desks form a 50-seat table lined with Barber Osgerby’s Tip Ton chairs in the conference room.

Opposite: The office’s LED ceiling grids are visible from the street.

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the same form can be a cubbyhole, a chair, a room, a building, or whatever. Following that principle, the architects began creating a staircase by stacking 16-inch cubes around a hole in the floor. “We found ourselves in a computer-game world of pixelated structures,” Kos acknowledges.

The result is a two-story playground of oak-veneered blocks—a woody, cubist mountainscape replete with stepped hillsides, miniature cliffs, craggy canyons, and jagged grottoes, all suggesting various possible uses.

“Taking away mass by subtracting cubes created new kinds of spaces,” Hanzlík says. Some stacks became closets or personal lockers, others provide terraces of bleacher seating with benches at the lowest level.

Half-blocks form the treads of the central staircase alongside which runs the tunnel slide, while the interior of the hill encloses a storage room.

The architects repeat the blocky landscape trope on the other side of the floor, next to the 50-person conference room, where the floor-to-ceiling geometric pile offers a welcome perch during meeting breaks or to people just wandering around with their laptops. And that points to yet another of the unique structures’ multiple functions, as reassuringly fixed landmarks in the floating world that constitutes Pricefx’s mutable workspace.

PROJECT TEAM ADAM KÖSSLER; LIBOR MLÁDEK; MARK KELLY: COLLCOLL. SYSLOOP: LIGHTING CONSULTANT. AV24: AUDIOVISUAL CONSULTANT. OLBERT TOMÁŠ: WOODWORK. BAUHANZ: GENERAL ENGINEER. CAPEXUS: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT ALFEKO: CUSTOM SLIDE (ENTRANCE). MOLTENI&C: ARMCHAIRS (CAFÉ). DU PONT: BAR SOLID-SURFACING. STUDIO VONO: CHAIRS, BARSTOOLS. BOSCH: OVEN. XAL: PENDANT FIXTURES (MEETING ROOM). LINTEX: WHITEBOARD. VITRA: TABLES, CHAIRS (MEETING ROOM, CONFERENCE ROOM, AV STUDIO). 3DECO: WALL FINISHES (MEETING ROOM, CONFERENCE ROOM). VERTI: GLASS PARTITIONS (MEETING ROOM, CONFERENCE ROOM). AV24: AV EQUIPMENT (AV STUDIO). BARRISOL: CONCEALED LIGHTING (GROTTO). COMMON SEATING: OTTOMANS (CONFERENCE ROOM). FREIFRAU MANUFAKTUR: SWING SEAT. THROUGHOUT INTERFACE: HARD FLOORING, CARPET TILE. FARROW & BALL: PAINT.

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BY DANINE ALATI

Innovative and aesthetically intriguing with highly functional acoustics, Plaid is a cutting-edge new ceiling system by Chicagobased acoustic solutions company Turf, which, as the company says, reflects the intersection of art, architecture, and technology.

IMPERFECT* THE RIGHT EXPOSURE

Acoustics are so integral to a space that they should be considered from the initial design phase, and attractive options like Plaid not only adequately satisfy acoustical requirements but also create a noteworthy design statement that melds well with a variety of interior design schemes.

“When designing spaces, we want designers to start with the ceiling,” explains Turf president Rob Perri. “This addition to our catalog of high-performing and visually stunning solutions ensures that as a brand we are considering not only the aural aspects of acoustic solutions but visual aesthetics as well.”

Configured as a crisscross sound container with a gridlock connection to a tee-grid, Plaid offers a range of design options— including an open-edge, border, or different grid spacing—to really help define the ceiling scape of any commercial space while offering necessary sound-absorbing properties.

Available as a standalone cloud or a continuous ceiling system in three different size tiers, Plaid affords specifiers custom capabilities. It’s offered in Turf’s 100-percent recyclable PET felt (made from recycled plastic bottles) and comes in the brand’s new Hue palette of 32 shades and the eight Turf Textures (featuring various wood grains). turf.design/products/plaid

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AUGUST 13-15, 2023

T H E N AT I O N A L C O N F E R E N C E

BY A SID

OPENING KEYNOTE

All members of the design community are invited to gain insight and new perspectives at ASID’s national conference, GATHER. Three energizing keynote sessions will feature outstanding leaders sharing their unique stories to motivate, activate and inspire your design practice!

CLOSING KEYNOTE

GENEVIEVE GORDER

S I M O N T. B A I L E Y Simon’s purpose is to Spark listeners to lead countries, companies, and communities differently. His framework is based on his 30 years’ of experience in the hospitality industry, including serving as sales director for Disney Institute, based at Walt Disney World Resort in Orlando, FL.

CHRISTIAN DUNBAR CLOSING KEYNOTE

R E G I S T E R T O D AY !

Genevieve’s soulful style and genuine enthusiasm have made her one of America’s favorite interior designers for years. She is the founder and director of the Genevieve Gorder brand, a television host, designer and producer, a home product designer, contributing author, and global ambassador for home and human rights.

Christian is a graduate (MFA) of Savannah College of Art and Design, as well as NY School of Interior Design.

As a member of Waterfront Workshops collective, he is the principal of a custom design/build company. His aesthetic is a contemporary blend of the organic and industrial.

EDITORS’PICKS

ÆTHER/MASS

The Lathe series deconstructs the notion of classic turnedwood furniture by using only legs to form its chunky European oak side tables, stools, and pedestals. aethermass.com

STANDOUTS DESIGNED BY DAVY GROSEMANS A COLLABORATION WITH CASIMIR ATELIERS MASTER WOODWORKERS OILED FINISH

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LAUNCH EDITORS' PICKS

standouts holy smoke pattern shown wallpaper , midweight linen - cotton for upholstery , sheer linen for curtains floor - to - ceiling pattern possible with matching rugs

You might know Phoebe Sung and Peter Buer for their cultish boob bathmats, but the Brooklyn designers’ first fabric and wallpaper collection, Sweetie, skews more toward their penchant for abstraction. coldpicnic.com

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CLEMENT PASCAL

COLD PICNIC

LAUNCH EDITORS' PICKS

standouts from the forward collection

1 of 6 new intros by vladimir kagan design group

HOLLY HUNT

Joining the iconic Vladimir Kagan portfolio is a Sculpted Wood bench conceived by the late designer’s longtime protégé, Chris Eitel, its wooden frame with flying buttress legs supporting a channeled seat. hollyhunt.com

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LAUNCH EDITORS' PICKS

SOWDEN

standouts

Memphis Group founding member George Sowden’s TL2 and TL4 table lamps combine his characteristic use of color with playful proportions. Through MoMA Design Store. store.moma.org

flexible silicone shades

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moma design store u . s . exclusive collection includes floor lamps and portable lamps

LAUNCH EDITORS' PICKS

standouts made in norway intended to last generations leather band secures folded chaise for storage

MELLOW

Birch, leather, recycled wool, and stainless steel coalesce in Mellow One, an eye-catchingly geometric chaise by Norwegian collective Kompaditten AS that folds up like an accordion for easy storage. mellowchair.com

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LAUNCH EDITORS' PICKS

STANDOUTS

19” X 18” MADE TO ORDER IN 16-20 WEEKS MATCHING SIDE CHAIR AVAILABLE

CUFF STUDIO

Handmade in Los Angeles, the Ripple Bunching stool is handily suitable for outdoor use and boasts a subtly sassy look via its wavelike base, striped upholstery, and black bobble legs. cuffstudio.com

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LAUNCH EDITORS' PICKS

standouts top in verde marble , other stones , or wood legs in walnut or natural or ebonized oak

14” x 46” x 48”

SSS ATELIER

The Ledge coffee table’s bullnose-edge top perches on organically shaped solid-wood legs inspired by the trees surrounding designer Sarah Sherman Samuel’s home and studio. Through Colony. sssatelier.com; goodcolony.com

JUNE.23

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LAUNCH EDITORS' PICKS

standouts

4-6 week delivery 13 colors made in germany anti - slip base

OBJEKTE UNSERER TAGE

The Friedrich Max mirror’s strong graphic presence comes courtesy of both bright color and the cut of its glass—reminiscent of a wormhole in space. objekteunserertage.com

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LAUNCH EDITORS' PICKS

BESANA CARPET LAB

The sweetly swirly design of scattered filaments animating Marco Guazzini’s Marwoolus soft flooring derives from hi-def photos of his patented composite marble dust/wool fiber material. besanamoquette.com

standouts carpet or rug coral , silver , and oasis colorways custom shapes and borders

JUNE.23

INTERIORDESIGN LAUNCH

171

LAUNCH EDITORS' PICKS

standouts

28” x 22” x 18” made in lithuania

DNT DESIGN

The Sculptural coffee table by Donatas Žukauskas pairs a natural oak top with a tripartite speckled base fabricated of an ultra-innovative paper pulp. dnt-design.com

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LAUNCH EDITORS' PICKS

standouts off - white shade

15.75” high sconce and floor lamp versions available

TROY LIGHTING

Design guru and stylist Colin King’s first lighting collection includes Alameda, a table lamp with a simple forged-iron cursive base that suggests a signature scribed in midair. hvlgroup.com

JUNE.23

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standouts

4 colorways fire - resistant polypropylene polyester from the acosta collection

ÉLITIS

The reversible outdoor jacquard Santa Cruz captures the sun’s travels across the west: It’s bold yet nuanced and fairly vibrates with energy. elitis.fr

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LAUNCH EDITORS' PICKS

standouts

78” x 16” x 18” made in philadelphia wool - mohair - silk throw

JOHN POMP

View the designer’s futuristic patinated blackened steel and burnished silver Rift bench—topped with a mottled furry throw— IRL at his just-opened showroom in the New York Design Center. johnpomp.com

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts

3 patterns , 3 colorways each in varia and chroma with vellum finish

4 - week lead time

3FORM

Inspired by the metallic spectrum, Flare combines reflective and colorful elements to impart a soft, sophisticated shimmer— a fresh take on texture and light refraction that lends movement and liveliness. 3-form.com

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FLOORING

// LAUNCH PARTNERS

MANNINGTON COMMERCIAL standouts

105% carbon off -

set cradle to gate declare red list free quantum guard elite technology

Create supportive spaces with Proxy, a wellnessboosting collection of oak-look PVC-free resilient planks in warm neutral tones offering advanced sustainability, comforting design, and easy maintenance. manningtoncommercial.com

JUNE.23

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LAUNCH PARTNERS // SEATING

standouts collection encompasses sofas , footstool , and side tables removable covers ; piping edge supportive lumbar cushions

ZINC PATINA

COR

Jehs+Laub’s low-slung, high-back Nook sofa has a compact yet light design that forms a nest of comfort, with an elegant piping detail highlighting the contrast between its clean-lined exterior and soft, feminine interior. cor.de/en 178

INTERIORDESIGN LAUNCH

JUNE.23

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts carbon neutral u . s . made

6 patterns

CROSSVILLE, INC.

The Civilization Porcelain Stone tile collection artfully mimics smooth, fine-grained natural basalt—in both light and dark colorways—via stunning crystalline visuals that give a subtle sense of movement. crossvilleinc.com

JUNE.23

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts designed in collabora tion with gensler

0.95 nrc rating 200+ colorways ;

unlimited custom patterns or photography per client specification

UNIKA VAEV

The Pinnacle modular acoustic system with optional LED lighting features a double-sided geometric structure and superior noise reduction. Select a Wilsonart pattern—or provide your own graphics, including logos. unikavaev.com 180

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JUNE.23

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts

8 woodgrains 3 solids produced at arches mill in france

3 new water abstracts

NEVAMAR

Walk in the Woods is a sustainably minded laminate collection encompassing solids, abstracts, and modern woodgrains. The collection is modeled on species indigenous to North America—an example of the brand doing its part to not promote the use of endangered or exotic timbers. panolam.com JUNE.23

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LAUNCH PARTNERS // FLOORING

standouts

11 products 200+ colorways red list chemical free u . s . made

ROPPE

The commercial flooring leader's myriad of Rubber sheet and tile options boast high performance, low maintenance, and sustainability. Coming soon— refreshed palettes developed in collaboration with color marketing experts will help maintain even more consistent and coordinated spaces. roppe.com

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts single - part boards in wood veneer over mdf up to 30” tall x 10’ long

100+ wood veneers , 40+ finishes

RULON INTERNATIONAL

Customize the size, species, spacing, and suspension method of the Baffles large-format wood ceiling system to suit your project needs. There’s even curved, segmented, and varied-profile formats, enabling near-endless layout options. rulonco.com JUNE.23

INTERIORDESIGN LAUNCH

183

LAUNCH PARTNERS // FABRIC & WALLCOVERING

standouts

4 collections and 22 patterns , including large - scale murals

139 total colorways textiles and vinyls

ARTE

The Spring 2023 Wallcoverings collections celebrate the joy of exploration, with bold patterns and tactile surfaces that draw on colors and textures found in the Far East, the Sahara, the French Islands, and the Himalayas. arte-international.com 184

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SEATING

// LAUNCH PARTNERS

standouts product family encompasses stools , lounges , and armchairs leather or faux suede upholstery

SOSSEGO

The Angela Family, designed by Aristeu Pires, is handcrafted from sustainably harvested Brazilian hardwood and features a flexible yet supportive leather back and solid metal hardware accents. sossegodesign.com

brass - or silver finish metal

JUNE.23

INTERIORDESIGN LAUNCH

185

LAUNCH PARTNERS // OUTDOOR

ZINC PATINA

STANDOUTS RECYCLABLE INJECTION - MOLDED ALUMINUM STRUCTURE MANUFACTURED IN SPAIN MODULAR AND CUSTOMIZABLE

EXPORMIM

Obi is Ludovica+Roberto Palomba’s tribute to Japanese culture: The elastic band wrapping the sofa’s backrest riffs on a kimono belt, while the high-tech and highly customizable collection is just as elegant indoors as out. expormim.com 186

INTERIORDESIGN LAUNCH

JUNE.23

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

FRY REGLET standouts

30+ shapes , 90+ sizes 10 - foot profiles enhanced instal lation accuracy and durability

A complete system of trims and reveals, the company’s architectural-grade aluminum Millwork Profiles come in myriad colors, finishes, shapes, and sizes, while factory-fabricated intersections and custom curving options support even more design possibilities. fryreglet.com

JUNE.23

INTERIORDESIGN LAUNCH

187

LAUNCH PARTNERS // FLOORING

standouts

2 abstract patterns , 2 stone and 2 wood effects superior durability , great acoustics healthy materials

MILLIKEN FLOORS

Merge Forward, a new PVC-free resilient tile in multiple patterns and colors, wears its excellent eco credentials on its sleeve: It’s a certified Declare Red List Free product and part of Milliken's M/PACT carbon neutral program. millikenfloors.com

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OFFICE

// LAUNCH PARTNERS

standouts place long or short sideboard on either side various desktop material options combine with intersection dividers

CORONA GROUP INC.

A proprietary mechanism gives the iMove-F ergonomic sit/stand desk system ease of adjustment and smooth height transition, while the sideboard encases one leg for a cohesive, space-maximizing design. coronagroupinc.com

JUNE.23

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LAUNCH

MIX

GANDIA BLASCO The sleek Tu&Yo sofa from designer Daniel Germani’s Solanas collection is outdoor-ready, courtesy of hand-welded powder-coated aluminum profiles, Dekton-capped armrests, and removable water-repellent fabric covers. gandiablasco.com/en

LUTRON

LUMENS

With endless fabrics, finishes, and styles to choose from, the company’s simple, sustainable Motorized Shades can fulfill any design vision. lutron.com

In Herve Langlais’s Nuage 15 Grand chandelier for DesignHeure, woven cords radiating from a single canopy culminate in luminaries with triangular fabric shades that can be hung in any composition. lumens.com

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MIX

// LAUNCH PARTNERS

ANDREU WORLD

BOVER

Precision craftsmanship meets technical innovation in Patricia Urquiola’s Oru chair, whose sustainable attributes include an FSC-certified ash frame and upholstery made with recycled fibers.

Roda embodies both presence and weightlessness: Its circular aluminum structure supports a continuous ribbon of LEDs to form a levitating ring of light. bover.es

andreuworld.com

COSENTINO

CRAFTMADE

Equally suited indoors and out, Dekton’s Pietra Kode collection offers a modern take on classic Italian stones, reformulating Vitruvian principles for contemporary architectural demands.

Reserve’s angular, midcentury-inflected form— available in numerous sizes, formats, and white or black powder-coating—gets just the right dose of sparkle courtesy of satin-brass hardware.

cosentino.com/usa

craftmade.com JUNE.23

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LAUNCH PARTNERS // MIX

RAKKS

SLOAN

Striking, strong, and highly customizable, the company’s classic architectural shelving systems and counter/bench support hardware have been a favorite of discerning designers for 50-plus years.

Geometric faceting and sleekly modern lines distinguish the brand’s Clark Street faucet and soap dispenser, designed to dazzle in high-end commercial applications. sloan.com

rakks.com

TAMLYN

TEKNION

The XtremeInterior line encompasses a variety of aluminum base profiles that can be finished in custom colors and even detailed with LED lighting—letting designers dream big. tamlyn.com

The company’s industry-leading architectural wall systems, available in myriad formats, are designed and manufactured with an equal focus on quality, aesthetics, and acoustics. teknion.com

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MIX

// LAUNCH PARTNERS

DAVIS FURNITURE

KINON SURFACE DESIGN

With a streamlined wood-veneer top that balances on a flared pedestal base, Jehs+Laub's Tavo table brings warmth, character, and a striking silhouette to commercial settings. davisfurniture.com

The company utilizes its unique palette of materials and finishes to design and fabricate—from concept to completion—custom Cabinetry and Wall Systems for builders and developers. kinon.com

MPS ACOUSTICS

PARLA

Creep baffles, offered in custom dimensions and colors as well as in woodgrain-look finishes, can be installed on ceilings and walls to create wraparound acoustic features. mpsacoustics.com

Designed by Burcu Özdamar, Arven ticks all the right boxes: a gracious metal frame highlights the bar stool’s elegant, ergonomic form, dressed up in cosseting upholstery. parladesign.com

JUNE.23

INTERIORDESIGN LAUNCH

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LAUNCH PARTNERS // MIX

TUDELÜ

TUUCI

Durable yet lightweight, the brand’s remotecontrolled retractable Closure walls are offered in sizes up to 10 by 20 feet, elegantly dividing and transforming spaces of any genre. tudelu.com

Spanning up to 24 feet, the expansive Ocean Master Mega Max parasol, crafted of premium marinegrade components, is reinforced to withstand wind gusts up to 75 miles per hour. tuuci.com

WILLIAMS-SONOMA, INC. BUSINESS-TO-BUSINESS

B+N INDUSTRIES

The company’s B2B division—offering access to its eight brands—can create tailored design solutions for projects ranging from small workspaces to large-scale developments. wsib2b.com

The Fortina architectural system looks and feels like real wood but is made of aluminum surfaced with a hyper-realistic non-PVC surface. bnind.com

194

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MIX

// LAUNCH PARTNERS

TURF

KEILHAUER

The name says it all: Plaid dampens sound via a cool crisscrossing form (in numerous colorways) available as an ambient standalone open system or continuous tile cap. turf.design

As comfortable as it is adaptable, the awardwinning carbon-neutral Melete chair—available in a multitude of formats—features clean lines and midcentury-modern styling. keilhauer.com

PROJECTS

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Wood Melbourne Brings Postmodern Pop to the

LAUNCH products COMMERCIAL

LIGHTING

STONE

Ultrafabrics

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Maglin Site

Pantone + Ultrafabrics

Flat

FAVA Cluster Seating

COMMERCIAL

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ACOUSTICAL SOLUTIONS

Knoll Textiles

Infinity Drain

Spinneybeck

The Nick Cave

Specialty Finish

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Be inspired on interiordesign.net

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03 Visit Interior Design SELECT partner showrooms at NeoCon to discover spot-on design for 2023.

JANUS et Cie 310-A, 1420

Haworth 312, 3-121

Davis Furniture 3-115

Mohawk Group 377

Keilhauer 373

floor

07 Momentum Momentum Textiles & Wallcovering 323

Formica 7-4069

Scandinavian Spaces 366

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10 Andreu World 10-130

DARRAN Furniture 10-165

Mannington Commercial 1039

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11 Shaw Contract 1014

TURF Design 1042

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b o o k s edited by Stanley Abercrombie

David Thulstrup: A Sense of Place

By Sophie Lovell New York and London: Phaidon Press, $79.95 256 pages, 235 illustrations, 174 in color This book, the first monograph of David Thulstrup’s work, traces the architect’s life and influences, from his childhood and schooling in Denmark up to the present day. He began his design education at the Royal Danish Academy of Fine Arts. He then went farther afield to add hands-on experience, spending three years at Ateliers Jean Nouvel in Paris and two at Peter Marino Architect in New York. He eventually returned to Denmark, launch­ ing the multidisciplinary Studio David Thulstrup in Copenhagen in 2009.

Thulstrup characterizes his style as “modern simplicity,” and these pages reveal 40 examples of such—houses, apartments, offices, schools, an airport, and stores, including nine for fellow Danish company Georg Jensen, among the architecture, interiors, and product designs shown. Perhaps his most prominent project was the 2018 redesign of Noma, the innovative Copenhagen restaurant that has been voted the best in the world and given 30 pages of the book. Occupying a cluster of 11 pav­ ilions by Bjarke Ingels Group, the interiors feature the ARV chairs and tables that Thulstrup designed specifically for the commission. Fittingly, author Sophie Lovell, who also penned Dieter Rams: As Little Design as Possible, is coeditor of The Common Table, a digital platform for food futures and systemic change.

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNER IN CREATIVE VOICES

Alvisi Kirimoto (“Institutional Knowledge,” page 136), alvisikirimoto.it.

Alda Ly Architecture (“Fresh Air,” page 49), alda-ly.com.

Architektura (“Institutional Knowledge,” page 136), archi.cz.

Atakarchitekti (“Institutional Knowledge,” page 136), atakarchitekti.com.

DESIGNER IN WALKTHROUGH

Gensler (“Institutional Knowledge,” page 136), gensler.com.

Atelier Cho Thompson (“Sole Sisters,” page 57), chothompson.com.

Vijay Gupta Architects (“Institutional Knowledge,” page 136), vga.co.in.

India Mahdavi (“Institutional Knowledge,” page 136), india-mahdavi.com.

PHOTOGRAPHER IN WALKTHROUGH

Neri&Hu Design and Research Office (“Institutional Knowledge,” page 136), neriandhu.com.

Jared Kuzia (“Sole Sisters,” page 57), jaredkuzia.com.

Studio Gemma (“Institutional Knowledge,” page 136), studiogemma.com.au.

DESIGNER IN CENTERFOLD Polymetis (“Taking Root,” page 99), polymetis.net.

PHOTOGRAPHERS IN FEATURES Tom Arban (“Human Resources,” page 112), tomarban.com.

BoysPlayNice (“Video Games,” page 152), boysplaynice.com.

Roland Halbe (“Fantasy Land,” page 120), rolandhalbe.eu.

Garrett Rowland (“Banking on It,” page 128), garrettrowland.com.

Eric Laignel Photography (“Coming Around Again,” page 104), ericlaignel.com.

Interior Design (ISSN 0020-5508), June 2023, Vol. 94, No. 5. Interior Design is published 12 times per year, monthly except combined issues in July/August and December/January with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices.

POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: Send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com.

Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2023 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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L I ST E N N OW

Discover podcasts shaping the design industry S U R R O U N D P O D C A S T S .C O M

flock mentality According to designer Red Hu, “Factories are becoming as important a representation of brand values as office or retail spaces.” Her opinion may be due in part to a recent project she and Greater Dog Architects cofounder Jin Xin recently completed in Shaoxing, China: the 200,000square-foot headquarters of BSH, which manufactures down pillows, duvets, and comforters, and encompasses offices, a café, R&D and production areas, plus retail and a section of factory that’s open to the public.

Hu and Xin looked to the qualities of down feathers to inform the building’s design language. Appearing to flutter across the facade is a run of aluminum fins powder-coated a pearly white. The color palette extends to the interior, where it’s accompanied by ultra-bright LEDs, resulting in an environment that’s both laboratorylike and ethereal.

The public-facing spaces work with the industrial flow of the factory to provide visitors with opportunities to see, smell, and touch. One such zone overlooks the factory floor, which is aglow from an LED-lit glass ceiling box that mimics a skylight. Below, on what looks like billowing bedsheets but are actually thin luminescent acrylic panels suspended from wire ropes attached to the overhead box, a gaggle of taxidermic geese looks as if ready to take flight. “Experiential space,” Xin notes, “has become the mainstream of the commercial field.” —Wilson Barlow

TOM HARRISQINGWEI MENG, YILUN XIE, RACHEL WU

i n t er vention

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