Interior Design February 2024

FEBRUARY 2024

major moves

ag

ag

PlaidPlaid C iling C iling S aS sa

s

AA ulula aous ousi is soo wwl loo ing ings sa a s s

u .du sign .d sign

The most powerful way to search and sample materials.

Hundreds of leading brands.

One site.

Order by midnight.

Samples tomorrow morning.

Free for architects and designers. materialbank.com

CONTENTS FEBRUARY 2024

VOLUME 95 NUMBER 1

ON THE COVER Students and professors from Germany’s University of Freiburg and University of Stuttgart used robotic manufacturing, AR, and over a decade of sea-urchin research to devise the livMatS Biomimetic Shell, a pavilion at the FIT Freiburg Center for Interactive Materials and Bioinspired Technologies made from pre­fabricated wooden modules, LEDs, and a thermally activated, recycled-concrete floor slab that, compared to a typical timber building, reduced material consumption by more than half. Photography: Roland Halbe.

02.24

features 94 DOWN THE NILE

by Stephen Treffinger

For repeat client Viking Cruises, Rottet Studio designs an elegantly serene ship for exploring Egypt’s cultural treasures and stunning riverscape.

104 TRUNK SHOW

by Dan Howarth

Still Young plants a giant tree sculpture as the physical and symbolic centerpiece of the Beijing flagship for Canadian outdoor apparel brand Arc’teryx.

114 HANG TIME

by Stephen Wallis

The Aspen, Colorado, ski house of a hospitalitycentric art collector and her family swings in a whole new direction courtesy of Ghislaine Viñas and S2 Architects.

124 RIGHT ON TRACK

by Georgina McWhirter

From Portugal and Sweden to China and the U.S., sports arenas, fitness centers, and wellness clinics are in tip-top shape.

138 PITCH PERFECT

by Rebecca Dalzell

At the San Francisco headquarters of VC firm Greylock Partners

by Rapt Studio, history meets innovation—and entrepreneurs launch game-changing businesses.

146 FOREVER LINKED

by Michael Snyder

The legacy of the late Fernando Campana lives on through a soon-to-open, ecologically focused park completed by his brother Humberto in Brotas, their Brazilian hometown.

GARRETT ROWLAND

114

CONTENTS FEBRUARY 2024

02.24

VOLUME 95 NUMBER 1

walk-through 39 A NEW ENERGY

by Lauren Gallow 45 JUST WHAT THE DOCTOR ORDERED

by Wilson Barlow and Lisa Di Venuta

Dental, medical, and skin- and pet-care facilities worldwide swap clinical for calm.

special market section 57 BEST OF YEAR PRODUCTS

by Georgina McWhirter

departments 15 HEADLINERS 19 DESIGNWIRE

by Annie Block 24 SHOPTALK 26 PINUPS

by Rebecca Thienes 30 BOOKS

by Wilson Barlow 33 CREATIVE VOICES Flower Power

by Peter Webster

At the Denver Art Museum, architecture and design curator Darrin Alfred organizes a summer exhibition around the life-enhancing connection between humanity and the natural world.

89 CENTERFOLD Wonders of the Sea

by Athena Waligore

156 CONTACTS 159 INTERVENTION

by Wilson Barlow 45

CHAO ZHANG

An urchin inspired a resource-efficient biomimetic pavilion in Freiburg, a joint effort between two German universities using new forms of human-machine interaction.

Learn More

Zen Conference Chair by jehs+laub Vida Conference Table by Hanne Willmann

editor in chief chief content officer

Cindy Allen, hon. IIDA MANAGING DIRECTOR

DESIGN DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

CREATIVE SERVICES

Annie Block

Marino Zullich

SENIOR EDITOR

PARTNER SUCCESS MANAGER

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSOCIATE EDITOR

Wilson Barlow Lisa Di Venuta

©2023

SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

digital

ASSISTANT EDITOR

SITE EDITOR

Carlene Olsen

EDITOR AT LARGE

Strata™

Olivia Padilla

Elena Kornbluth

SITE PRODUCER

Brooke Robinson

CONTRIBUTING EDITORS ©2019

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

Ventanas™

interiordesign.net @interiordesignmag @intdesmag @Interior Design Magazine

CONTRIBUTING PHOTOGRAPHERS

©2023

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

©2020

Shayle™

CHAIRMAN

Spectra™

Adam I. Sandow CHIEF EXECUTIVE OFFICER

Erica Holborn CHIEF OPERATING OFFICER

Michael Shavalier CHIEF DESIGN OFFICER

Cindy Allen CHIEF SALES OFFICER

Kate Kelly Smith

©2022

©2021

M

ei

he US

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.

Topaz™ Breeze™ Gyp

p S

e

i e k e e i f e f y ize Durable, fire-safe, and healthy. i g fe ew e i he U S f ve 20 ye !

206 788 4210 | i f @

| www

8

INTERIOR DESIGN

AUG.20

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

vice president, sales John Crosby

L I ST E N N OW

marketing

advertising

DIRECTOR

NORTHEAST SALES DIRECTOR

Tiffany Brieve

Greg Kammerer 646-824-4609

CAMPAIGN MARKETING MANAGER

Brittany Lloyd

SOUTHEAST SALES DIRECTOR

MANAGING GRAPHIC DESIGNER

Ellen Cook 423-580-8827

David Timoteo

NEW YORK SALES DIRECTORS

DESIGNERS

Julie Arkin 646-824-4787

Zeynep Kiris Paige Miller

Tamara Stout 917-449-2845

ASSISTANT

Alexa D’Amato

FLORIDA + CANADA

Colin Villone 917-216-3690

events DIRECTOR

Caroline Toutoungi

Discover podcasts shaping the design industry

sdg business development MANAGERS

Julie McCarthy 847-567-7545 ITALY + SWITZERLAND

Riccardo Laureri 39-02-236-2500 media@laureriassociates.it

Laury Kissane 773-791-1976 Brittany Relyea 802-349-8382

S U R R O U N D P O D C A S T S .C O M

MIDWEST + WEST COAST

SALES MANAGER

Betsy Alsip

sdg operations

714-931-5751 balsip@sandowdesign.com

EXECUTIVE DIRECTOR, FINANCE & OPERATIONS

GENERAL

Lorri D’Amico

idsales@interiordesign.net

SENIOR DIRECTOR, STRATEGIC OPERATIONS

Keith Clements CONTROLLER

Emily Kaitz DIRECTOR, INFORMATION TECHNOLOGY

Joshua Grunstra SALES ANALYST

Drew Mount

subscription information CONTINENTAL U.S. 800-900-0804 ALL OTHERS 847-559-7336 interiordesign@omeda.com 3651 FAU Boulevard Boca Raton, FL 33431

interiordesign.net

M AY 1,

20 23

re

rchitectu

arnes A

eB German Clever

– 1: 05 :5

4

0: 00

Y 23 , 20

24

Gaines Joanna rder O f o Ideas

JA NU AR

A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW DESIGN GROUP (SDG) carbon impact initiative, all publications, including LUXE INTERIORS + DESIGN, INTERIOR DESIGN, and METROPOLIS, are now printed using soy-based inks, which are biobased and derived from renewable sources. This continues SDG’s ongoing efforts to address the environmental impact of its operations and media platforms. Earlier this year, we announced a yearlong partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2023 with verified carbon credits, including the one you hold in your hands.

– 1: 00 :0

0

1

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

0: 00

10

INTERIOR DESIGN

AUG.20

New Composition I Trance End Metaphor 13174 and Harmony 43180

New Composition

Bring creativity and harmony into environments with New Composition. Inspired by the art of Wassily Kandinsky, the modular carpet and broadloom styles feature elemental shapes that Kandinsky favored, delicately layered and expressed in a palette designed for play. Building iterations of form and color across spaces, New Composition opens up the imagination. manningtoncommercial.com

INTRODUCING “INTERSECT” A NEW HIGH PERFORMANCE UPHOLSTERY FROM THE PATTY MADDEN SOFTWARE BRAND. VIEW THE COLLECTION & ORDER SAMPLES AT CFSTINSON.COM 800.841.6279 DISTRIBUTED EXCLUSIVELY IN NORTH AMERICA BY CF STINSON

e d i t o r ’s welcome

best intentions!

This is it, design fans. February—and the good things that have already come to bear with it—is the definitive tell-all that the new year has caught on and is in full, positive swing. Hooray! The three pennies I had in the market are now pushing to four (with a squillion more to go!). Here in the Catskills, Old Man Winter’s locked jaw promises to release soon. And, more importantly for us at Team ID, 2024 projects and products are already piling up high, events and show appointments are multiplying as we speak, and our passports are filling to the brim—another testament to the health of our patch of the industry.

So far, so hunky-dory…well, except for that one small bit, that tiny matter of new year’s resolutions. That’s where things get a tad fuzzy. Our best-laid wellness plans don’t jibe anymore: A newspaper article reveals that routine is not actually good for us; your in-theknow health-guru friend doesn’t believe in that other new thingy you wanna do. It’s confusing! Sooner said than done, 2025 seems a much better starting block for those commitments and sound ideas that came with the champagne toast, don’t you think?

Nah! As the saying goes, there’s no time like the present. And besides, our annual wellness coverage is here to help with this very issue! First, we hit the slopes—and find our inner ski bunny—at an Aspen, Colorado, chalet nicknamed the All Inn where we’re all in with the Scandinavian modern–meets–artsy–meets–“let’s have a good time” vibe. A sail down Egypt’s Nile River on a Viking Cruise ship features a three-story atrium (and skylights and windows!) that frames jaw-dropping views of hot-air balloons soaring over the Valley of the Kings by day and super-chic suites with walk-in dressing rooms and comfy tip-top bedding by night. To get in shape again, we run to the New Balance TRACK in Boston (inspired by giant shoelaces) and groove at a club-themed New York gym (complete with DJ nights and a fungi-focused café). And finally, for all-around self-care, we showcase a roundup of wellness facilities including a laser clinic in the Ukraine where rugged meets hi-tech and a cozy San Fran dental clinic (called CoZy) with homey fluted millwork and sunny yellow accents that would make any pearly whites smile.

It’s true: We may not keep all our resolutions (or any at all, ugh!), but hopefully this supercharged issue will inspire you personally and, better yet, your next best project!

Be healthy! Be happy! xoxo

Follow me on

Instagram

thecindygram

FEB.24

INTERIOR DESIGN

13

MARK DE LA VEGA FURNITURE DESIGNER APRON IN CAROLINA MIRROR

CHICAGO | DA LLAS | NASH V ILLE NEW J ERSEY | NEW YOR K | SA N FR A NCISCO

BRINGING ART TO

LIFE

A RTISTICTILE.COM | 8 4 4 - 3 0 2 - 9 3 6 6

Estúdio Campana “Forever Linked,” page 146 cofounder: Humberto Campana. firm site: São Paulo. firm size: 15 architects and designers. current projects: A solo exhibition of new works at Friedman Benda gallery in New York; a documentary about the studio and its practices debuting at Salone del Mobile in Milan. honors: Honorary doctorates from the University of the Arts London and the University of Córdoba. family: Campana launched the studio in 1984 with his younger brother Fernando, who passed away in 2022. community: In 2009, they founded the Campana Institute to promote design as a tool for social transformation through cultural and educational programs. estudiocampana.com.br

headliners

“Deeply rooted in Brazilian culture and traditions, our work carries universal values at its core, such as freedom and human dignity, creating identity through life experiences”

BOB WOLFENSON

FEB.24

INTERIOR DESIGN

15

Rapt Studio

Ghislaine Viñas

S2 Architects

“Pitch Perfect,” page 138

“Hang Time,” page 114 principal: Ghislaine Viñas. firm hq: New York. firm size: 11 designers. current projects: Residences in Manhattan, Upstate New York, and Pittsburgh. honors: Interior Design Best of Year Awards.

“Hang Time,” page 114 principal: Joseph Spears, AIA. firm site: Aspen, Colorado. firm size: Three architects. current projects: Residences in Aspen. honors: AIA Colorado Merit Awards; Colorado Home & Lifestyles 5 under 40.

Santa Clara, California; CNN in Los Angeles; and Warner Bros. Discovery in Atlanta. honors: Interior Design Best of Year Award; Inside World Festival of Interiors finalist; World Interior News Awards finalist. ciao: Galullo recently became an Italian citizen, in addition to U.S. hola: Dubitsky enjoys cooking traditional Mexican cuisine, as well as Thai. raptstudio.com

country: Since moving to Tivoli, New York, Viñas graduated from riding a mower to a tractor as her vehicle of choice. coastal: Her favorite winter sport is going to the beach. ghislainevinas.com

see-through: Spears’s love of glass and fenestration inspires frequent sourcing trips to Europe. seeing it through: He is a licensed contractor with a deep knowledge of constructability. s2architects.com

Rottet Studio

Still Young

“Down the Nile,” page 94 firm size: 70+ architects and designers. firm hq: Houston. founding principal, CEO: Lauren Rottet, FAIA.

“Trunk Show,” page 104 founder: Eric Ch. firm hq: Shanghai. firm size: 20 designers. current projects: McDonald’s, Neiwai Active stores, and Chagee tea shops, all in China. honors: Créateurs Design Award; Singapore Interior Design Award; London Design Award.

founding principal, viking lead designer:

Richard Riveire, AIA. current projects: Four Seasons Hotel Chicago;

Langham, Seattle hotel; an entertainment-industry office in Los Angeles. honors: Interior Design Best of Year Awards; Forbes Best Luxury Cruises award. high culture: Rottet is heavily influenced by the Light and Space art movement of the 1960’s. pop culture: Riveire loves old movies and theme parks. rottetstudio.com

h e a d l i n e rs 16

INTERIOR DESIGN

FEB.24

work: Ch founded Still Young in 2007, and now has additional offices in Guangzhou and Wuhan. play: He collects Philippe Starck industrial products and DC Comics superhero figurines. stillyoung.cn

TOP, FROM LEFT: MATTHEW WILLIAMS; SAM GRAY; ERIN KESTENBAUM; BOTTOM, CENTER: ALLISON SCHALLERT

ceo, chief creative officer: David Galullo. creative director: Mike Dubitsky. firm hq: San Francisco. firm size: 30 architects and designers. current projects: Offices for ServiceNow in

© 2024 Keilhauer

FORYU OFFICE CHAIR

Comfort without complication. Sleek, versatile, and lightweight, the Foryu office chair simplifies seating while elevating style and support by automatically adapting to find every user’s comfort zone.

Foryu is available in two Quick Ship models with two-week lead times.

Designed by Martin Ballendat. Made by Keilhauer.

LIFE OUTSIDE IS A LIFE WELL LIVED.

SOLANOX CABANA

TUUCI.COM

CLOCKWISE FROM TOP RIGHT: MELISSA GOODWIN/COURTESY OF LOIE HOLLOWELL, JESSICA SILVERMAN, SAN FRANCISCO, AND PACE GALLERY; MELISSA GOODWIN/ COURTESY OF LOIE HOLLOWELL AND PACE GALLERY; COURTESY OF FEUER MESLER GALLERY; TOM BARRATT/COURTESY OF LOIE HOLLOWELL AND PACE GALLERY

design wire

edited by Annie Block

wonder woman A few weeks into 2024 and Loie Hollowell is already having a banner year. The 40-year-old abstract painter known for biomorphic, female forms in radiant, mystical palettes—what she calls “metaphors for the body”— has not one or two but three solo exhibitions this winter. What’s going on? “They’re the compilation of the processing of the birth of my second child and the close connection I got to have with both my kids during the pandemic lockdown,” she explains of her work and offspring, born 2018 and 2020. “I’m having a prolific moment because they’re at an age where I’m able to have longer periods of time in my studio,” which, like her home, is in Ridgewood, Queens.

Things kicked off mid January in San Francisco at Jessica Silverman gallery, which introduced 10 of Hollowell’s new bas-relief paintings of a three-dimensional belly that morphs into a planetary orb. Later that month, the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, bowed her first museum presentation on the East Coast with 39 works from 2014 to today. In March, with “Dilation,” Pace New York spotlights the artist’s process, which begins with pastel drawings, featuring 10 she has created in the last year. Measuring approx­ imately 27 by 30 inches, they’re the largest drawings the gallery’s ever exhibited.

Clockwise from top right: Five Centimeters Dilated is one of 10 new works by Loie Hollowell in “In Transition,” her solo show at Jessica Silverman gallery in San Francisco through March 2. Simultaneously on view through August 11 is her retrospective “Space Between, A Survey of Ten Years,” at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, which includes Scarlet Brain, 2022, Yellow Mountains, 2016, and Point of Entry, 2017.

FEB.24

INTERIOR DESIGN

19

art on ice Temperatures were chilly in New York over the winter holidays. But at 99 Scott in East Williamsburg, Brooklyn, the vibe was hot. That was courtesy of Studio Skate, a pop-up ice rink curated by Zoe Lukov featuring a site-specific commission by interdisciplinary artist Christopher Myers. Titled Feathers on the Waves, the installation’s colors recall Myers’s stained glass, yet his inspiration came from such trailblazers as Surya Bonaly, whose backflip during the 1998 Winter Olympics defied conventions. “The history of Black athletes on ice is long and complicated,” Myers says. “Feathers consists of images of bodies suspended between here and there, like those in the myth of Icarus, filled with aspiration, freedom, and sometimes failure.” Speaking of bodies, that of singer Alicia Hall Moran was outfitted in a costume by Myers when she performed at the rink.

Studio Skate wrapped last month. But a solo exhibition of stained-glass light boxes by Myers are on view in Charlotte, North Carolina, as will be his monumental textiles at the Biennale of Sydney, March 9 to June 10.

Clockwise from bottom: Studio Skate, a 2,500-square-foot pop-up ice rink in Brooklyn, New York, from last November to January, featured Feathers on the Waves by local artist Christopher Myers. Alicia Hall Moran, in a costume by Myers, performed at the rink’s opening. Myers at the National Gallery of Art, Washington, last year. Uncapping, his 5-foot-square stained-glass light box, is part of his current solo exhibition at the Harvey B. Gantt Center for African-American Arts + Culture in Charlotte, North Carolina, through July 21.

20

INTERIOR DESIGN

FEB.24

FROM TOP: DANIEL GREER/COURTESY OF STUDIO SKATE; DAN BRADICA/COURTESY OF CHRISTOPHER MYERS AND JAMES COHAN, NEW YORK; TRICIA ZIGMUND/COURTESY OF THE NATIONAL GALLERY OF ART; COURTESY OF STUDIO SKATE

d e s i g n w ire

hola, diseño

d e s i g n w ire

Clockwise from bottom left: “Have a Seat: Mexican Chair Design Today,” at the Denver Art Museum from February 18 to November 3, features Esteban Caicedo Cortes’s Palapas, Javier Reynaga’s Milo, and Andrés Lhima’s Fidencio Sillón. “Crafting Modernity: Design in Latin America, 1940–1980,” at the Museum of Modern Art from March 8 through September 22, includes a circa 1970 poster of Knoll furniture by Chilean Roberto Matta, its graphic design by Argentines Guillermo González Ruiz and Roland Shakespear, and Brazilians Lina Bo Bardi’s 1951 Bowl chair and Oscar Niemeyer’s 1978 Modulo Low table.

22

INTERIOR DESIGN

FEB.24

CLOCKWISE FROM BOTTOM LEFT: COURTESY OF ESTEBAN CAICEDO CORTES; COURTESY OF JAVIER REYNAGA; TANIA VÁZQUEZ/COURTESY OF ANDRÉS LHIMA; COURTESY OF THE MUSEUM OF MODERN ART, NEW YORK (3)

In Colorado and New York, Latin America is having a moment. This month, “Have a Seat: Mexican Chair Design Today” opens at the Denver Art Museum featuring 17 contemporary pieces from the DAM’s permanent collection. There are also historical artworks, underscoring the connection between modern-day Mexico and the country’s ancient and colonial artistic practices; the opportunity for visitors to conceive their own digital chair; and a site-specific installation by Mestiz founder, architect and textile designer Daniel Valero. “The show and these designers explore the realm where traditions and cultures converge with innovation,” says Jorge Rivas Pérez, the museum’s Frederick and Jan Mayer curator of Latin American art.

In March, “Crafting Modernity: Design in Latin America, 1940–1980” launches at the Museum of Modern Art in Manhattan encompassing 110 items from Argentina, Brazil, Chile, Colombia, Mexico, and Venezuela that spearheaded the development of modern domestic design in the region. “Through the study of objects and material culture, a more nuanced vision of Latin America can emerge,” explains guest curator Ana Elena Mallet, who herself is based in Mexico City.

“We should be thinking about how buildings can affect our heart, lungs, gut health, skin, brain, and mental health. We know these systems are deeply interconnected and that the design of the places where we live, work, and play has an enormous impact on all of them—which is why we’ve made it our mission to help designers and developers understand this relationship better.”

—Ben Channon, Ekkist

“When I think of design for happiness, the first thing that comes to mind is intimacy.

The spectrum of intimacy is as wide as the spectrum of life, but the common element is a moment shared by at least two people that lives in one’s heart and mind forever.

My partner, Sue, and I never say this to clients, but we secretly hope the spaces we create will spark a moment of joy and gratitude. Context, color, texture, form, light, and people all combine to make a life experience. Interior design can be the warm blanket that makes you feel secure or the heroic space that brings you close to the divine. It can elevate us—and it’s a grand chase to capture that fleeting moment of grace.”

—Joey Shimoda, Shimoda Design Group

“‘Form follows feeling’ is the guiding principle of our practice. We consider current knowledge in neuro-aesthetics, which looks at the effect of space and experience on the brain and body, and thoughtfully deploys the potentials of proportion, scale, materiality, spatial hierarchies, and other inputs to amplify a desired feeling. Designing for neurodiversity is also a growing focus.”

—Suchi Reddy, Reddymade

“Happiness varies from person to person, so we must have ongoing conversations with clients to learn the subtleties of their spatial hopes and dreams. We always listen carefully so we can create spaces in which our clients thrive— whether it has been the desire for intergenerational engagement in an art museum, a vision to bring outsiders into the world of a poetry library, or a request for full-size stoves in the kitchens of an affordable-housing complex.”

—Louise Braverman, Louise Braverman Architect

“Color has the power to shift the way we feel—and saturation and brightness often have a more profound effect than the hue itself. When used with intention, it is a medium that can support well-being and joy, as well as other emotions. Because color is a wavelength that penetrates our skin, we not only see it but we also feel it.”

—Laura Guido-Clark, Laura Guido-Clark Design 24

INTERIOR DESIGN

FEB.24

CENTER LEFT: MARTA ELENA VASSILAKIS; CENTER RIGHT: CHLOE HORSEMAN

How might we design for happiness and well-being?

Original design from the ground up.

FLOORING | RUGS | WALL TEXTILES | UPHOLSTERY | WINDOW COVERINGS

chilewichAD.com SHUTTLE, Copper

p i n ups

edited by Rebecca Thienes

blurred lines Sinuous geometries and tactile finishes play against industrial-cool stainless steel in light fixtures produced via a combination of high-tech and artisanal techniques

STANISLAV PRIVALOV

Fresh.Glass’s straight or curved OIOIIO lighting modules, which can be used singly or ganged to form various compositions, are kiln-cast from chips of scrap glass to conjure a frosty look and velvety hand, then fitted with mod steel hardware and an LED strip. fresh-glass.com

26

INTERIOR DESIGN

FEB.24

p i n ups light industrial

Dutch designer Paul Coenen utilizes a hydraulic press to bend a single sheet of laser-cut stainless steel into a sleek wall sconce or table lamp whose curved forms—derived from prototyping in paper—are handriveted together. paulcoenen.nl

28

INTERIOR DESIGN

FEB.24

The Wabi Sabi Collection I perennialsandsutherland.com

b o o k s edited by Wilson Barlow

Whether for a clothing label or a restaurant rollout, branding has become increasingly more crucial for commercial success.

Turner Duckworth certainly knows this. In fact, it’s hard to go a day without coming across the work of the prolific graphicdesign and consulting agency, which counts Coca-Cola, Levi’s, and McDonalds (according to its snappy website, “You’ll find our work in your fridge, your inbox, your wardrobe, and your shopping basket…) among its clients. Cofounded in 1992 by David Turner and Bruce Duckworth, with offices in New York, San Francisco, and London, this book shines a deserved light on the two, diving into their creation of notable campaigns, from the Amazon smile logo to a redesign of the Campbell’s soup can, and exploring decades of collaboration with companies large and small (Turner Duckworth even designed an album cover for Metallica).

A mélange of graphics and images, reflections on beauty, inspirations, and apt quotations from the likes of T.S. Eliot and Bruce Lee, some sections are written by Turner and Duckworth themselves, while others feature stories told by such clients as Jessica Spence, Beam Suntory’s president of North America, who has tapped the studio to conceive limited-edition labels for Maker’s Mark and Hornitos Tequila bottles. The book’s title derives from what Turner and Duckworth hope to hear from every client after finishing a project: “I love it!”

30

INTERIOR DESIGN

FEB.24

LEFT TOP: ANDREW DAVIDSON, C/O MENDOLA ARTISTS, WITH PERMISSION FROM BEAM SUNTORY, ALL RIGHTS RESERVED; LEFT BOTTOM: COURTESY OF AMAZON

I Love It. What Is It?

By Turner Duckworth and Gyles Lingwood New York and London: Phaidon, $40 272 pages, 150 color illustrations

collection OSMANTHUS pattern GARDENS OF OKAYAMA

ELEVATE LOUNGE SEATING FROM THE EXPECTED TO THE EXQUISITE. KITHARA

Designed by Brad Ascalon

KIMBALLINTERNATIONAL.COM

c r e at i v e voices

flower power At the Denver Art Museum, architecture and design curator Darrin Alfred organizes a summer exhibition around the life-enhancing connection between humans and the natural world

FROM TOP: ORIOL TARRIDAS/COURTESY OF SUPERBLUE MIAMI; ERIC STEPHENSON

As a young graduate with a bachelor’s in architectural studies from the University of Pittsburgh and a master’s in landscape architecture from the University of Colorado Denver, Darrin Alfred soon discovered professional practice wasn’t for him. “I wanted something I was more passionate about,” he recalls.

“So, I got a job as a curatorial associate at the San Francisco Museum of Modern Art,” initially working on architecture, design, and digital projects under innovative curator Aaron Betsky. It proved a perfect fit, and he’s been involved with museums ever since.

In 2007, Alfred joined the Denver Art Museum, where he now heads the architecture and design department. It boasts the museum’s largest collection—more than 18,000 objects dating from the 16th century to the present, including the encyclopedic AIGA design archives—displayed since 2020 in dazzling OMA-renovated galleries in the iconic Martin Building by Gio Ponti. But it’s Studio Libeskind’s titanium-clad Hamilton Building that will host Alfred’s upcoming summer blockbuster, “Biophilia: Nature Reimagined,” a multisensory exhibition comprising more than 70 works, including architectural models and photographs, objects, furniture, fashion, digital installations, and immersive art environ­ ments that collectively address the transformative power of nature.

“The show isn’t about biophilic design, per se,” Alfred is quick to explain. “It’s more about our endur­ ing emotional, psychological, and spiritual connections to the natural world.” Featuring an international roster of designers, architects, and artists—Iris van Herpen, Studio Gang, Zaha Hadid, Joris Laarman, and DRIFT, to name a few—“Biophilia” will be organized around three themes reflecting aspects of nature that most influence our well-being: Natural Analogs: Form and Pattern; Natural Systems: Processes and Phenomena; and Topophilia: People and Place. We spoke to Alfred about the show.

From top: Meadow, a 2017 site-specific kinetic installation by the Amsterdam-based multidisciplinary studio DRIFT, part of “Biophilia: Nature Reimagined,” an exhibition running May 5 through August 11 at the Denver Art Museum. The organizer of the show, DAM’s curator of architecture and design, backdropped by ceramic reproductions of the faceted glass tiles Gio Ponti originally designed to clad the museum’s Martin Building, which dates to 1971.

FEB.24

INTERIOR DESIGN

33

What was the genesis of “Biophilia?”

Darrin Alfred: With my landscape background, and having lived for 16 years in Colorado, I was interested in the deep connection people here feel for the outdoors. I see it in California, too, but I don’t think we necessarily understand where this passion comes from or why we have an enduring bond with the natural world. I began noticing work that addressed the

What’s the first theme and what pieces in the show represent it?

DA: Natural Analogs, which relates to the shapes, structures, and geometries found in nature—the spirals, honeycombs, and dendritic patterns that our brains have developed an affinity for. A good example is the Floraform Chandelier by the Palenville, New York, studio Nervous System, which translates the

environment—the greening of design—but also did more than that by exploring how nature affects our physical, emotional, spiritual, and intellectual development, individually and collectively. Around 2016, I pitched the idea of a show underscoring the transformative role contemporary designers, architects, and artists can play in rekindling this bond. It got pushed aside by other projects, the new galleries, and then COVID, but everything started to solidify about two years ago, and here we are.

cellular growth patterns of leaves and petals using complex algorithms and 3-D printing to fabricate a nylon hanging light that casts intricate shadows.

How would you characterize these types of work in general?

DA: Works that call us to heighten our senses, to observe the natural world more closely. They offer moments of quiet catharsis that allow us to slow down amidst the hyper-accelerated digital lives we all live today. In looking for works that really do that, we developed three themes or lenses to help bring them into focus.

What’s the second category?

DA: Natural Systems, which explores nature’s dynamic processes—seasonal and temporal changes such as weather patterns and botanical growth cycles. These works are more immersive and multisensory, like Meadow by Amsterdam studio DRIFT; it’s a kinetic sculpture of oversize mechanical silk flowers that mimics the nyctinastic opening and closing of blossoms in a choreographed sequence. Or the international art collective teamLab’s Flowers and People, an interactive digital installation with a meditative soundtrack that presents a year’s worth of computergenerated seasonal flowers blooming and withering over the course of an hour.

FROM TOP: JORIS LAARMAN; COURTESY OF THE ARTIST AND PACE GALLERY; STUDIO GANG

c r e at i v e voices

Opposite, from top: Dutch designer Joris Laarman’s 2014 Microstructures Adaptation Chair (Long Cell) Prototype, a plantlike structure of 3-D printed polyamide and copper.

Flowers and People–A Whole Year per Hour, 2020, art col­ lective teamLab’s interactive digital installation com­pres­sing the life cycles of seasonal blossoms into 60 minutes. Still under construction in downtown Denver, Studio Gang’s Populus hotel, its fluted form and distinctive window patterns evoking a grove of aspen trees.

Clockwise from top left: Hand-sculpted in painted castcotton paper and patinated steel, lush banana-plant fronds form the 8-foot-tall Nana Lure chandelier, 2021, by Brooklyn, New York, studio Pelle. Comprising countless injectedpolyamide modular elements, the weblike Algues screen, a seminal 2004 design for Vitra by French brothers Ronan and Erwan Bouroullec. Resembling circular leaves floating on water, the hand-pleated organdy Lily dress from New York fashion collective threeASFOUR’s spring/summer 2020 Human Plant collection. A 2022 collaboration between Aranda\Lasch design studio and basket weaver Terrol Dew Johnson, Desert Paper 09, a creosote and jute sculptural vessel incorporating materials from the Sonoran Desert.

The Floraform Chandelier, 2017, a hanging light made of 3-D printed nylon by Nervous System.

CLOCKWISE FROM TOP LEFT: COURTESY OF PELLE; PAUL TAHON, R. BOUROULLEC, E. BOUROULLEC; RANDY BROOKE; COURTESY OF VOLUME GALLERY; COURTESY OF NERVOUS SYSTEM

FEB.24

INTERIOR DESIGN

35

You’ve dubbed the final theme Topophilia.

What’s that?

DA: It delves into the emotional and spiritual connection that humanity has with the physical environment through works that highlight the interplay between people and nature, culture and place.

Desert Paper—a collaboration between Aranda\ Lasch, which works out of New York and Tucson, Arizona, and Terrol Dew Johnson, an artist, basket weaver, and member of the Tohono O’odham Nation in Southwestern Arizona—is a series of experimental 36

INTERIOR DESIGN

FEB.24

vessels incorporating natural materials Johnson gathered in the Sonoran Desert. Here in downtown Denver, the Populus hotel by Studio Gang takes its name from the Latin for quaking aspen, an instantly recognizable symbol of Colorado. The 13-story scalloped facade evokes a stand of the trees while the distinctive window shapes resemble bark patterns on their trunks. It’s under construction but should open around the same time as the exhibition.

—Peter Webster

Clockwise from top: Czech artist David Valner’s Fungus vases and Polypore bowl, 2018-22, handcrafted glass vessels inspired by mushrooms and toadstools. Festooned with pineconelike spirals, California-based ceramist Brad Miller’s 13-inch-diameter stoneware plate from 2019-23. Almost 12 feet tall, One-seater Concrete Tree, 2022, a metal-mesh, cork, steel, and concrete sculpture by Netherlands-based Nacho Carbonell, evoking memories of his childhood in Valencia, Spain. Incorporating frogs, finches, snakes, meerkats, and other fauna and flora, Los Angeles designer David Wiseman’s Midnight in the Meadow wallpaper from 2023.

CLOCKWISE FROM TOP: TEREZA VALNEROVA; ALEX DELAPENA; RONALD SMITHS/COURTESY OF CARPENTERS WORKSHOP GALLERY; COURTESY OF WISEMAN STUDIO

c r e at i v e voices

Bolon, but better.

Matter Surfaces - Exclusive North American Partner Mattersurfaces.com

Scan to sign up for product updates

Design by Diez Office

The New Era of Lighting

Discover

walk through a new energy firm: rand elliott architects site: oklahoma city

At the headquarters of Flogistix, a company focused on emissions reduction, film in the brand’s signature orange was applied to windows of the river rock–lined entry vestibule.

SCOTT MCDONALD/GRAY CITY STUDIOS

FEB.24

INTERIOR DESIGN

39

Clockwise from top: An existing outdoor sculpture by JHBR Architecture marking the entry was painted Flogistix orange, and the corrugated-metal siding refinished and supplemented with engineered-wood panels. A 36-foot-wide LED screen in the 28-seat central conference area is joined by marker boards of back-painted glass encouraging creative exploration and doubling as interior walls. The company mantra, “Our Goal is Zero,” features in the entry, encircled by a BIG– Bjarke Ingels Group wall-mounted light fixture. In the conference area, anchored by a Flogistix drone, Yuno modular tables by Andreas Krob pair with Arne Jacobsen chairs.

40

INTERIOR DESIGN

FEB.24

At a moment when the climate crisis demands more innovative solutions than ever before, Oklahomabased tech company Flogistix is moving the needle on emissions reduction. For its new headquarters in the state’s capital, company CEO Mims Talton enlisted the eponymous founder of Rand Elliott Architects to craft a space as inspiring as it is functional, immersing visitors in an atmosphere that makes a clean future feel squarely within reach.

“Atmosphere” was a fitting focus for the design team, as it is also the realm where Flogistix innovates. The company uses drone technology to sniff out and capture escaping methane gas before it is released into the atmosphere and then remotely services petroleum-industry clients’ vapor-recovery equipment. “In my first conversation with Mims, he described Flogistix as being in the business of ‘producing clean air’,” recounts Elliott, an Interior Design Hall of Fame member. “It was a fascinating start, but how do you tell an architectural story about something invisible?”

Elliott and team’s solution was to immerse visitors in the mysterious, somewhat intangible world of Flogistix using the careful modeling of space, dramatic lighting, and high-tech elements. “We thought if we could bring people into an atmosphere that completely surrounds them, we could transport them to a place where they begin to understand what Flogistix does,” the architect explains. Entering through an orange-tinted glass vestibule, visitors are immediately engulfed in a different dimension, with the bulk of the 2,400-square-foot space given over to a large flexible conference room with a 36-foot-wide LED screen for presentations and immersive visuals.

SCOTT MCDONALD/GRAY CITY STUDIOS

w a l k through

SCOTT MCDONALD/GRAY CITY STUDIOS

41

INTERIOR DESIGN

FEB.24

A backlit photograph of the Earth hovers overhead, reminding visitors and staff alike of the company’s raison d’être.

The site itself is a lesson in repurposing: a 1970’s building originally designed as an architectural office but that had fallen into a sorry state after hosting a series of other tenants. Stripping the interior to the core and shell and removing all interior walls offered a blank slate. Outside, an existing sculpture was painted the brand’s signature orange and up-lit, its abstract quality finding cohesion with the pops of modern art installed inside, including a showpiece by street artist Mr. Brainwash. Throughout, an ethos of awe and discovery abounds, transporting staffers and guests to a world where old limitations are cast off and new possibilities celebrated. “Today’s challenges require us to think differently,” Elliott says. “This space and Flogistix itself reminds us we have the power to make an impact.” —Lauren Gallow FROM FRONT SOLYX FILMS: WINDOW FILM (ENTRY). NEWTECHWOOD: SIDING (EXTERIOR).

ARTEMIDE: WALL-MOUNT FIXTURE (ENTRY). DAKTRONICS: LED SCREEN (CONFERENCE AREA).

BERNHARDT DESIGN: MODULAR TABLES. FRITZ HANSEN: CHAIRS. SKYLINE DESIGN: MARKER BOARD. CLIPSO: STRETCH CEILING. SHAW CONTRACT: CARPETING. CARL HANSEN & SØN: LOUNGE CHAIRS (LOBBY). HERMAN MILLER: TABLE. KNOLL: BARSTOOLS. INTERFACE: FLOORING (BATH­ ROOMS). VIGO INDUSTRIES: SINKS. KOHLER CO.: SINK FITTINGS. THROUGHOUT SHERWINWILLIAMS: PAINT. LINGO CONSTRUCTION SERVICES: GENERAL CONTRACTOR.

w a l k through 42

INTERIOR DESIGN

FEB.24

SCOTT MCDONALD/GRAY CITY STUDIOS

From top: A “blue marble” image of the Earth sourced from NASA is printed on the backlit stretched ceiling illuminating the central conference area. Dual seating areas define the lobby, one set within a white oak–clad nook and featuring Harry Bertoia barstools, the other with Hans Wegner Ox and Queen chairs, an Isamu Noguchi table, and Einstein by Mr. Brainwash. Three individual restrooms run along the building’s north end, with glass vessel sinks set atop custom oiled-walnut casework.

Flitter

Make it Shine MAKE IT WITH

Light Collection | Performance Textiles MomentumTextilesandWalls.com

wa l k through See page 50 for Metrodora Institute in West Valley City, Utah, by Denton House and HGA.

just what the doctor ordered Dental, medical, and skin- and pet-care facilities worldwide swap clinical for calm

KENDALL MCCAUGHERTY/HALL + MERRICK + MCCAUGHERTY

FEB.24

INTERIOR DESIGN

45

w a l k through

project CoZy Dental, San Francisco. square feet 1,300. standout Although the Z stands for founder Dr. Cici Zhou’s last name, the practice moniker is represented in its interiors via homey fluted millwork, pastel pendant fixtures, terrazzo-patterned ceramic tile, and biophilic accents.

Douglas-fir ceiling beams draped with canary nylon mesh and walls painted a sunset gradient further the feeling of serenity. sawinc.com 46

INTERIOR DESIGN

FEB.24

ALANNA HALE

spiegel aihara workshop

ALANNA HALE

FEB.24

INTERIOR DESIGN

47

temp project

YEVHENII AVRAMENKO

project 13 Laser Clinic, Kyiv, Ukraine. square feet 1,700. standout Nature’s ruggedness meets 21st-century technology at the skin-care center utilizing organic cosmetics and advanced laser-based treatments. The concrete reception desk mimics a boulder and flooring and walls recall raw pumice, while stainless-steel shelving and neon signage lean futuristic. Soft, rounded seating adds warmth. instagram.com/tempproject

48

INTERIOR DESIGN DESIGN

MAY.22 FEB.24

w a l k through

YEVHENII AVRAMENKO

FEB.24

INTERIOR DESIGN

49

w a l k through

denton house and hga project Metrodora Institute, West Valley City, Utah. square feet 50,000. standout Residentially scaled furniture, gentle color palettes, views of and artwork featuring the surrounding mountains, plus a constellation of locally crafted pendant fixtures evoking flower petals are among the feminine touches at the center named after an ancient Greek woman physician, focusing on neuroimmune axis disorders.

KENDALL MCCAUGHERTY/HALL + MERRICK + MCCAUGHERTY

dentonhouse.com; hga.com

50

INTERIOR DESIGN

FEB.24

Introducing Chessie

w a l k through

makhno studio project Dacha Center, Kyiv, Ukraine. square feet 9,150. standout A sunny color scheme lends cheer to the long-term care facility for children with cancer and their families. A plywood tree of life and hand-painted animals add whimsy, while, under a ceiling installation of wind-chimelike planks emblazoned with donor names, portraits of past residents as healthy adults instill hope.

SERGIY KADULIN

makhnostudio.com

52

INTERIOR DESIGN

FEB.24

F E AT U R E D : G R A F F I T I – T H E A R T O F T H E TAG C AT C H E S T H E F L U I D M O T I O N O F W R I T I N G S T Y L E S , C A P T U R I N G A M O M E N T I N T I M E A N D B U I L D S U P O N I T S E L F.

A portion of the collection’s sales will help fund Mike Ford’s Hip Hop Architecture camps.

THE

INTERSECTION OF DESIGN + HIP HOP CULTURE

Introducing the Mike Ford + Shaw Contract Collection of rugs and broadloom that celebrates the 50th anniversary of Hip Hop. The designs are inspired by the visual expression of the five elements of Hip Hop: Graffiti, DJing, Emcee, Breakdancing & Knowledge. Ford’s mission is to position Hip Hop culture as a catalyst to introduce underrepresented youth to architecture and design.

w a l k through

informal design

CHAO ZHANG

project Gogoland, Huizhou, China. square feet 3,230. standout Plywood veneer and exposed concrete structural beams maintain the industrial mood at a vacant factory that’s been converted into a place for pets and owners. Amenities include cat- and dog-grooming rooms, kennels, an outdoor play area, and custom furniture with built-in leash holders and hollows for hideand-seek. informaldesign.cn —Wilson Barlow and Lisa Di Venuta

54

INTERIOR DESIGN

FEB.24

PERFECTING OUTDOOR LIVING F O R O V E R A C E N T U RY

Intro d uci ng Ele vati o n - o u r Ad i r o nd a ck inspired deep seating collection in aluminum.

Avai lable i n 2 2 f i ni s h o p ti o ns and 1 40 cur ated fab ri cs . Fi nd Ele vati o n and o ther inspired collections at woodard -f urniture.com

pollackassociates.com

market

best of year

A roundup of the 2023 Interior Design Best of Year Award–winning products text by Georgina McWhirter

bolon A kaleidoscopic flock of geometric and organically shaped woven-vinyl tiles allows designers to create punchy graphic art underfoot. That’s the premise of Shapes, Bolon’s Best of Year–winning collection for Hard Flooring. The nine available formats—including Link (shown), Hexagon, Prism, Triangle, Rectangle, and Wave—are customizable in color and size, plus they can be mixed together in unique compositions. Earning sustainability points, the tiles are made on looms using recycled materials and renewable energy. Channel your inner Sol LeWitt or Ellsworth Kelly; after all, flooring shouldn’t be boring. Through Matter Surfaces. mattersurfaces.com

SHAPES

FEB.24

INTERIOR DESIGN

57

m a r k e t best of year

Gallotti&Radice

Lumber by Addi

Pleiadi by Studiopepe

CONTRACT STOOL

HBF Bao by Alda Ly Architecture

58

INTERIOR DESIGN

FEB.24

CLOCKWISE FROM TOP LEFT: JONAS LINDSTRÖM STUDIO; MATTEO IMBRIANI; PIPPA DRUMMOND

TILE WALLCOVERING: DESIGNER COLLECTION

CONTRACT BENCH

Mizetto

CONTRACT SEATING

Skandiform through Scandinavian Spaces

Pedrali

Lola by Margot Barolo

Buddyhub by Busetti Garuti Redaelli

CONTRACT FURNITURE

TABLETOP

Mad Lab Scalaria by Alejandra Gandía-Blasco

CLOCKWISE FROM TOP RIGHT: ART DIRECTION BY STUDIO FM, STYLING BY STUDIO SALARIS, PHOTO BY ANDREA GARUTI; ÁNGEL SEGURA

CONTRACT WALLCOVERING

Astek Uplifted by Tomma Bloom

FEB.24

INTERIOR DESIGN

59

CONTRACT SOFA

Cor Sitzmöbel Nook by Jehs+Laub

ACCESSORY

KITCHEN CABINETRY

Forces at Play

Poggenpohl

Weir

Contour

FABRIC WALLCOVERING

Arte

TOP LEFT: COR/LAURA THIESBRUMMEL; BOTTOM LEFT: FRANCIS DZIKOWSKI

Gardens of Okayama

60

INTERIOR DESIGN

FEB.24

PAPER WALLCOVERING

Sarah Von Dreele Intersections CONTRACT TEXTILE

Luum Textiles Super Natural

RESIDENTIAL RUG

Gan Giro by Mut Design BOTTOM LEFT: ÁNGEL SEGURA

m a r k e t best of year FEB.24

INTERIOR DESIGN

61

“Jali is an architectural micro-grid typical of Indian design”

m a r k e t best of year

JALI

PATRICIA URQUIOLA

mutina Jali is the Hindi term for a light-filtering latticed screen carved of wood or stone. The earliest examples in Delhi, India, circa 1300, feature geometric patterns, while later artisans tended toward intricate botanical designs, as at the Taj Mahal. Patricia Urquiola’s spin is a three-dimensional glazed or unglazed terracotta brick with decorative circle cutouts that evoke the essence of Indian architectural beauty while retaining her characteristic soft minimalism. Jali’s 9.5-inch square tiles measure close to 5 inches deep and can be used for partitions or other elements, indoors or out (hence the award for Architectural Material).

Place the blocks vertically, horizontally, or a combination thereof, in straight or staggered runs. Through Stone Source. stonesource.com 62

INTERIOR DESIGN

FEB.24

Learn More

JP Lounge Collection by Jonathan Prestwich Now includes lounge chairs, stools, & benches

MATERIAL

Skyline Design Jill Malek Collection

RESIDENTIAL ACCENT SEATING

John Pomp Studios Rift

BATH FIXTURE

Vaselli Marmi

KITCHEN FITTING

Vigo Jewel Touchless

64

INTERIOR DESIGN

FEB.24

BOTTOM RIGHT: ANNA BLINOVA

Waterfall by Pitsou Kedem Architects

best of year m a r k e t

CONTRACT TABLE

BATH FAUCET

Davis Furniture

Fantini

Capas by Jehs+Laub

Venezia by Venini

by Matteo Thun & Antonio Rodriguez

KITCHEN APPLIANCE

RESIDENTIAL SEATING

Bertazzoni

Ralph Pucci

Master Series, Collezione Metalli

Libre by Paul Mathieu

FEB.24

INTERIOR DESIGN

65

market best of year

“The modular design is inspired by wooden play blocks for kids”

trece Waste can be a resource. Successfully reusing it, however, requires separating materials into categories for processing. Enter Kloss, Legos-like click-together recycling receptacles that can line up along walls, follow convex or concave corners, encircle pillars, or gang together as islands. The gently rounded, monochromatically powder-coated steel units are the design of Swedish studio Kauppi & Kauppi and come in a multitude of on-trend hues including Wine Red, Old Pink, and Brilliant Blue (or, indeed, any RAL color you wish). The combination of style and thoughtfulness, including simple and graphic recycling symbols, an open-slot top or soft-close lid, 18-gallon inner plastic container with ventilated base, choice of feet or wheels, and integrated bag holder, netted it the award for Office Accessory. trece.se

JOHAN KAUPPI, NINA KAUPPI

COURTESY OF KAUPPI & KAUPPI

KLOSS

66

INTERIOR INTERIOR DESIGN DESIGN FEB.24 FEB.23

BRODY MODULAR

COMPLEMENTED BY MIA & CORSA

www.ERGinternational.com/brody.php

best of year m a r k e t

CONTRACT MODULAR SOFA

Poltrona Frau Bay System by Foster & Partners DOMESTIC CONTRACT LOUNGE SEATING

Bernhardt Design RKC by Terry Crews

OUTDOOR TEXTILE

Pollack

RESIDENTIAL LOUNGE COLLECTION

Pianca Peonia by Cristina Celestino

68

INTERIOR DESIGN

FEB.24

TOP LEFT: IVAN GONGALEZ; BOTTOM RIGHT: RICCARDO MUNARIN; BOTTOM LEEFT: TORKIL STAVDAL

Swell

EDUCATIONAL FURNITURE

Hon Confetti by Qdesign

REISSUE

Fritz Hansen PK4 by Poul Kjærholm

TILE WALLCOVERING

Thatcher Leeway

HEALTHCARE TEXTILE

Momentum Textiles & Wallcovering Ritual

FEB.24

INTERIOR DESIGN

69

m a r k e t best of year

DUO

artistic tile The latest stone tile from interior designer Alison Rose is greater than the sum of its parts. The square-format Duo is composed of two curvilinear ribbed or etched “puzzle pieces.” Finely striated Duo Texture, which comes in Nero or Calacatta Gold, nestles up to its complement, thickly rippled Duo Dimensional, available in Matcha Verde, Lilac, or Vanilla Onyx. “The design started as playful explorations of folding paper and velum and being fascinated by how the folds slowly released overnight,” Rose says. “Some had been scored, some simply pressed, some rolled, but all had naturally relaxed, showcasing a play of light and shadow.” Those ephemeral investigations are now realized in magnificent natural stone, and the elegant result won best Stone Wallcovering: Designer Collection. artistictile.com

“Duo’s true form emerges when the two parts unite”

ALISON ROSE

70

INTERIOR DESIGN

FEB.24

Reimagine Healthyy Interiors with Ultrafabrics

Discover the future of design where style meets sustainability and performance.

Incorporating over 50% rapidly renewable resources and free of harmful chemicals, Ultraleather is now updated with 10 fresh shades that inspire wellness in every space.

ultrafabricsinc.com

m a r k e t best of year

FLOOR LAMP

OUTDOOR LIGHTING

Héctor Esrawe

Neri

Gear Cartela

Nebula Venezia by Carlos Madrid III

PENDANT FIXTURE

Foscarini Fregio by Andrea Anastasio CONTRACT LOUNGE COLLECTION

Hightower

TOP: FILIPPO VENTURA; CENTER LEFT: ALEJANDRO RAMÍREZ OROZCO

Flote by Shawn Sowers

72

INTERIOR DESIGN

FEB.24

Vibia

SCONCE

Dots by Martín Azúa

Stackabl

ACOUSTICAL LIGHTING

Arcilla

Ambientec

TABLE LAMP

Madco by Elisa Ossino

CLOCKWISE FROM TOP: SIMONE BARBIERI/ZANOTTA; PETER LUSTYK; TOP: PATRICK LAURABILLER; POZZI STUDIO; BOTTOM:OLEK HIROSHI SHESTAKOVYCH IWASAKI

73

INTERIOR DESIGN

FEB.24

VICTORIA SASS, JACKSON SCHWARTZ

ONTOLOGIA

m a r k e t best of year

hennepin made A collaboration between the Minneapolis lighting manufacturer spearheaded by Jackson Schwartz and Prospect Refuge Studio founder Victoria Sass, Ontologia is a collection of sconces, chandeliers, table and floor lamps, and pendants that muses on the seasonal shifts of the Midwest. The range is defined by a globular glass orb (in rose, sand, amber, or green) melted and draped over a mahogany ball; the two are tethered together by magnets. The lightbulb inside the orb is anchored to an electrical cord that can be artfully looped and swagged about the metal armature into, say, an abstracted manifestation of chaos theory or a study in inclement weather.

Eminently organic, unique, and flexible, Ontologia took home the gong for best Chandelier. hennepinmade.com

74

INTERIOR INTERIOR DESIGN DESIGN FEB.24 FEB.23

“The pieces are all highly interactive and affected by their coexistence with humans”

Dove by IDA D e s ig n

COMMERCIAL RUG/CARPET

Shaw Contract Mike Ford x Shaw Contract

RESIDENTIAL TEXTILE

Weitzner

RESIDENTIAL TABLE COLLECTION

ENVIRONMENTAL IMPACT: SOFT SURFACE

Gallotti&Radice

Mohawk Group

Selce by Studiopepe

Wild Dyer

76

INTERIOR DESIGN

FEB.24

BOTTOM LEFT: MATTEO IMBRIANI; TOP RIGHT: ANGEL TUCKER

Ovation

m a r k e t best of year

BROADLOOM CARPET

RESIDENTIAL DINING TABLE

Shaw Contract

Porada

Soleil de Mer by Rockwell Group

Osmose by Patrick Jouin

CONTRACT CONFERENCE TABLE

Punt Mobles BOTTOM: ÁNGEL SEGURA

Coral by Arik Levy

FEB.24

INTERIOR DESIGN

77

m a r k e t best of year

“It’s a seat with unmatched tactility”

KNITTY

moooi

ROBIN NOORDAM

It doesn’t get cozier than Nika Zupanc’s Knitty, the Residential Lounge Seating winner. A supersized basketweave of chunky “yarns” that wraps the low-slung, gently rounded chair fairly screams sweater weather.

The woven strands, embracing a wood base and springs for structure and support, are actually squishy foam ropes upholstered in Febrik’s Mosaic 2 fabric, a knitted polyester-wool with a quilted diamond pattern, available in 15 colors. It’s the perfect perch to curl up in with a cup of tea and a laptop, a good book...or perhaps some knitting? moooi.com

NIKA ZUPANC

78

INTERIOR DESIGN

FEB.24

[u-key-yo] · Japanese (n.) living in the moment, detached from the bothers of life.

“The floating world”

A new collection designed by Claudia Afshar.

Two structured patterns available in five colors that transform the identity of cladding. cosentino.com | ™ @cosentinousa

m a r k e t best of year

TILE FLOORING

OUTDOOR SEATING

Mutina through Stone Source

Heller

Mater by Patricia Urquiola

Limbo by Hlynur Atlason

OUTDOOR FURNITURE COLLECTION

Landscape Forms

80

HOSPITALITY TEXTILE COLLECTION

RESIDENTIAL SOFA

HBF Textiles

Minotti

Deep Connections

Horizonte by Marcio Kogan, Diana Radomysler, and Mariana Ruzante

INTERIOR DESIGN

FEB.24

CENTER RIGHT: JIM POWELL; BOTTOM LEFT: PIPPA DRUMMOND; BOTTOM RIGHT: CHRISTIAN MANDERSEN

Theory by Scott Klinker

INTERNATIONAL CONTRACT LOUNGE SEATING

Blå Station through Scandinavian Spaces Max by Johan Ansander

SURFACE

Cosentino Dekton Pietra Kode by Daniel Germani

OUTDOOR PRODUCT

Gan Mangas by Patricia Urquiola

BOTTOM: ÁNGEL SEGURA

FEB.24

INTERIOR DESIGN

81

m a r k e t best of year

CONTRACT PARTITION + WALL SYSTEM

RESIDENTIAL DESK

Nienkämper

Demarc

Toko by Carl Gustav Magnusson

HQ

CONTRACT CONFERENCE SEATING

Keilhauer

HEALTH + WELLNESS FURNITURE

Oyster Studio Furniture Meditation Cushion by Alexander Muradian

82

INTERIOR DESIGN

FEB.24 FEB.22

TOP LEFT: PETER ANDREW LUSZTYK; TOP RIGHT: KATE GLICKSBERG; BOTTOM LEFT: PETER ANDREW LUSZTYK

Swav Low-Back by Eoos

ARCHITECTURAL PRODUCT

Rimadesio Air by Giuseppe Bavuso

CONTRACT TASK SEATING

ACCOUSTICAL APPLICATION

Rockfon

Herman Miller

Mono

Asari by Naoto Fukasawa

FEB.24 FEB.22

INTERIOR DESIGN

83

m a r k e t best of year

RESIDENTIAL OCCASIONAL TABLE

John Pomp Studios Warp

RESIDENTIAL STORAGE

Glas Italia Ollie by Yabu Pushelberg

ARCHITECTURAL LIGHTING

Estiluz USA Mood by Nahtrang Studio

ENVIRONMENTAL IMPACT: HARD SURFACE

Salvatori Patchwork by Piero Lissoni 84

INTERIOR DESIGN

FEB.24

The Seamless Perfection of Rockfon® Mono® Acoustic It’s where unlimted possibility meets flawless acoustics.

Where the beautiful embraces the practical.

Where artistic vision takes shape in seamless simplicity.

Rockfon Mono Acoustic delivers Unrestrained creativity with undisturbed, expressive surface designs, endless shapes and slopes and seamless spans Acoustic comfort with a high Noise Reduction Coefficient (up to NRC 0.95) for comfortable interiors, allowing for greater concentration, improving productivity and wellbeing Healthier environments by harnessing the natural power of stone wool for Class A fire protection, low VOC’s, moisture, mold and mildew resistance

Rockfon is proud to recieve the Interior Design Magazine Best of Year award for Rockfon Mono Acoustic.

Part of ROCKWOOL Group

rockfon.com

TECHNOLOGY

Rolls-Royce Motor Cars

m a r k e t best of year

Spectre

HARDWARE

Ento

86

RIGHT: ANTOINE BOOTZ

Zai by Neri&Hu

INTERIOR DESIGN

FEB.24

Boka Bloom™... the perfect balance of privacy & design

A Colour & Design Inc. Company

colouranddesign.com | 501.372.3550

© Kingsley Bate. To the trade. T: 703-361-7000 F: 703-361-7001 www.kingsleybate.com

wonders of the sea An urchin inspired a resource-efficient biomimetic pavilion in Freiburg, a joint effort between two German universities using new forms of humanmachine interaction

c enter fold

“It demonstrates the potential that lies in interdisciplinary bioinspired research for sustainable architecture in the 21st century”

1

2

COURTESY OF ICD/ITKE/INTCDC UNIVERSITY OF STUTTGART

1. Made with Rhinoceros, Grasshopper, and Sofistik software, an early diagram shows the sea urchin–inspired livMatS Biomimetic Shell, a pavilion at Germany’s FIT Freiburg Center for Interactive Materials and Bioinspired Technologies, a collaboration between the University of Freiburg’s Cluster of Excellence Living, Adaptive, and Energy-Autonomous Materials Systems and the University of Stuttgart’s Cluster of Excellence Integrative Computational Design and Construction of Architecture, two research groups coinvestigating construction techniques that reduce environmental impact. 2. The hollow modules forming the structure were pre­ fabricated in a Blaustein factory using new forms of robotic manufacturing that are more efficient than conventional wood construction.

3. To form the modules, workers used AR head­ sets and a seven-axis robot that sand­wiched together milled spruce panels, insula­tion boards, waterproofing membranes, lighting and acoustic elements, and larch cover plates.

4. On-site, a robotic spider crane with a vacuum gripper lifted the modules, which measure 52 by 54 feet, while a second screwed them in place. 5. and 6. Biobased hygroscopic materials are incorporated into the pavilion’s glass clerestory, a weather-responsive shade system that was modeled on the moisturecontrolled opening and closing of pine cones.

3

4

5

6

DOZENS of students, researchers, and engineers led by professors Jan Knippers and Achim Menges

2,152 SQUARE FEET OF FLOOR AREA

127

PREFABRICATED WOOD MODULES

10+ years of sea-urchin research

FEB.24

INTERIOR DESIGN

89

c e n t e r fold

1

3

2

1. The curved geometries of the prefabricated modules are inspired by the plate skeleton of the sea urchin and integrate LEDs. 2. The interior of livMatS Biomimetic Shell, which is 33 feet high and being used as a space for free thinking, has a thermally activated floor slab of recycled concrete, making it comfortable year-round without additional heating or cooling. 3. Compared to a typical timber building, the pavilion’s material consumption was reduced by more than half.

—Athena Waligore

ROLAND HALBE

2

90

INTERIOR DESIGN

FEB.24

FEB.24

INTERIOR DESIGN

91

feb24

Walk this way to healthy spaces

ROBERT BENSON

FEB.24

INTERIOR DESIGN

93

text: stephen treffinger photography: eric laignel

down the nile For repeat client Viking Cruises, Rottet Studio designs an elegantly serene ship for exploring Egypt’s cultural treasures and stunning riverscape

FEB.24

INTERIOR DESIGN

95

How, exactly, do you top the spectacle of the Pyramids of Giza, the Luxor Temple, and King Tut’s tomb? “You don’t,” says Rottet Studio cofounding principal Richard Riveire. He was the lead designer for the Aton, Viking Cruises’s newest ship that sails along the Nile River in Egypt. “One could never compete,” he continues. “You’re dealing with 4,000 years’ worth of history!”

Speaking of history, Rottet Studio began collaborating with Viking on its global fleet of new ships 13 years ago and has now completed more than 80.

“Our team has spent many years perfecting the design of the ships, learning from the original schemes, tweaking them, and staying fresh while maintaining the intrinsic culture and brand identity,” founding principal and CEO and Interior Design Hall of Fame member Lauren Rottet adds. A case in point: One of the studio’s very first meetings with Viking chairman Torstein Hagen took place at a giant table covered with myriad swatches and samples, at which he homed in on a single piece of fabric, Hella Jongerius’s Borders for Maharam. “I love this,” Hagen said. The embroidered wool-blend textile now features on the walls of every ship; it swathes the Aton’s main lounge, among other places.

Viking’s design ethos, Rottet notes, “is very aligned with ours: a truth to materials and expression. It is a serious company devoted to the experience of travel, not made-up entertainment.” In other words, there can be drama, but it shouldn’t be in-your-face. Indeed, when conceiving the Aton, Riveire 96

INTERIOR DESIGN

FEB.24

Previous spread: The aft deck of the Aton, a Viking Cruises ship by Rottet Studio that sails Egypt’s Nile River, culminates in a mosaic-tiled pool fronted by a single acrylic slab.

Left: The entry foyer and reception, located at the base of the atrium on the middle deck, features terrazzo flooring, oak-look laminate, and pillars of Egyptian-sourced stone that reference ancient monuments. Opposite bottom: Visible in an overhead view of the aft deck is the glass roof that caps the aquavit dining terrace.

Top: A shaded seating area on the topmost sundeck is enfolded by painted stainless-steel planters sprouting faux grasses.

Bottom: The decor of the main restaurant, on the upper deck, nods to traditional Egyptian arts via a woven-cord screen and, at rear, a wood-look plastic-laminate partition, both framed in stained oak.

Left, from top: Synthetic turf paves the sundeck, its shades recalling traditional dahabiya sailboats that ply the Nile. Hella Jongerius’s Borders wallcovering graces the explorers lounge, with custom tables topped in Taj Mahal quartzite. The library’s Christophe Delcort seating units, upholstered in leather and acrylic, are ideal for taking in the view through floor-to-ceiling windows. Top right: A watercolor by Aubrey Herbert and a Linc side table

by Chase Wills outfit a veranda suite living space.

Opposite: Custom guardrails fitted with low-iron glass panels surround the three-story, skylit atrium.

imagined a homelike refuge. After a busy day being awed by trips to historic marvels, he explains, “You come back and have a chance to relax and recharge in an atmosphere that feels familiar.”

The 82-passenger cruiser—named for an ancient Egyptian sun god—is 236 feet long, encompassing 47,715 square feet on five decks. Riveire eschewed what he calls the typical “pancake” layout of most ships by creating a threestory central atrium, with skylights above and windows on both sides, imparting a sense of volume and connection. “The abundance of natural light and the verticality distracts you from the fact that you’re in a closed steel box,” Riveire says. Public spaces and stateroom hallways feed off the atrium. “Resort architecture works best when there is a sense that there’s something wonderful right next to where you are,” he continues. “You move from space to space with a sense of anticipation.”

Public areas are numerous and host abundant seating, so they never feel crowded—even the two eateries. The main restaurant’s decor reflects Egyptian daily life: Screen patterns are based on wooden crates used to transport goods around rural areas by bicycle and the peels used in flatbread baking, and woven cords that decorate the entrance nod to traditional looms. A second dining area can be opened to the elements on cooler days for an indoor-outdoor experience.

It leads to a terrace at the ship’s stern, traced by an infinity-edge pool with a full-width tiled bench for watching the scenery.

The topmost sundeck gives the opportunity to lounge outside and watch the world go by under the cover of shade. As elsewhere, there are abundant seating options, itself a luxury: Tables and chairs, loungers, sectionals, and armchairs are all on offer. There are rocking chairs, too—a detail Riveire had to fight for on a previous project: “Everyone thought I was insane when I first suggested them.”

Now they’re on all Viking ships and are enormously popular with passengers.

While a degree of consistency from ship to ship is important for branding— and to make Viking’s legion of repeat customers feel at home—the design of each cruiser reflects its unique location. In Aton’s atrium, for instance, four monolithic columns crafted of locally quarried stone relate to monumental Egyptian architecture, in particular the ancient site of Abu Simbel on the bank of Lake Nasser, which is fronted by four statues of Ramses II. The library on the upper deck is replete with themed volumes curated by London bookshop

98

INTERIOR DESIGN

FEB.24

FEB.24

INTERIOR DESIGN

99

“Resort architecture works best when there is a sense that there’s something wonderful right next to where you are. You move from space to space with anticipation”

100

INTERIOR DESIGN

FEB.24

Main image: At 236 feet long, encompassing nearly 50,000 square feet, the cruiser has 41 staterooms, those on the middle and upper decks featuring private verandas. Inset, from left: The atrium-adjacent portside sitting area is furnished with Carlo Colombo’s Aton sofas, Umberto Asnago Mobius chairs, and walnut side tables. A pair of teak rocking chairs on the topmost sun deck, right at the ship’s forward, have front-row views of hot-air balloons soaring over the Valley of the Kings (an activity Aton passengers partake of). Leather-clad chairs flank the desk in a veranda suite, with millwork combining timber and wood-look laminate.

FEB.24

INTERIOR DESIGN

101

Heywood Hill. (Yes, there are several copies of Agatha Christie’s Death on the Nile.) Even the structure itself reflects the location, as it was partially dictated by constraints including the Nile’s shallow depth and low bridges. Riveire originally wanted narrower walkways across the atrium, for instance, but the engineers needed the extra width for stability.

Site-specific, too, are the evocative 1920’s black-and-white photographs of Cairo, rural Egypt, and the expedition that discovered King Tut’s Tomb, all of which line walls in public spaces as well as the 41 passenger accommodations. The four sizes of staterooms range from 239 to 525 square feet, all but those on the main deck boasting private outdoor space. The larger suites are more like apartments than cabins, with floor-to-ceiling windows, sitting areas, desks, stocked bookshelves, walk-in dressing rooms, and surprisingly large bathrooms.

Throughout the Aton, everything from bedding to menu covers to the flowers is top tier and has been carefully thought out to maintain a consistent mood. A stairwell wall is covered in a real wood-veneer wallpaper, in an aqua colorway suggesting faience; elegant leather-clad chairs pull up to stateroom desks; hallway carpet in deep blue with geometric patterning is a rich wool-blend. Says Riveire, “You don’t want to pull people out of the moment with something that doesn’t feel like it was part of the experience.”

Top: In the living zone of an explorers suite—one of two—a leather-trimmed rug anchors a custom banquette and a Robert Lazzeroni Fidelio table, which is accented with a Henning Koppel bonbonniere. Bottom: Woodveneer wallcovering lines the atrium’s porcelain-tread feature staircase.

Opposite top: A veranda suite bedroom showcases artwork by a student from a local Egyptian school that Viking supports. Opposite bottom: Photographs of the 1920’s excavation of King Tutankhamun’s tomb by the 5th Earl of Carnarvon flank a custom-carpeted stateroom corridor.

PROJECT TEAM HAROUT DEDEYAN; MARK BORKOWSKI; MINH PHAM; BROOKE WALKER; NOGA SMERKOWITZ; HOKULEA DUFFETT; SILVIYA BROWN; OMID GOLZAR; YI YANG; JIAN-MIN (RACHEL) CHEN; JISOO KIM; YIFAN (DANNY) CHEN; ADAM POON; CHRIS JONES; ERI KAWAGUCHI: ROTTET STUDIO. ANKERBEER B.V.: NAVAL ARCHITECT. DFI DAUERFLORA INTERNATIONAL: LANDSCAPE DESIGN. MARAHRENS GROUP: CUSTOM SIGNAGE. DECKMA: LIGHTING. PRODUCT SOURCES FROM FRONT WALTERS: CUSTOM SIDE TABLES (AFT DECK). LINK: PILLOW FABRIC. MAHARAM: CUSHION FABRIC (AFT DECK), DRAPERY (RESTAURANT), WALLCOVERING (LOUNGE, SITTING AREA). FLOWCRETE: FLOORING (FOYER). BRISA CASA: SOFA. B&B ITALIA: CHAIRS. COSTANTINI DESIGN: COCK­ TAIL TABLES. BLU DOT: SIDE TABLE. J.D. STARON: RUGS (FOYER, EXPLORERS SUITE). VESCOM: CEILING TREATMENT (FOYER, LIBRARY), BLACKOUT DRAPERY (VERANDA SUITE). ETHIMO: TEAK-BASE TABLE (SUNDECK). LEOLORI: RUG. MINOTTI: CORIAN-TOP TABLES (SUNDECK), SOFA, SIDE TABLES (LIBRARY). STONE.DE: COUNTERTOP (RESTAURANT). CARNEGIE FABRICS: CHAIR FABRIC. LAUTEX: CEILING PANELS (RESTAURANT, LIBRARY, HALL).

SYNLAWN: TURF (SUNDECK). SLETTVOLL: SOFA (VERANDA SUITE). WOLF-GORDON: WALLCOVERING. BERNHARDT DESIGN: TABLE (VERANDA SUITE), BANQUETTE FABRIC (EXPLORERS SUITE). GRUPPO MASTROTTO: SEATING UPHOLSTERY (LOUNGE, LIBRARY). MURASPEC: WALLCOVERING (LIBRARY).

TARKETT: CARPET (LIBRARY, SITTING AREA, HALL). NIKARI: TABLE (ATRIUM). MAJILITE: DISPLAY CASES. GIORGETTI: SOFA, CHAIRS (SITTING AREA). DESIGNTEX: SOFA FABRIC. MOBITAL: TABLES. CRATE & BARREL: ROCKING CHAIRS (SUNDECK). KETTAL: TABLE. CASSINA: CHAIRS (VERANDA SUITE). HOLLY HUNT: CUSTOM BANQUETTE (EXPLORERS SUITE). MAYA ROMANOFF: WALLCOVERING. POLTRONA FRAU: TABLE. POLIFORM: CHAIR. PHILLIP JEFFRIES: WALLCOVERING (STAIR). TIGER LEATHER: HANDRAIL LEATHER. PORCELANOSA: TREADS. MAXWELL RODGERS FABRICS: CUS­TOM BEDCOVER (VERANDA SUITE). GISLAVED FOLIE: WHITE-FOIL WALLCOVERING (HALL). THROUGHOUT HEICK BY KZWO: CUSTOM OUTDOOR FURNITURE SUPPLIER. HIGHCLERE ENTERPRISES: ARTWORK. BOLIDT: DECKING. EGGER; PFLEIDERER; RESOPAL: LAMINATES, VENEERS. ARCHITEX; CLARENCE HOUSE; JAMES DUNLOP TEXTILES; JANUS ET CIE; KNOLL TEXTILES; KRAVET; LOOM SOURCE; MAXWELL; OPUZEN; POLLOCK; RUBELLA; SCHUMACHER; SILVER STATE FABRICS; WEITZNER: FABRIC.

FEB.24

INTERIOR DESIGN

103

trunk show

Still Young plants a giant tree sculpture as the physical and symbolic centerpiece of the Beijing flagship for Canadian outdoor-apparel brand Arc’teryx text: dan howarth photography: yuuuun studio

FEB.24

INTERIOR DESIGN

105

Previous spread: At the Arc’teryx flagship in Beijing by Still Young, a custom fiber reinforced–plastic sculpture in the form of an enormous tree trunk envelops the two-level store’s main staircase.

Top, from left: The company logo backdrops the cash-wrap counter, in painted concrete, on the ground floor. Sections of the store facade are covered with slabs of FRP colored and textured to resemble striated rocks.

Bottom: Entry to the 9,500-squarefoot store is sheltered beneath a cantilevered canopy.

Opposite: The tree’s convoluted naturalistic form was devised in collaboration with local artists and artisans.

Of all the world’s great cities, Vancouver has one of the closest connections to nature. Surrounded by dense forests, scenic waterways, and snow-capped mountains that offer access to miles of hiking trails and limitless space for wilderness pursuits, the western Canadian seaport is a fitting base for Arc’teryx, a high-performance brand for outdoor apparel and equipment.

In contrast, Beijing’s endless urban sprawl might seem an odd location for one of the company’s stores. However, following China’s strict pandemic lockdowns, and spurred by the 2022 Winter Olympics hosted in the capital, the outdoor sports market has grown significantly across the country’s first-tier cities, and demand for suitable attire has kept pace.

More than simply selling clothes to both new fans and veteran enthusiasts of hiking, skiing, and rock climbing, the new Arc’teryx flagship in the trendy Sanlitun neighborhood aims at projecting the plein-air lifestyle of Canada’s Coast Mountains by translating the region’s adventure-driven attitude for Beijingers. “The store interior not only displays outdoor gear but also conveys a connection with nature,” says Eric Ch, founder of Still Young, the Shanghai-based studio assigned the project. Given the context, this decoding required a sizeable amount of imagination and a few reinvented tropes—skills the firm has honed creating a number of much-admired immersive commercial spaces. “To showcase Vancouver’s ambiance to a Chinese audience, we integrated British Columbia’s natural beauty and outdoor culture into the shop’s design, allowing customers to feel its unique essence through visual elements and material choices,” Ch continues, setting the scene.

What’s the most recognizable symbol of nature? A tree. To Still Young, this seemed like a good place to start. The studio also wanted the interior to feel rooted (pun intended) in its location, so Ch and his team looked to arboreal interpretations by local artists to find forms that felt appropriate for the teeming metropolis. Working with these artists and a roster of skilled craftspeople, they built a fiber reinforced–plastic sculpture in

106

INTERIOR DESIGN

FEB.24

“this is a longer pullquote for annie or kelly to write whatever they want. for our communities” —David Pérez

The second level, floored in wood-grain ceramic tile, is mostly open space where apparel hangs on window racks or is displayed on mannequins grouped around freestanding custom frames.

108

INTERIOR DESIGN

FEB.24

“The interior not only displays outdoor gear but also conveys a connection with nature”

FEB.24

INTERIOR DESIGN

109

Top: Flooring changes to concrete tile in an ancillary room.

Bottom: Modular seating and trunklike tables populate the second-floor events space.

Opposite top, from left: Clothing hangs on stainless-steel rails suspended from post-and-beam framework. Undulat­ ing event-space walls are GRC with a chalky finish. The same material with a wood-effect surface encloses the grottolike fitting rooms. Opposite bottom: It also forms the continuous ceiling and walls in the ground-floor room for professional apparel and equipment, where custom benches are imitation obsidian and display niches are backed with panels of FRP rock.

the shape of an enormous, ancient tree trunk—a gnarled and twisted form that occupies the fully glazed street corner of the 9,500-square-foot, twostory store, engulfing a staircase before disappearing through the ceiling.

Clearly visible from the street, the biomorphic structure gives passersby the impression that the emporium was built around a massive tree and not the other way around. This act of botanical reinterpretation, as Ch notes, “became the main source of inspiration, aiming to perfectly blend urban outdoor culture and art with the store environment.”

Inside, where organic forms and natural-appearing materials proliferate, customers might well think they’re exploring a forest. Clad in glass fiber– reinforced concrete with a wood-effect finish, the walls and ceiling in a ground-floor room dedicated to professional apparel meld into a continuous freeform shell that gives the space the look and feel of a hollow carved into another tree. Similarly sculpted surfaces in the same material feature throughout the interior, defining grottolike fitting rooms or, finished with chalky plaster, creating an events space that resembles a rock cavern eroded by wind and water. Outfitted with sofa seating and state-of-the art audiovisual equipment, it could be a high-tech lounge from the stone age.

Artificial-stone outcrops and low bleachers made from piles of what appear to be milled-timber logs are dotted throughout the open areas, creating islands for visual merchandising.

Not everything is nature-inflected, however. Some zones have been given a harder, more industrial treatment that ties them closer to the contemporary Beijing cityscape. On the second floor, for instance, an enclosed room for urban wear features a mostly gray materials palette that includes concrete floor tiles; display units incorporating brushed metal, polished

110

INTERIOR DESIGN

FEB.24

FEB.24

INTERIOR DESIGN

111

Top, from left: Backlit acrylic ceiling and wall panels outfit the enclosed room for urban wear, where the intended feel is more industrial than biophilic. One of its walls is faced with textured concrete-look pantiles, a nod to traditional Chinese roofs. Bottom: Display vignettes incorporate stacked imitation milled-timber logs made of wood veneer on a plywood base and FRP stone outcrops.

Opposite: Visible from the street, a 7-foot-tall pine cone is made of molded pulp from factory waste.

stainless steel, and mirror; and huge LED-illuminated acrylic light boxes on the walls and pitched ceiling, the latter a nod to the roofs of classic Chinese architecture, as are the undulating pantiles that clad one wall. The cumulative impression is of camping in a very futuristic tent. Other moments of sharp detailing occur throughout the store, such as the ubiquitous clothingrack system—metal rails suspended from post-and-beam framework—or the minimalist track LEDs tucked into the ceilings.

All these visually expressive elements connect with both the rugged environment and sophisticated technology around which Arc’teryx was built.

“It wasn’t just a store-design project but a process of narrating a brand story and creating customer experiences,” says Ch, who delved deep into the company’s history and philosophy along with the climate—cultural, physical, and even meteorological—of its home territory. “We strove to create a space that didn’t simply showcase products but also conveyed a lifestyle and set of values.” Given the brand’s intrinsic link to the natural world, it was imperative that the choice of materials and construction methods both inside and out represent consideration for the environment and sustainability. “We hope that this store reflects not only the company’s ideals but also our own care for the future of the Earth,” Ch concludes.

If the store interior embodies these convictions successfully, so too does the facade, which juxtaposes vast expanses of glass with slabs of FRP colored and textured to mimic striated mountain escarpments. But it’s another sculptural installation—a giant pine cone sitting on a platform in the glazed corner window as if it had just dropped from the tree above— that most succinctly captures the project’s multiple intentions and practices. While the 7-foot-tall conifer seed obviously pays homage to nature in a directly mimetic sense, it is also an artisanal object that evokes the realms of art, craft, and sustainability—the last because it’s made entirely of molded pulp from factory waste.

PROJECT TEAM DAWN DU; DADA ZHAO; LINDA LI; LAURA CAI; MAYI ZHANG; AZEL WANG; ETHAN LI; CC LI; DONALD LIN; KEN TAO; JAMES XU; ABEL LU; ASHA LI; DOUGLAS XU: STILL YOUNG.

112

INTERIOR DESIGN

FEB.24

FEB.24

INTERIOR DESIGN

113

hang time The Aspen, Colorado, ski house of a hospitality-centric art collector and her family swings in a whole new direction courtesy of Ghislaine Viñas and S2 Architects text: stephen wallis photography: garrett rowland

FEB.24

INTERIOR DESIGN

115

Previous spread: At an Aspen, Colorado, house with interiors by Ghislaine Viñas, S2 Architects reconfigured the southern facade with abundant glazing, including sliders that open to a ground-level terrace equipped with Paola Lenti swings.

Top: Standing-seam zinc panels clad the lower level of the home’s exterior, feturing a new gabled roof that extends out over a balcony. Bottom: A Jan te Lintelo Hamptons sectional and a custom rug by Ghislaine Viñas furnish the top-floor great room.

Opposite top, from left: In a guest room, one of three on the base­ ment level, custom-sculpted local birds cap the bed’s painted-maple posts and the lamp is by Michael Anastassiades. Jill Greenberg’s Revelations graces the entry stairwell connecting all floors via white-oak treads. Opposite bottom, from left: Above the entry’s custom bench, a Mark Mulroney mural integrates Aspen motifs. The mudroom’s ceiling fixtures in the style of Hans-Agne Jakobsson are encircled with hand-painted decorations by Saskia Luna Viñas.

There’s no mistaking the Aspen, Colorado, home of art collector Paige West and tech executive Christopher Cooper—especially when the garage door is open. Inside, the paneled walls and ski lockers are painted stop-sign red, while carpeting and benches are a complementary crimson shade. “I really like the connection to the Swiss flag and ski patrol,” West says of the arresting color, which is a recurring theme throughout the interiors masterminded by her longtime friend and collaborator, designer Ghislaine Viñas. “I’m not sure anybody’s ever seen a red garage,” West adds. “I think it’s perfect.”

Growing up in Philadelphia, West developed a love of skiing in the nearby Poconos. When she was a teenager, the family started taking ski trips to Colorado, and in the mid-’80’s her parents decided to buy a place in Aspen.

A decade later they acquired the house next door, adding more space for friends and relatives, including West, who put her three boys (now teenagers themselves) on the slopes at an early age. Her family, based in New York, has spent nearly every Christmas in Aspen. So, when West’s parents considered selling both residences a few years ago, she and Cooper (everyone calls him “Coop”) looked at buying or building a new place of their own. But West says she got “a little sentimental” and convinced her parents she should purchase the second house from them—and give it a major overhaul.

West enlisted Joseph Spears, principal of Aspen firm S2 Architects, to reimagine the three-level, nearly 6,000square-foot structure. Out went the mushroom-brown horizontal siding, replaced with bolder charcoal-hued vertical planks. The low-pitched hipped roof was swapped for a strikingly contemporary gabled one that extends out from the living room, creating deep eaves over a cantilevered balcony with glass balustrade. The entire southern facade, which previously had few windows, is now dominated by expanses of glass. “Paige and Coop like living in bright, engaging spaces,” Spears says. “So we opened everything up to make it a lighter chalet sort of idea.”

Spears worked with Viñas on the interior finishes, opting for a limited palette.

Throughout, pale white oak was used for floors, millwork, and many ceilings.

“Paige wanted the place to feel very Scandinavian and simple,” says Viñas, 116

INTERIOR DESIGN

FEB.24

“There’s humor and life — it’s bright and happy and very much how we want you to feel in the house”

For the upper-level great room, S2 Architects’s custom blackened-steel fireplace surround has an inset TV hidden behind Minako Abe’s Scene No. 11; the pair of tubular-steel rocking chairs are vintage art deco.

118

INTERIOR DESIGN

FEB.24

FEB.24

INTERIOR DESIGN

119

Left, from top: Outfitting the dining area are Luis Gispert’s Untitled (Three Asian Cheerleaders), chairs hand-painted with Swedish folk motifs by Tom Ward, a custom ash table, and Robert Kvenild’s ceramic sculpture centerpiece. The garage walls and cabinets are finished entirely in traffic red, complemented by similarly hued nylon carpet tiles. A Jaime Hayon Lune sectional and custom wool rug anchor the den. Right: A circa 1970’s vintage birdhouse perches nearby.

Opposite: A ground-floor guest room features customized mushroom wall hooks, Mulroney paintings on the headboard, and, visible through the window, a lightwell lined with panels by artist Richard Woods.

who cites inspirations ranging from Aspen’s early Swedish settlers and traditional Alpine architecture to vintage ski bum culture. “We just riffed on things we admired. Then Paige installed her art, adding that amazing contemporary twist.”

West has the luxury of drawing from some 3,800 artworks she has assembled with her father, Alfred West Jr., executive chairman of the financial services firm SEI. She serves as the West Collection’s curator and is overseeing construction of a future home for its display in Philadelphia. West also operated the New York gallery Mixed Greens for nearly two decades and maintains relationships with many of the artists she showed. That includes Mark Mulroney, whom she commissioned to create a mural for the entry stairwell, a cartoonlike mashup of references to Aspen’s wintry landscape and log cabins. “There’s humor and life—it’s bright and happy and very much how we want you to feel here,” West describes.

Nicknamed the All Inn, the house has been tailored for entertaining. The main social hub is an airy top-level great room with an open kitchen plus a dining area that accommodates 14 seated on traditional Tyrolean–style chairs painted with Swedish folk motifs. Viñas furnished the living area with a sprawling leather-andwool sectional as well as vintage art deco chairs cushioned with sheepskin throws. In warmer weather, the glass doors can be opened completely to the terrace—outfitted with more red furniture—while on chillier days, there’s usually a fire roaring. Aspen regulations prohibit new woodburning fireplaces, so the ability to keep this one was a prime reason to renovate rather than rebuild. Spears gave the hearth more presence by fashioning a monumental blackenedsteel surround with niches for logs and a TV, which cleverly disappears behind a Minako Abe landscape painting that slides on rails.

Each of the home’s eight bedrooms has its own bath and distinctive art and design elements.

In a kid’s bedroom, for example, Viñas hung

120

INTERIOR DESIGN

FEB.24

a 1960’s Slim Aarons photograph of skiers lounging on a Swiss mountainside atop a mural of the same image. She enlivened one guest room’s orange fourposter with carvings of birds common to Aspen, and outfitted the undulating headboard of another’s glossy banana-yellow bed with artwork by Mulroney.

The idiosyncratic details extend to the bathrooms. “When we started, every one was going to be identical,” Viñas notes. “In the end, they could not have been more different. There is a ridiculous amount of detailing, from tile inlays to cabinetry.”

Storage was a major consideration, particularly with all the gear required for winter sports. In addition to the garage ski storage, there’s a lodge-style basement locker room with brightred benches for pulling on boots and outerwear closets hand-painted with lively folk patterns by Viñas’s artist daughter, Saskia Luna Viñas (who executed a similar treatment in the mudroom). Jenna Pino, the firm’s design director, created bespoke wallpaper panels filled with references to the family. “It has lots of little private stories and all sorts of characters,” Viñas says. “Friends are in there, their kids, their dogs.”

The project took three years start to finish, which speaks to the level of meticulous detail involved. “It was a lengthy process, but that’s why we got so much personality into this,” Viñas summarizes. “The house has a lot of personality.”

PROJECT TEAM JENNA PINO; NATALIE KEAN; ZOE HSIEH; LAUREN MERCURI: GHISLAINE VIÑAS. LIFT STUDIO: LANDSCAPE ARCHITECT. COLLECTOR NYC; NAULA DESIGN: CUSTOM FURNITURE WORKSHOPS. KL&A: STRUCTURAL ENGINEER. WATSON MILLS & DESIGN: MILLWORK. MADIGAN + COMPANY: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT PAOLA LENTI: SWINGS (TERRACE). DELTA MILLWORKS: WOOD SIDING (EXTERIOR). RHEINZINK: METAL SIDING. DEKTON: COUNTER­TOPS (KITCHEN). SCOTT JAMES FURNITURE & DESIGN: CUSTOM BED (ORANGE GUEST ROOM). MICHAEL ANASTASSIADES: LAMP. CONTARDI USA: READING LIGHTS (ORANGE GUEST ROOM, HIS BEDROOM, KID’S BED­ ROOM). STUDIUM: PAVERS (MUDROOM). RBW: CHANDELIER (ENTRY). ROBERT ALLEN: BENCH FABRIC. ALLIED ARCHITECTURAL METALS: CUSTOM FIREPLACE (LIVING AREA). KALON STUDIOS US: SIDE TABLES. THROUGH 1ST DIBS: ROCKING CHAIRS. AVENUE ROAD: SOFA. HOLLAND & SHERRY: SOFA FABRIC. MAHARAM: SOFA LEATHER (LIVING AREA), WALL­PAPER (HER BEDROOM).

KASTHALL: RUGS (LIVING AREA, HER BEDROOM). DUALOY LEATHER: CHAIR LEATHER (LIVING AREA), SOFA LEATHER (DEN). DESIGN WITHIN REACH: SHEEPSKIN THROWS (LIVING AREA), BED (HIS BEDROOM). FLOS: PENDANT FIXTURES (DINING AREA), TRACK LIGHTING. GAIDRA HOME: CHAIRS (DINING AREA). LOLL DESIGNS: BENCHES (GARAGE). HÄFELE: CABINET HARDWARE. FLOR: CARPET TILE (GARAGE, BOOT ROOM). FRITZ HANSEN: SOFA (DEN). SCANDINAVIAN SPACES: SHELVING. VERY GOOD & PROPER: DESK CHAIR. FLEXFORM NY: ARMCHAIR. LEPERE: SIDE TABLE. MUUTO: COFFEE TABLES. THE RUG COMPANY: CUSTOM RUGS (DEN, YELLOW GUEST ROOM). HOUSE OF VINT FURNITURE: LAMP (YELLOW GUEST ROOM). HAY: LAMP (POWDER ROOM). SOPRIS PAINTING: CUSTOM WALL STRIPING. DESIGNER DOORWARE: CABINET HARDWARE (POWDER ROOM, GUEST BATH­ ROOM). WOLF-GORDON: CUSTOM WALLCOVERING (GUEST BATHROOM, KID’S BEDROOM). REMAINS LIGHTING COMPANY: CUSTOM PENDANT FIXTURES (BOOT ROOM). SHOPPE AMBER INTERIORS: BED (KID’S BEDROOM). 57TH ST. DESIGN: NIGHTSTANDS. THE DARKROOM SOCIETY: CUSTOM WALLPAPER. PINCH DESIGN: BED (HER BEDROOM). THROUGHOUT HAKWOOD: PANELING. OTIIMA USA: WINDOWS. BENJAMIN MOORE & CO.: PAINT.

Opposite top, from left: Glazed white-oak panels line his bedroom in the upper-level his-andhers main suite. Walls of a powder room are painted in alternating matte and glossy stripes and hung with Nina Katchadourian’s self-portraits. Opposite bottom, from left: A guest bath­ room features custom mirrors and wallcovering. The pendant fixtures and benches in the base­ ment common area that serves as a boot room are custom by Ghislaine Viñas.

Top: In one of the three ground-floor kids’ bedrooms, a 1960’s Slim Aarons photograph of skiers in Verbier, Switzerland, is backed by wallcovering of the same image. Bottom: A Coke Wisdom O’Neal photograph faces a Ghislaine Viñas custom armoire in her bedroom in the main suite.

FEB.24

INTERIOR DESIGN

123

124

INTERIOR DESIGN

FEB.24

right on track From Portugal and Sweden to China and the U.S., sports arenas, fitness centers, and wellness clinics are in tip-top shape text: georgina mcwhirter

See page 130 for The TRACK at New Balance, a five-story multisport center in Boston by Elkus Manfredi Architects. Photography: Robert Benson.

“The collision cottages are of red placed and among blue makes the trees, the space facing dynamic away from and lively” each other into the undisturbed scenes of the forest or the ski slope”

126

INTERIOR DESIGN

FEB.24

jydp project Yongxin Cardiac Rehabilitation Center, Shanghai. standout An Interior Design 2023 Best of Year Award honoree, the 1,500-squarefoot facility calms the parasympathetic nervous system with curved walls and soffits and cutout partitions. Mimicking the makeup of the heart, circuitous interlocking shapes and lines in terra-cotta red and dusty blue represent arteries and veins, connotating vitality on the one hand and cool-headed professionalism on the other. photography Yuuuunstudio.

FEB.24

INTERIOR DESIGN

127

“It’s a visual feast of sleek and futuristic elements”

128

INTERIOR DESIGN

FEB.24

charles renfro and stephen alton architect project Gym U NYC. standout The ’90’s fitness guru David Barton returns to the workout scene with a club rat–inspired space in what was previously the Chelsea YMCA (made famous in the ’70’s by the Village People). Informed by the 1927 sci-fi noir film Metropolis, it marries riveted steel columns, industrial fans, and International Klein Blue walls and lighting with DJ nights, personalized IV therapies, and the Mush Room, a fungi-focused café. photography Peter Murdock.

FEB.24

INTERIOR DESIGN

129

“We sliced away one end of the building for a grand, welcoming staircase that spills out onto the sidewalk”

130

INTERIOR DESIGN

FEB.24

elkus manfredi architects project The TRACK at New Balance, Boston. standout Recalling giant laces, two-story V-shape columns in New Balance red define the sneaker company’s 455,000-square-foot center encompassing a research lab, music venue, and the Broken Records beer hall, which coalesce around a 200-meter hydraulic track. In the offseason, other sports prevail: Netting overhead drops down, converting the space into volleyball, basketball, and tennis courts. It’s all capped by a roof fitted with nearly 2,500 solararray modules. photography Robert Benson.

FEB.24

INTERIOR DESIGN

131

l2c arquitetura project Fisiminho Physiotherapy and Rehabilitation Clinic, Braga, Portugal. standout The geometric rigor of the facade, with its window openings placed in an apparently random way to give dynamism to the street elevation and juxtapose the parallelepiped building’s volumetric simplicity, repeats in the interior. Such rhythmic, high-contrast shapes as angular, highlighter-yellow wall graphics and round pendant fixtures join fluted, curvilinear partitions. photography Ivo Tavares Studio.

132

INTERIOR DESIGN

FEB.24

“The industrial architecture contrasts with the delicacy of the therapeutic care inside”

FEB.24

INTERIOR DESIGN

133

salone del salon project Fusion Fitness, Shenzhen, China. standout Sparked by campaign imagery from Alessandro Michele–era Gucci, a retro, neo-’70’s affect—see the recovery room’s wall-to-wall teal carpet—pervades the skylit gym, alongside art deco-esque curved walnut-veneered walls and builtins inspired by Noah’s Ark, which nod to the port city’s shipbuilding history. photography Xiao En.

134

INTERIOR DESIGN

FEB.24

“The collision of colors and textures produces unexpected artistry and understated luxury”

“There are few sharp angles, instead everything bends and curves, which is good acoustically”

136

INTERIOR DESIGN

FEB.24

wahlström & steijner arkitekter project Kviberg Sports Arena + Ice Hall, Gothenburg, Sweden. standout Under a wavy, sedum-planted roof, the 130,000-square-foot stadium is timber construction through and through. A pine-slat ceiling, ash-parquet flooring, birch-plywood walls, and massive supportive glulam-pine arches measuring 1½-by-5-feet wide not only achieve open space without obstructive columns but also permeate the handball court, ice rink, and spectator stands with the pleasant scent of wood. photography James Silverman.

FEB.24

INTERIOR DESIGN

137

At the San Francisco headquarters of VC firm Greylock Partners

by Rapt Studio, history meets innovation—and entrepreneurs launch gamechanging businesses

pitch perfect

138

INTERIOR DESIGN

FEB.24

text: rebecca dalzell photography: eric laignel FEB.24

INTERIOR DESIGN

139

Greylock Partners is one of the oldest venture capital firms in the country. Founded in 1965, it has funded hundreds of companies in myriad sectors, from networking entities (Meta, LinkedIn) to healthcare (AmplifyMD, Atomic AI) and housing (Airbnb, Redfin), and continues to work with early-stage entrepreneurs to build strong businesses. Given its history and focus on innovation, Greylock found a fitting location for its new San Francisco headquarters: 140 New Montgomery Street, originally built in 1925 by architecture firms A.A. Cantin and Miller and Pflueger for the Pacific Telephone & Telegraph Company. The 26-story art deco tower was the city’s tallest when it opened and seen as a symbol of growth and technology. Greylock leased the top floor and hired Rapt Studio to transform it into a modern-day office that honors the site’s history.

The 7,300-square-foot penthouse was once a ball140

INTERIOR DESIGN

FEB.24

room and an assembly hall, with a 15-foot-high, painted plaster ceiling, views of downtown and San Francisco Bay, and cruciform traceries outside the windows. “It was a beautiful, interesting space,” Rapt CEO and chief creative officer David Galullo begins. Yet it presented challenges. Greylock required nine private offices, a boardroom, six conference and meeting rooms, and 15 desks, plus a reception area and a pantry. “You’re in the penthouse, so you want big volumes, but the program is a lot of little rooms,” Rapt creative director Mike Dubitsky adds. It was one of the many areas where the design studio had to weigh competing priorities. Having previously outfitted offices for such clients as Goop, PayPal, and Tinder, Rapt was up to the task.

“This concept is all about quiet balance,” Galullo continues. “Between the historic and the future, impressive and comfortable, cerebral and collegial.”

Greylock has a hybrid workforce of 50 employees and mainly uses the office for meetings; about 30 people come in on a given day. The firm desired that the environment project gravitas without being pretentious and feel inviting to the young entrepreneurs who come in to pitch ideas. Rapt blended contemporary and nostalgic details for a warm yet distinguished workplace that celebrates Greylock’s legacy and forward-thinking mentality.

Employees and visitors enter the building through an exuberant black-marble and bronze lobby. When they arrive on the 26th floor, Rapt devised the setting so it wouldn’t be a stark change when the elevator doors open. “Our portal has a double archway that smoothly transitions people from the art deco lobby to this office,” Dubitsky says, “and creates a sense of arrival.” With black-and-white penny floor tile, ebony plaster wall paint, and golden brass accents,

Previous spread: In the 7,300-square-foot penthouse of a 26-story San Francisco tower is the headquarters of venture capital firm Greylock Partners by Rapt Studio, which installed a custom banquette in the reception area across from closets clad in matte-black laminate, the fluted detailing referencing the 1925 building’s art deco architecture.

Left: With original cruciform traceries visible outside the windows, reception also features reproductions of Jørgen Wolff’s 1938 Wulff armchairs, Space Copenhagen’s low Fly table, Sebastian Herkner’s round Bell tables, and a backlit LED ceiling panel reminiscent of a skylight. Right top: Solid brass panels, brass wall mesh, and marble penny floor tile compose the deco-inspired elevator lobby. Right bottom, from left: Magnetized logos of companies Greylock has invested in are affixed to the closet. Reception’s wool-and-silk rug nods to animal prints from 1920’s décor. Nearby, the Apogee pendant fixture by hollis+morris appears in a custom configuration.

FEB.24

INTERIOR DESIGN

141

Top from left: Under a historic plaster ceiling, the pantry and open work area occupy what was originally an assembly hall and a ballroom. Nine aluminum-framed glass offices flank the main corridor floored in engineered oak, used throughout the shared spaces. In a restroom, a brass mirror and black-marble counter echo the palette of the building’s main lobby. Bottom: Backdropped by the greenhouse-like office structures, which don’t touch the ceiling, the pantry centers on a marble-topped island that extends into a dining table, while Uhuru Design’s Minim Rise workstations stand on wool rugs.

the dramatic elevator lobby feels vintage as it leads to a bright reception area anchored in the present day.

Reception is one of three big nodes along the L-shape floor plan that have a scale worthy of a penthouse. A 22-seat boardroom is in one direction and a pantry with open workstations is in another. Smaller conference and meeting rooms line the corridor between them, while a backlit LED ceiling panel illuminates the path. Wood joists and framing give the latter the feel of a skylight, notes Dubitsky, appropriate for the top-floor space.

Materials, furnishings, and custom details gesture to the roaring twenties. Teardrop pendant fixtures finished in brushed brass hang over the reception desk, itself clad in panels of antiqued mirror and bronze, and a glamourous banquette, channel-tufted in pale-jade velour, wraps around the adjacent lounge. Underfoot, a bird motif references deco-era animal prints. “There used to be huge reliefs of elephants and palms in the ballroom,” Dubitsky explains. “The rug subtly nods to that, in an unexpected way.”

Historic and modern most clearly intersect in the pantry, where staff members come to socialize and touch down between meetings. Rapt restored the painted plaster ceiling using original stencils found in the building’s basement, recreating ornate detailing that had worn away. At about 100 feet long and 10 to 15 high, the ceiling makes a big statement. “We decided to lean in and embrace the geometry,” Dubitsky says.

Half the pantry space is open, with hot desks across from a kitchen island, in black marble and whitewashed elm, that extends to form a dining table. Private offices occupy the rest. Yet instead of standard white boxes, Rapt conceived greenhouse-like glass huts with aluminum frames and gabled roofs that don’t quite touch the historic ceiling. “They define the smaller rooms without interrupting the grandiosity,” Galullo observes.

Employees needed enclosed offices, but they 142

INTERIOR DESIGN

FEB.24

“Materials, furnishings, and custom details gesture to the roaring twenties”

FEB.24

INTERIOR DESIGN

143

didn’t have to be soundproof, which gave the studio the flexibility to formulate what are essentially little solariums that maximize daylight.

It was a bold move, but the contrasting elements sit well together and form the kind of balance Rapt sought throughout the project. “The blend of historic and new is thoughtful. Nothing seems jarring or out of place,” Galullo concludes. The design also expresses the client’s brand. “It brought to life who we are as a firm,” Greylock marketing partner Elisa Schreiber contributes. “It feels personal, curated, bespoke, clean.” Her colleague Allie Dalglish, vice president of business operations, adds that this is how entre144

INTERIOR DESIGN

FEB.24

preneurs experience working with Greylock. It’s daunting to pitch a VC firm, but this one feels welcoming—the better to let ideas flow.

ROCKART: FLOOR TILE (ELEVATOR LOBBY). PORTOLA PAINTS:

PROJECT TEAM

(OFFICE AREA), TABLE (BOARDROOM). DE LA ESPADA: CHAIRS

TANJA PINK; LINN KAGAY; JONNY PAIS; JANELL LEUNG: RAPT STUDIO.

(PANTRY). BLUE GREEN WORKS: CUSTOM PENDANT FIXTURE. ROLL &

PLASTER PAINT. BANKER WIRE: WALL MESH. MARTINELLI ENVIRONMENTAL GRAPHICS: CUSTOM DISK WALL (RECEPTION).

KNOLL: BLUE CHAIRS (OFFICE AREA). KUSH RUGS: RUGS. MILLERKNOLL: TASK CHAIRS. UHURU DESIGN: WORKSTATIONS

NAVA CONTEMPORARY: ART CONSULTANT. PAW: MILLWORK.

HILL: SCONCE (RESTROOM). CAPITAL LIGHTING: MIRROR. KOHLER

PRINCIPAL BUILDERS: GENERAL CONTRACTOR.

CO.: SINK FITTINGS. OBJECT CARPET: CARPET (BOARDROOM). HOLLY

PRODUCT SOURCES

HUNT: BANQUETTE FABRIC. ALLIED MAKER: TABLE LAMPS. ZIMMER +

FROM FRONT ERIK LINDSTRÖM: CUSTOM RUG (RECEPTION). HOLLIS+

ROHDE: DRAPERY FABRIC. BERNHARDT DESIGN: CHAIRS (BOARD­

MORRIS: CUSTOM PENDANT FIXTURE. &TRADITION: CHAIRS, LOW

ROOM), TABLE (MEETING ROOM). SANCAL: CHAIR (MEETING ROOM).

TABLE. CLASSICON: ROUND TABLES. GUBI: TABLE LAMP. PACIFIC

THROUGHOUT SIENA: ENGINEERED-WOOD FLOORING. VAN BESOUW:

ARCHITECTURAL WOODWORKS: CUSTOM BANQUETTES (RECEPTION,

CARPET. ARMSTRONG: ACOUSTICAL CEILING. FLOS: RECESSED

PANTRY, BOARDROOM). KVADRAT: BANQUETTE FABRIC (RECEPTION,

CEILING FIXTURES. FENIX: MILLWORK LAMINATE. GLASPRO:

PANTRY). NEWMAT: LUMINOUS CEILING (RECEPTION, BOARDROOM).

ANTIQUED MIRROR. KELLY-MOORE PAINTS: PAINT.

Left: Claudio Bellini’s Kylo swivel chairs furnish the boardroom, where foldaway laminate doors can conceal brass-trimmed glass shelves. Right top: Autoban’s Throne chairs line the pantry dining table of whitewashed elm. Right bottom, from left: Offices are outfitted with Angela guest chairs by Aristeau Pires. The plaster ceiling has been repainted using original stencils found in the building’s basement. A Remnant armchair by Note and Luca Nichetto’s Luca table are the centerpiece of a meeting room, one of six.

FEB.24

INTERIOR DESIGN

145

forever linked The legacy of the late Fernando Campana lives on through a soon-to-open, ecologically focused park completed by his brother Humberto in Brotas, their Brazilian hometown text: michael snyder photography: filippo bamberghi/living inside

FEB.24

INTERIOR DESIGN

147

When the brothers Humberto and Fernando Campana opened their eponymous design studio in São Paulo in 1984, their witty, daring sensibility came as a shock to an architecture scene defined by one of the world’s most robust modernist traditions. Over the last four decades, they’ve invented a language all their own, making furniture with scrap wood and stuffed animals, cast bronze and bubble wrap.

In 2020, the brothers started work on a sprawling, 130-acre park in their rural hometown of Brotas, a 150-mile drive northwest of the city. Since his sibling’s untimely death in 2022 at age 61, Humberto, eight years Fernando’s senior, has thrown himself into that final shared project, slated to soft open in June as a place for conservation and study, but also, like all their work, of provocation and play. As Estúdio Campana looks toward its 40th anniversary, Humberto tells us more.

Could you start by talking about how Brotas shaped your work?

Humberto Campana: I was very blessed to have been born and raised there because it has such a beautiful landscape. But at the same time, it was extremely boring, so Fernando and I created our own universe.

There was a movie theater that screened American westerns and films from Federico Fellini and Pier Paolo Pasolini and we would recreate the scenery in our yard. We made an unconscious vocabulary that we would only discover years later.

We also avoided being contaminated by modernism. Brazilian architecture has such a strong connection to its modern tradition, but Brazil is much more than that. It’s crazy and colorful, full of texture and even kitsch, and we wanted to bring that into our work. We’re maximalists! We should be proud of all the elements of our cultural heritage.

When you founded the studio, who were your peers and mentors?

HC: My icons were Roberto Burle Marx and Oscar Niemeyer, but especially Lina Bo Bardi. She was a modernist but also interested in the countryside, in our African and Indigenous heritage. She pointed us to Brazil. Fernando and I tried to be industrial designers in the beginning, which at the time meant thinking in terms of utility and mass production, but we failed! We always looked for freedom in our work because we know what it is to live under a dictatorship. Our first exhibition, in 1989, a few years after the dictatorship ended, was called “Uncomfortable” and it was filled with that anger over all the brutality our country had suffered. Because that’s the real Brazil, too.

Previous spread: At Parque Campana, a 130-acre park in Brotas, Brazil, by Estúdio Campana, Humberto Campana stands within an installation of interlocking brick and local rough-hewn stones referred to as a pavilion, one of six so far, with six more planned.

From left: The bamboo cathedral pavilion is furnished with chaise longues made of local stone and measures almost 10 feet across; in time, the bamboo will arc to form a continuous living dome. The first pavilion visitors encounter consists of columns of piassava straw, a palm fiber used commonly in Brazil to fabricate brooms, standing on fine sand that invites bare feet. The columns are capped by a flat concrete slab.

FEB.24

INTERIOR DESIGN

149

150

INTERIOR DESIGN

FEB.24

Clockwise from bottom left: A newly planted coconut grove surrounds the concrete and agave pavilion. The terra-cotta–colored columns that jut irregularly out of the ground suggest the sponta­ neous formation of crystals.

An observation tower over­ looks the canopy, regener­ ated from thousands of trees planted by Estúdio Campana, characteristic of the transi­ tional biome between the Cerrado—Brazil’s interior savanna—and the Atlantic Forest, which connects the coastal mountains to the sea. The late Fernando Campana made the first sketches of what would eventually become the eucalyptus pavilion on one of his frequent trips to the capital of Brasília, where he sketched Oscar Niemeyer’s famous cathedral as an oca, an indigenous housing typology.

FEB.24

INTERIOR DESIGN

151

Mandacarus, used in Brotas as a kind of natural fencing, form a boundary around the connected circles of the cactus pavilion.

How did Parque Campana come into existence?

HC: My grandfather had used this property as a coffee plantation. Later, my father rented it out to cattle ranchers. From the time Fernando and I in­ herited it, we wanted to use it for conservation, but we were nomads, traveling all over the world, so we kept renting because we didn’t want it to sit there abandoned. When the pandemic came, it put us right back in the countryside and we started thinking: We’ve done workshops all over the world, why not in our hometown?

Growing up, it took almost eight hours to get to Sao Paulo on the unpaved roads, and we would see wolves and jaguars and other animals. Nowadays it’s a desert of sugarcane and soy beans. We wanted to seduce people—the families who work in the agri­ businesses that are devastating the environment— with poetry, music, and film. We’ve planted over 16,000 trees, and the idea is to plant more, working with agronomists and environmental engineers.

Then we had the idea to create 12 architectural pavilions (there are six, so far) as spaces where people can have classes, meditate, and watch movies and concerts. There will be an educational program, too, both artistic and environmental, and it’s important for us that all the park’s furniture is produced in the countryside with local materials.

I want to create a school to preserve craft traditions with workshops for welding, weaving, painting, embroidery—all the things we used to have in Brotas when I was a child. Across the world, people are finally giving these crafts the respect they deserve. It’s the right moment to invest in the countryside. Life has been so generous to me and, living in a country with such deep social divisions, I feel it’s time to give back.

What are your future plans for the park? For the practice?

HC: Right now in the park, all the poetry is there, but none of the logistics, so I’m working with a firm in São Paulo to complete all of that. In the studio, we’re working on a documentary that will launch at the Milan Triennale during the Salone and an exhibition at Friedman Benda in New York.

I’m also working on a book about our way of thinking and making. But really, I’m focused on opening the park.

152

INTERIOR DESIGN

FEB.24

“We have planted 20,000 trees so far, and the idea is to plant more”

Can you speak a bit about how the loss of your brother has affected your practice?

HC: Fernando and I had a wonderful relationship. There was so much trust and respect and intimacy.

When I lost him, I felt completely naked, and thought it would be so difficult to keep creating. But I’m actually in a very creative moment right now. Creativity gave me a voice—I came from the countryside, I was supposed to be no one—and now it’s helping me to survive. The park is a memorial, an homage.

All the energy I’m investing in it—it’s for him.

PROJECT TEAM ESTÚDIO PLANTAR IDEIAS; LICURÍ PAISAGISMO: LANDSCAPE ARCHITECTURE.

Clockwise from top left: A pair of statues anchor the two ends of the cactus pavilion. The stones mark the spot where Humberto Campana plans to plant a ficus in his brother’s honor. Each of the cactus pavilion sculptures are made of a tree stump and iron rods, melding an industrial material with the detritus of the damaged landscape the park aims to restore.

The columns of the piassava pavilion were originally installed at Estúdio Campana’s 2020 retrospective at the Museum of Modern Art in Rio de Janeiro, titled “35 Revolutions.”

154

INTERIOR DESIGN

FEB.24

“The park is a memorial, an homage. All the energy I’m investing in it—it’s for my brother”

FEB.24

INTERIOR DESIGN

155

c o n ta c t s DESIGNERS IN SPECIAL FEATURE Charles Renfro (“Right on Track,” page 124), dsrny.com.

Elkus Manfredi Architects (“Right on Track,” page 124), elkus-manfredi.com.

JYDP (“Right on Track,” page 124), jy-practice.com.

L2C Arquitetura (“Right on Track,” page 124), l2carq.com.

Salone del Salon (“Right on Track,” page 124), salonedelsalon.com.

Stephen Alton Architect (“Right on Track,” page 124), linkedin.com/in/stephen-alton-3754108.

Wahlström & Steijner Arkitekter (“Right on Track,” page 124), wahlstrom-steijner.se.

PHOTOGRAPHERS IN FEATURES Filippo Bamberghi (“Forever Linked,” page 146), Living Inside, livinginside.it.

Eric Laignel Photography (“Down the Nile,” page 94; “Pitch Perfect,” page 138), ericlaignel.com.

Garrett Rowland (“Hang Time,” page 114), garrettrowland.com.

Yuuuun Studio (“Trunk Show,” page 104), no@qq.com.

DESIGNER IN WALKTHROUGH Rand Elliott Architects (“A New Energy,” page 39), randelliottarchitects.com.

PHOTOGRAPHER IN WALKTHROUGH

Interior Design (ISSN 0020-5508), Feb. 2024, Vol. 95, No. 1 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) 9000804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries.

Copyright © 2024 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.

156

INTERIOR DESIGN

FEB.24

XIAO EN

Scott McDonald (“A New Energy,” page 39), Gray City Studios, graycitystudios.com.

CALICO WALLPAPER

PLAYING NOW

EXCLUSIVELY ON

i n t er vention

hospital rounds

RUBÉN P. BESCÓS

Inselspital Bern in Switzerland has been in operation since 1354.

But Anna-Seiler-Haus, the new main building by ASTOC Architects and Planners, GWJ Architektur, and IAAG Architekten that’s named after the woman who established the hospital hundreds of years ago, bowed last summer, and it features a very 21st-century intervention.

Hanging in the 80-foot-high atrium is Loops, an installation by SpY and Studio Banana that’s named after its two dozen large, kinetic circles.

Each 5 feet in diameter, their inner rims fitted with LEDs, the aluminum rings suspend from steel cables that feed into a winch, allowing each round to change position independently. The changes are courtesy of a computer-programmed choreography that periodically adjusts the tempo. “Mornings and evenings, the movement is calmer, but during the day, the pace picks up,” says architect Ali Ganjavian, founding partner of the multidisciplinary Studio Banana. “It’s inspired by the cyclical movements of nature,” architect and cofounding partner Key Kawamura notes. “As the viewer moves amid the atrium’s five floors and the sculpture shifts,” Spanish artist SpY adds, “infinite shapes are created and a new artwork is discovered.”

Evidence suggests that art, as part of a holistic hospital design, is beneficial to health, so the hope is that Loops and its meditative qualities will help improve patient outcomes. In the meanwhile, every hour, the rings synchronize and indicate the time with gentle pulses of light. —Wilson Barlow

FEB.24

INTERIOR DESIGN

159

Join Us for Season 2.

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

Presented by

LISTEN ON

NeoCon® is a registered trademark of Merchandise Mart Properties, Inc.

Design Takes Shape

June 10–12 2024 THE MART Chicago

neocon.com

Work from Anywhere

GranTorino by Poltrona Frau