Interior Design June/July 2024

JUNE/JULY 2024

making a statement

Photograph Photograph

by Kendall

by Kendall McCaugherty, McCaugherty, Hall + Merrick Hall + Merrick + McCaugherty + McCaugherty

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TAILORED TRANQUILITY

CONTENTS JUNE/JULY 2024

2024

VOLUME 95 NUMBER 5

06//07

ON THE COVER

In the lobby of West End Labs, an eight-story, multitenant life-sciences workplace in New York developed by Elevate Research Properties and designed by Perkins&Will, the ceil­ ing’s custom light fixtures made with Arktura acoustic felt nod to cell composition—the nucleus and surrounding cytoplasm— and are joined by a ceramic wall mosaic by Alyson Shotz.

Photography: Eric Laignel.

features 138 CELLULAR NETWORK

by Rebecca Dalzell

Perkins&Will puts a 1920’s New York building under the microscope, transforming it into West End Labs, a 21st-century hub for life-sciences professionals.

148 TAKING FLIGHT

by Wilson Barlow

For Supernal, a startup electric-aviation company, RMW created a campus spanning three separate California locations, each tailored to its particular workforce.

158 ON THE MAP

by Peter Webster

ATLAS, a multipurpose public space at the National Gallery Prague renovated by No Architects, invites visitors to explore creative territory.

166 POWER SHIFT

by Laura Fisher Kaiser

A relocated Washington headquarters for law firm WilmerHale not only unites staffers but also, thanks to LSM, showcases transparency, blue-chip art, and repurposing.

176 FAIR TRADE

by Jane Margolies

A decarbonizationfocused investment firm’s New York office by Schiller Projects profits from responsibly forested blond woods, recycled materials, and reusable systems.

184 SETTING THE SCENE

by Edie Cohen

Around the world, institutional projects from theaters and museums to offices and libraries are creating compelling drama.

JASON O’REAR

148

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2024

06//07

CONTENTS JUNE/JULY 2024

VOLUME 95 NUMBER 5

walk-through 69 NEXT LEVEL

by Lisa Di Venuta 77 SHOW TIME

by Elizabeth Fazzare 85 ALL SHAPES AND SIZES

by Annie Block and Georgina McWhirter

Whether stateside or abroad, tech company or video production studio, these offices have made providing creativity- and communityinducing spaces job number one.

departments 29 HEADLINERS 35 DESIGNWIRE

by Annie Block and Athena Waligore 46 SHOPTALK 48 BOOKS

by Wilson Barlow 52 PINUPS

by Rebecca Thienes 59 CREATIVE VOICES Color Field

by Peter Webster

For Dutch designer Carole Baijings, the hues of nature in general—and flowers in particular— are an inspiration for now and beyond.

105 MARKET edited by Rebecca Thienes text by Georgina McWhirter, Rebecca Thienes, and Stephen Treffinger 133 CENTERFOLD Learning Modules

by Athena Waligore

Architecture students and A+U Lab construct a pair of large-scale outdoor cubes on a university campus in Busan, South Korea, to immerse viewers in the possibilities of polycarbonate.

199 INTERVENTION

by Wanda Lau

133

LAWRENCE KIM

196 CONTACTS

NOW/THEN™

PACIFIC STANDARD TIME ™ COLLECTION

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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

PRINT OPERATIONS MANAGER

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSOCIATE EDITOR

Wilson Barlow ASSISTANT EDITOR

Lisa Di Venuta EDITOR AT LARGE

Elena Kornbluth

Olivia Padilla SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

digital SENIOR WEB EDITOR

Carlene Olsen WEB EDITOR

Michelle Yee

CONTRIBUTING EDITORS

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

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CONTRIBUTING PHOTOGRAPHERS

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

Erica Holborn CHIEF OPERATING OFFICER

Michael Shavalier CHIEF DESIGN OFFICER

Cindy Allen 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 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 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.

CHIEF GROWTH OFFICER AND EXECUTIVE VICE PRESIDENT, CLIENT STRATEGY

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Lisa Silver Faber VICE PRESIDENT, BUSINESS DEVELOPMENT

Laura Steele DIRECTOR, VIDEO

Steven Wilsey

Elora Lounge by Sebastian Herkner Vida Table + Vida Shelving by Hanne Willmann

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Explorations of metal.

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Myriad brass looks, antiqued to polished, plus a massive collection of metals for interior spaces.

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A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW carbon impact initiative, all publications, including INTERIOR DESIGN and METROPOLIS, are printed using soy-based inks, which are biobased and derived from renewable sources. This continues Sandow Design Group’s ongoing efforts to address the environmental impact of its operations and media plat­forms. We have a partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2024 with verified carbon credits, including the one you hold in your hands.

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e d i t o r ’s welcome

BIG

go

or go home!

As I impart my final, obsessive touches to our NYCxDESIGN Awards presentation—happening right after we go to press on this issue—I can state, without a doubt, there’s really nothing like it. That is to say, it would be extremely hard for anything to top the all-you-can-handle metropolitan design boot camp that is this New York City creativity extravaganza. A hard-fought completion, the judging process gave me the rarest chance to study—or, better yet, bliss out on—myriad commissions, vernaculars, solutions, urban locales, and identities. Pretty horrific, eh? I mean, we’re really talking back to the salt mines for Cindy here, through and through…hee hee! (How lucky am I?!)

Personal edification and tirades notwithstanding, this yearly NYC design-in-review rekindled my likes and interests, positive biases, and preferences for all the disparate patches of our business. In particular, it reminded me of just how much I love contract design. Oh, yes! From big to vast to downright colossal, I just adore large commercial projects and never-ending rollouts, the inevitable oodles of teamwork and the chemistry behind it, the clients and the clients’ stories, always bigger than life itself. I suspect it may be an American thingy or maybe a New York City girl thingy. I remember talking about the phenomenon to my pal, mega-architect Tom Kundig, who felt it was a western states thing: going big, scaling up to downright huge!

What it definitely means, here and now, is that megasized commercial design is the lion’s share of our June/July issue. No Architects says a mammoth “yes” to designing unique color-blocked spaces for exploring creativity at the National Gallery Prague (and folks even wear artistic paper-flower masks!). Schiller Projects is up to the recycled task for a New York investment firm that advances global decarbonization (and the outcome looks responsibly chic to boot!). And RMW designs in triplicate for an electricaviation startup with not one, not two, but three California locations (creating a massive central hub for #1, statement stairs with a soaring green wall for #2, and for #3, yellow-painted steel beams in the main testing floor, which accommodates a fullscale aircraft!). Wowza!

Anyhoo…no better and bigger way than this issue to get you inspired, and ripe and ready for the next BIG trade show: NeoCon! See you soon!

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thecindygram JUNE/JULY.24

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headliners

No Architects “On the Map,” page 158 executive: Daniela Baráčková. executive: Jakub Filip Novák. firm site: Prague. firm size: Nine architects and designers. current projects: A chapel for the Evangelical Church of Czech Brethren and Baugruppe alternative housing in Prague; a Design Hotel in the Ore Mountains along the German-Czech border. honors: BIG SEE Award; German Design Award. brushwork: Baráčková is also an artist known for her paintings, videos, and installations. advocate: Versed in construction law, Novák used to work at the Prague Institute of Planning and Development, a public-interest agency. noarchitects.cz

“We’re interested in sensitive and detailoriented solutions that reflect the unique story of each client and project”

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h e a d l i n e rs

LSM “Power Shift,” page 166 founding partner: Debra Lehman Smith, IIDA. partner: Rebecca Montesi. firm sites: Washington; New York. firm size: 35 architects and designers. current projects: South Station mixed-use development in Boston; 18 Blackfriars Road mixed-use development in London; Milbank office in Munich. honors: Interior Design Best of Year Awards; IIDA National, Honor, and Global Excellence Awards. debut: After decades of collaboration with Unifor, Lehman Smith launched her Andromeda furniture collection with the brand at Milan Design Week in April. tour: The Virginia mid-century home of Montesi, who made partner last summer, is one of 13 on the prestigious Hollin Hills House + Garden Tour. lsm.com

Schiller Projects “Fair Trade,” page 176 founder, principal: Aaron Schiller, AIA. partner, studio director: Colin Cleland, AIA. firm site: New York. firm size: 10 architects and designers. current projects: Brick Cove hotel and master plan in Southold, New York; Bartlett Arboretum & Gardens master plan and five buildings, including two mass-timber passive-solar greenhouses, in Stamford, Connecticut; Elk View passive-house residential development in Asheville, North Carolina. honors: Interior Design Best of Year Award; AIA New York State Merit Award; AIA Brooklyn Commendation Awards.

Perkins&Will “Cellular Network,” page 142 firm founding site: Chicago. firm size: 1,276 architects and designers worldwide. managing principal: Bill Harris. current projects: Science Square mixed-use development in Atlanta; the Landing life-sciences office building in Burlingame, California. senior project architect, senior associate: Susan Heersema. current projects: Barnard College Roy & Diana Vagelos Science Center and the Hudson Research Center in New York. senior interior designer, senior associate: Jeanette Kim. current projects: Offices in New York and New Jersey; an airline tech hub in Dubai, UAE. honors: AIA National Architecture Award. student: An astronomy buff, Harris is teaching himself quantum physics. reader: Heersema is an avid sci-fi and post-apocalyptic fiction fan. teacher: After earning her master’s in fine arts from SCAD, Kim participated in the school’s graduate mentor program. perkinswill.com 30

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RMW “Taking Flight,” page 148 principal: Stan Lew, AIA. senior designer: Jenna Szczech, IIDA. firm hq: San Francisco. firm size: 89 architects and designers. current projects: A confidential building repositioning and amenities center in San Francisco; Prologis offices across the U.S. honors: Interior Design Best of Year Award; AIA Silicon Valley Honors. pot plants: Lew is an enthusiastic practitioner of the art of bonsai. tall trees: Szczech is a plant collector whose house and yard are filled with fine specimens. rmw.com

CLOCKWISE FROM TOP LEFT: WESTON WELLS; ANDREW HOLMAN; DAVID PARRY; MARK ALAN ANDRE; SHAUNTE DITTMAR (2)

nature: Schiller planted a live, nearly 7-foot-tall Japanese maple in the 1870’s Brooklyn carriage house he renovated for him and his family. music: Cleland plays jazz and blues piano. schillerprojects.com

Adelaïde 6302, shot at Château de Purnon

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design wıre

edited by Annie Block

a tree grows at adobe Whether an Ecuadorian restaurant interior or an interactive installation at the Washington Area Metropolitan Transit Authority, work by Hou de Sousa emits a polychromatic yet studied exuberance that’s rooted in site and intended to be enjoyed by as many people as possible. The New York–based studio led by husband-and-wife architects Nancy Hou and Josh de Sousa frequently arrives at its design solutions through processes that include utilizing such Adobe programs as Illustrator and Photoshop. So, when the software company invited the firm to submit a proposal for an outdoor installation at its San Jose, California, headquarters—newly expanded with an 18-story tower and a footbridge to connect it to the campus’s existing three buildings—Hou de Sousa, well versed in the client’s tools, snapped up the commission. The resulting Creativity Blooms entails 20 elements: a mix of “trees” and “roots,” benches, plus a logo, running underneath and along the bridge. The trees and benches are super-thin aluminum plates painted vibrant colors that nod to Adobe’s spectrum and the ingenuity it summons, as well as San Jose’s agricultural history. At night, they’re set aglow by embedded LED strips. “Photoshop,” de Sousa recalls, “was particularly helpful with testing out the lighting effects.”

Clockwise from top right: Creativity Blooms, a multipart installation by Hou de Sousa at the expanded San Jose, California, head­ quarters of Adobe, starts at street level, where a custom logo and eight LED strip–lit “roots” run up and underneath the footbridge that adjoins an office tower, both newly built for the software company by Gensler. Along the 250-foot-long bridge are Hou de Sousa’s eight “trees,” each 13 feet tall, and three benches (only two shown), all made of 1/8-inch-thick painted-aluminum plates and custom stainless-steel bolts.

HOU DE SOUSA

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human appeal Casey McCafferty has come a long way from the scooters and subwoofers he built as a teenager. Today, more sophisticated work by the New York– born, New Jersey–based sculptor can be found commissioned by Burberry for its stores in Italy and Japan, displayed at The Future Perfect in Los Angeles, and, this spring, in “Head Hand Foot,” his solo show at Gallery Fumi in London. Each of the exhibit’s 18 pieces is hand-carved from wood, sometimes mixed with stone, often embodying anthropomor­ phism, a trend we’ve been covering recently in our pages (Vincent Pocsik, Barbora Žilinskaitė, Erwin Wurm) and what inspired the exhibition’s title. “My interest in body parts comes from ancient art, Greek to Oceanic, and the way it implies a collectivity among people,” notes the self-taught McCafferty, who, speaking of a collective, comes from a family of stone masons. A particular standout is the Gaeta, a 12-foottall cabinet—the artist’s first—in sandblasted ash. It and possibly more of his new pieces will appear with Gallery Fumi at PAD London in October.

Clockwise from top left: “Head Hand Foot,” Casey McCafferty’s 18-piece solo exhibition on view at Gallery Fumi in London through June 29, includes the Gaeta cabinet in sandblasted ash, the oiled-walnut Sculptural bedside table, the Head Hand Foot sculpture in oiled walnut and limestone, and the Byzantium side table in oiled walnut and travertine, all from 2024.

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COURTESY OF CASEY MCCAFFERTY AND GALLERY FUMI

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Established by architects Stefan Rier and Lukas Rungger in 2011, NOA has since grown steadily with projects across the globe, largely in the hospitality sector, one of which earned an Interior Design Best of Year Award.

Naturally, the staff has grown, too, which has necessitated a move from the firm’s 4,000-square-foot office in Bolzano to larger, 11,000-square-foot headquarters nearby.

(NOA, which stands for Network of Architecture, has also opened additional studios in Italy, in Milan and Torino, as well as in Berlin.) Rier, Rungger, and team took the relocation as an opportunity to showcase their aesthetic and experiment with what types of physical spaces are most conducive to connection and creativity. Drawing on the upscale environments created for such projects as the

flying colors Apfelhotel Torgglerhof resort in South Tyrol, a not-so-typical-corporate palette of violet, sage, and ochre highlights existing beams and sky­lights. Furnishings by the likes of Joan Gaspar and Patricia Urquiola add to the chromatic effect while providing clients with a showroom of sorts to test products. They also allow for a range of employee uses, whether formal meetings or coffee breaks. “Inspired by the versatility of a chameleon, spaces here un­ fold in constant transformation,” Rungger says.

“The quick exchanging of ideas, arising of unexpected synergies, and building of close working groups that come with shared areas bring inestimable value.” —Athena Waligore

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INTERIOR DESIGN

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ALEX FILZ

Clockwise from top: Architecture and interiors firm NOA has recently designed and moved into 11,000-square-foot headquarters in Bolzano, Italy, which includes a conference room furnished with Joan Gaspar’s Djembé ceiling fixtures for Marset and a mix of chairs from such brands as Billiani and Sitlosophy so that it can double-function as a product showroom for clients. A 3527 Mile stool by P&P Chairs under an existing skylight. Patricia Urquiola’s Ruff armchair for Moroso in the lounge. NOA interior designer Maria Dal Canto surrounded by the office’s calming yet creativity-inducing colorways.

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YEARS OF INTERIOR DESIGN EXCELLENCE

NEW YORK, NY | STAMFORD, CT | MIAMI, FL | WASHINGTON, DC

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INTERIOR DESIGN

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An expansive residence east of London, Houghton Hall was built in the 1720’s by Georgian architects Colen Campbell and James Gibbs for Great Britain’s first Prime Minister, Sir Robert Walpole. Still in use as a home—the 7th Marquess of Cholmondeley, a descendent of Walpole, and his family currently reside there—the estate also hosts public outdoor exhibitions on its grounds by world-renowned artists, present and past (Anish Kapoor, Henry Moore). This summer, Antony Gormley joins the former category with Time Horizon, a multipart installation originally displayed in 2006 at the Parco Archeologico di Scolacium in Catanzaro, Italy. Here, its 100 cast-iron “bodyforms” sprawl across Houghton’s 300 verdant acres, encouraging a treasure-huntlike exploration and a reflection on space, nature, and humanity. The journey may take visitors to the Walled Garden, where two figures mix with a formal rose parterre and a glasshouse, or behind the main house, where several more have been placed on the lawn of the 13th-century St. Martin’s Church. Only one sculpture is indoors, out of sight from the white fallow deer known to dart past the others. —Athena Waligore

CLOCKWISE FROM TOPRIGHT: THEO CHRISTELIS (2); PETE HUGGINS

a roam with a view

PETE HUGGINS

Clockwise from above: Time Horizon, a 2006 installation by Antony Gormley, has been installed at Houghton Hall in Norfolk, U.K., where it’s on view through October 31 and composed of 100 cast-iron human figures, including ones buried thigh- and shoulder-high, placed all across the estate’s 300-acre grounds as well as just inside the entry of the main house.

JUNE/JULY.24

INTERIOR DESIGN

Colors for connection 6 new nature inspired colors.

Parchment

Storm

Meadow

Saffron

Elderberry

Twilight

zintraacoustic.com

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art house

FROM TOP: WILLIAM JESS LAIRD; MAX TOUHEY

It makes total sense. Transforming the home of a late blue-chip artist into studios for burgeoning artists.

That’s what happened on Washington Street in New York, where a 1913 former metal shop was purchased in 1987 by celebrated pop painter/sculptor Roy Lichtenstein and his wife Dorothy as their home and his studio. For the decades following his death in 1997, the site operated as the Roy Lichtenstein Foundation. Earlier this year, it bowed as the first permanent home of the Whitney Museum of American Art’s Independent Study Program.

Thanks to a thoughtful preservation, renovation, and expansion by Johnston Marklee—a blue-chip firm in the arts and institutional sectors—vestiges of Lichtenstein’s creative spirit remain as inspiration throughout the now 11,000-square-foot building. Take the artist studios, which occupy what was Lichtenstein’s studio, his easel system and sink left intact. Their seemingly simple construction of unfinished Douglas fir and plywood make them “durable and raw for artists to inhabit with their work, but they’re also finely crafted,” architect Sharon Johnston explains. Upstairs, inspiration comes from influencers in other fields. The Lichtensteins’ bedroom is now a meeting room outfitted with furniture by Alvar Aalto and Sven Markelius, and a lounge features seating

by Frank Gehry and Roland Rainer.

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INTERIOR DESIGN

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FROM TOP: WILLIAM JESS LAIRD; MAX TOUHEY

modulararts.com

206.788.4210

Clockwise from top left: Johnston Marklee has transformed the two-story former home and studio of Roy Lichtenstein in New York into the permanent site of the Whitney Museum of American Art’s Independent Study Program, adding a third floor to accommodate an artist-in-residence apartment, meeting areas, and this lounge, furnished with Frank Gehry’s Little Beaver chairs that had occupied the Harvard GSD office of and were donated by Mark Lee. Lichtenstein’s Garden Brushstroke, 1996/2009, in painted aluminum on an existing terrace that was replanted and given concrete pavers and a brick partial-height wall. The meeting room’s circa 1930’s Alvar Aalto and Sven Markelius table and chairs, examples of the project’s goal to purchase as little new material as possible. The 15 artist studios in Douglas fir and plywood, Lichtenstein’s wall-mounted easel system behind them retained.

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RESIDENTIAL ST YLE .

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What new and emerging technologies are key to your work in 2024 and beyond?

“We’re moving exclusively to gaming engines like Unreal to deliver visuals. We see expectations for the quality of deliverables con­ tinuing to accelerate with the tools available today.”

—David Taglione, ICrave, a Journey Studio

s h o p talk

“We’ve found A.I. to be a powerful brainstorming tool for initial concepting and ideation. It cuts down on research time, but it’s not a replacement for bespoke, personal design. It’s a tool, not a solution.”

—Yulia Bekar, HBA

“VR allows our clients to fully immerse themselves in a space, providing a better sense of atmosphere, scale, and proportion. During the pandemic, we developed a version of Toolbelt that could allow up to 100 people to join a VR session and traverse the model on their own, reviewing designs and collaborating in real time. We can even ship VR goggles to any user.”

—Christian Giordano, Mancini Duffy

“We have integrated drone photography/scanning, 3D printing, augmented reality, and virtual reality into our practice. We find they’re all valuable to our clients’ undestanding of a project—and they can be easily shared with investors and shareholders.”

“Any technology that facilitates remote, real-time collaboration is here to stay.

We’ve had a lot of success with Miro and expect such platforms to remain essential tools for real-time interaction, design, and information gathering.”

—Patrick Fejér, B+H Architects

TOP RIGHT: CHELLY CRUZ

—Kelli Straub, STG Design

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INFINITE POSSIBILITIES

Starphire Ultra-Clear® glass is the purest, most versatile canvas for your glass designs.

With unmatched clarity and a signature azure blue edge, the possibilities for brilliant interiors are limitless. starphireglass.com

Of the influential mid-century Danish design scene that included Poul Kjærholm, Børge Mogensen, and Hans Wegner, Verner Panton was known as the enfant terrible. He was labeled avant-garde and a misfit by his contemporaries—a reputa­ tion he did nothing to dispel. He embraced the bold and the eccentric, quipping that “a less successful experiment is preferable to a beautiful platitude.”

Many of those successful experiments are gathered here in one technicolor volume. Among the highlights are rare

sketches, including ones of the iconic S, or Panton, chair, which caused a sensation in 1967 for being the first in injectionmolded plastic (he made a version of the S in molded plywood in 1956, but it took Thonet nearly a decade to put it into pro­ duction). Most of chapter two is devoted to the S, but it also delves into such earlier trail-blazing seats as the Cone, Heart Cone, and geometricized version of the Cone called K4, all produced between 1958-1960. Photographs of completed projects and products, including the 1969 pool area at the Spiegel Publishing House in Hamburg, Germany, and the plastic wall panels produced by Horlacher for the 1970 exhibition Visiona 2, plus advertisements and family snaps are peppered throughout the pages.

The book’s images of the designer’s installations may look familiar to those who attended Milan Design Week last month. Capsule and Verner Panton Design overtook 10 Corso Como with “Panton Lounge,” an immersive, saturated environment that echoed his aesthetic and celebrated the launch of the re-edition of his Domino and Romantica rugs by Amini and Spiegel acoustic panel by Offecct.

Panton: Environments, Colors, Systems, Patterns

By Ida Engholm and Anders Michelsen Copenhagen and New York: Strandberg Publishing through Artbook D.A.P. $50 352 pages, 425 illustrations (350 color)

b o o k s edited by Wilson Barlow 48

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HANDCAST BRONZE HARDWARE | 12 FINISH OPTIONS ROCKYMOUNTAINHARDWARE.COM 888.788.2013

CRAFT THE FUTURE There is a decisive shift towards sustainability in architecture in 2024. The urgency to reduce the construction sector’s CO₂ emissions is driving this change and the solution lies in embracing wood for more than just aesthetics: it’s increasingly recognized as a fundamental architectural material. With its significantly reduced carbon footprint, wood is not just an alternative; it is leading a revolution in sustainable architectural practices.

Advent Health Innovation Tower Location: Orlando, FL Architects: HuntonBrady Architects Wood Products: Grilles, Flat Panels

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p i n ups by Rebecca Thienes

making waves Furniture and accessories with an undersea aura turned heads and pleased the eye at Milan Design Week

LEFT: RICCARDO GASPERONI; RIGHT: FEDERICA LISSONI

Aqueous pastels distinguish Draga Obradovic and Aurel K. Basedow’s Glaze coffee tables in Lucite, Bon Bon resin-dome LED wall lamps, and recolored Sabot chair with resin-coated elasticized fabric and pearlescent chromed-steel pedestal— all highlights of Tinted Hues, a project Draga & Aurel mounted at Nilufar Gallery. nilufar.com; draga-aurel.com

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VOLTA MEMPHIS

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p i n ups oceanic

At the Alcova presentation outside the city center, Slovakian-born, Brooklynbased industrial designer Kickie Chudikova unveiled her ode to marine life: Pulpopolis, a trio of lamps (dubbed Cyanea, Tamoya, and Physalea) handcrafted by master glassblowers at Murano’s Berengo Studio.

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SEAN DAVIDSON

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color field For Dutch designer Carole Baijings, the hues of nature in general—and flowers in particular—are an inspiration for now and beyond

Just ask Proust, our earliest memories are often our most profoundly formative ones.

Carole Baijings was born in Jakarta, Indonesia, and though the designer only lived there a year before her family returned to Amsterdam, where she’s resided ever since, the country’s colorful culture—“especially the vivid hues and patterns of the women’s clothes,” she notes—left an indelible impression. Not that life was much less visually stimulating in the Netherlands, famed for its cut-flower industry, where Baijings’s mother continued to wear bright clothing and her rug-dealer grandfather festooned his house with Persian carpets and Middle Eastern textiles.

Unlike many of her compatriots, Baijings’s career did not begin at Design Academy Eindhoven or a similar school. Rather she started as an assistant director for Rene Eller at Czar Films, one of Europe’s leading commercial production companies, where she worked on spots for Coca-Cola, Airbus, and other premium clients. “I would do the whole look and feel of the film,” she reports, “including the color concept.” But it was meeting and marrying an established designer, Stefan Scholten, that lead her into the profession proper.

They began to collaborate, first on interiors before deciding they preferred creating pro­ ducts, launching Scholten & Baijings in 2000 with a well-received collection of rugs.

c r e at i v e voices

FROM TOP: MYRTHE GIESBERS; CHARLIE SCHUCK

From top: The founder of Carole Baijings Studio for Design wearing a vintage embroidered Dries van Noten jacket that reflects her passion for color, pattern, and texture. Anthony Land’s Yoom modular seating, among the first product shoots art directed by Baijings since her appointment as creative director for Stylex.

For nearly two decades the couple produced a range of objects, lighting, furniture, textiles, and conceptual works that combined minimalist forms and meticulously balanced color palettes with traditional craft techniques and industrial production methods. In 2020, the duo decided to explore the artistic challenge of working individually under their own names, though they continue to collaborate on some projects, such as a new portfolio of rugs for Maharam. We talked to Baijings recently about her current activities, which include being named creative director at Stylex, the New Jersey–based furniture manufacturer, for which she’s already shot a sophisticated advertising campaign and designed new showrooms in New York and at the Mart in Chicago, in time for the NeoCon trade show.

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Clockwise from top left: Midday, a wide-stripe gradient wallpaper from Baijings’s Shades of Time collection for Petite Friture, backdrops Constance Guisset’s Vertigo pendant fixtures for the same company. Flower No. 16 from 2m2 Flowerfield, a limited-edition portfolio of bloomlike objets created in 2022 for t.e., the design label of the late Thomas Eyck. In Baijings’s Amsterdam studio, prototypes and maquettes of perforated bowls, trays, and other marble tableware for Luce di Carrara. At the company’s Milan showroom, the designer arranging flowers in her Muze vase, which debuted during Salone del Mobile 2024.

Developed and produced in 2023 on traditional looms at the Weverijmuseum in Geldrop, Color Check, a yarn-dyed cotton tea towel incorporating 40 unique hues.

Opposite, from top: Flowerfield includes ready-mades such as a bottle brush turned into a spiky botanical along with blossoms crafted from silk, latex, paper, and other materials. A Stylex product shoot, directed by Baijings, of the brand’s Luna seating by Anthony Land, Dau ottomans by Yonoh Studio, and Adorn nesting tables by Aodh O Donnell. Flower No. 13 from the Flowerfield series in a 3D-printed, recycled-plastic vase from the Lucent collection, made in collaboration with Phygital Studio. Tom Chung’s Fromme chair in front of Evening, a Shades of Time wallpaper panorama in a darker colorway, for Petite Friture.

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Tell us about your new relationship with Stylex.

Carole Baijings: The company has its own art director for the furniture as produced in the factory, but I’m the creative director. Initially, I was asked to collaborate with design agency 2x4 on Stylex’s rebranding, to bring it to a new level. One of its specialties is the enormous number of powder-coat shades it offers clients—a big advantage—so we focused on the color story. I developed a new color wheel, since, for me, helping brands evolve includes suggesting what the future palette could be.

You often mention “the atelier way of working.”

What does that mean in practice?

CB: It means for every project I mix my own colors; I make my own materials; I make my own models and maquettes. By doing so, I arrive at new forms—things that I couldn’t possibly develop on a computer, things that embody human skills. I think it’s a method that can be used on anything, no matter how specialized the craft or product, and it will always work. It takes more time, so may be more expensive, but it always helps us achieve a better outcome in the end.

You’ve also been refining the advertising and communications materials.

CB: For the product shoots, we saw the furniture as characters in the photos, so we didn’t really need props. But the combination of colors—not just those of the fabrics and finishes but also the wall and floor paints, which were mixed specifically for us—was super important, as were the lights and shadows.

We created compositions that are a bit like art photography. Once the rebranding is complete, I’ll start designing pieces for them, as well as introduce other colleagues of mine to work with them.

Did that apply to your new vases and bowls for the Italian marble company Luce di Carrara?

CB: Yes. As Scholten & Baijings, we’d already designed tables for Luce di Carrara, but this year the company asked me to make tableware—smaller pieces using scrap marble that would otherwise go to waste. All the objects came from making models.

The form of the Muze vase, for example, comes from a plain sheet of paper folded to make one continuous piece; it’s a rounded, quite feminine shape. Working in the “atelier way” often gives us more outcomes than we can use for the launch of a collection, but my clients can use them later on. There’s an oval mirror on a stand like that; it will be introduced later this year.

CLOCKWISE FROM TOP LEFT: COURTESY OF PETITE FRITURE; COURTESY OF THOMAS EYCK; NICOLA GNESI; COURTESY OF LUCE DI CARRARA; COURTESY OF MSMSHP

c r e at i v e voices

FROM TOP: COURTESY OF THOMAS EYCK; CHARLIE SCHUCK; COURTESY OF THOMAS EYCK; COURTESY OF PETITE FRITURE

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c r e at i v e voices

2m2 Flowerfield, your project for the late Thomas Eyck, is almost 2 square meters of flowers. What was the origin of that?

CB: Nature has always been an inspiration for me, especially flowers. In the same way that clouds or waves cannot have a “wrong” shape, even the brightest flowers are never vulgar. Because I’m a colorist, I wanted to understand how this works, what’s the recipe.

Really zoom in and you see that among a bloom’s mix of colors, say pink petals with yellow tips, there is always one hue that stands out, that’s a bit “off” and gives the composition an edge. So we began making blossoms by hand, mixing materials—paper, cardboard, textile, rubber, yarns—using layering and transparency to give them the unique feel of a flower. But it’s the color combinations that bring them into the future.

—Peter Webster

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CLOCKWISE FROM TOP LEFT: CHARLIE SCHUCK; MYRTHE GIESBERS; COURTESY OF STYLEX (2)

Clockwise from top left: More product styling for Stylex, Land’s new Anla chairs introduced at this year’s NeoCon. Baijings’s whimsical art direction for My Pouch, her cotton bag for sustainability-minded brand Up To Do Good. The creative director’s material and color selections for the Luna banquette photo shoot, contrasting inky tones with soft pastels. The pre-shoot palette for another Stylex product, LucidiPevere’s 2023 Oko lounge chair.

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Experience a culture of care during Design Days at our pop-up space “the Hive”, 817 W. Fulton.

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PROSTORIA CHICAGO PRESENTS COLLECTION THAT EXPLORES COMFORT

BY HAYLEY ARSENAULT

European furniture design brand Prostoria has inaugurated Prostoria USA by opening its first American flagship store in the River North District of Chicago—at 303 West Illinois Street—as well as a permanent showroom at THE MART during NeoCon 2024. In an era where comfort reigns supreme and the cushion serves as its ultimate symbol, Prostoria features designs that take on immediate ease.

With a problem-solver’s mind and a maker’s heart, Prostoria has evolved into a distinguished design brand with a collection created entirely in-house. Its openness to design challenges has resulted in innovation, strong R&D, and a rich collection that equally embraces both bold and classic design pieces. The flagship store in Chicago will demonstrate how these diverse styles can harmoniously coexist, each enhancing the other through their diversity.

The company’s factory in Croatia is an astonishing venue, doubling as a research lab where design prototypes are developed and organically refined, and as a hub where Prostoria’s products are manufactured and shipped worldwide. From the ingenuity of designers and the nuances of craftsmanship to cutting-edge technology, a common thread runs through this dynamic system—the vision of brand owner Tom Knezovic. A forward-thinker, Knezovic has imbued Prostoria with his passion for challenges, curiosity, and high standards. “Our exploration of comfort is our expression of caring about people’s wellbeing,” shares Knezovic. “Design launched us on a journey, and it has become a maker’s odyssey of exploring and creating furniture you want to spend your life with.”

PROSTORIA KICKS OFF IN CHICAGO

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walk through

next level firm: nt site: barcelona, spain

ELTON ROCHA

At an office for the mobile game developer Tripledot, a series of nooks near the café are color-matched to the company logo, their shape meant to recall Catalan caverns.

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Clockwise from left: An exposed ceiling painted Tripledot orange unifies the café, with Patrick Norguet Abril chairs and a You and Me ping-pong table by Antoni Pallejà Office, and the gaming area. In the entry, the logo informed the shape of the custom benches. Top pendant fixtures by Big-Game illuminate the kitchen island.

Opposite, clockwise from bottom left: Each of the three nooks is appointed with a TR sconce by Tim Rundle and fluted PET felt paneling to dampen sound. The same wall treatment outfits a meeting room, one of six, with a Verner Panton Flowerpot pendant, Hee Welling Rely chairs, and a custom neon sign referencing the early 20th–century Barcelona building by Antoni Gaudí.

NT is full of surprises. The studio and showroom were founded by Jordi Martin in Barcelona, yet NT stands for Nordicthink. And, although his interiors projects—all Scandi-esque minimalist, simple, and functional—skew more residential, he just completed a 10,000-square-foot office in the Spanish city for Tripledot, a mobile game developer headquartered in London. It’s precisely for those reasons that the company hired NT. That and, “The office manager is from here and knew of our work,” Martin begins, “and sought something homey, with local personality.”

The studio’s largest commercial project to date, Martin and his team organized the vast floor plate into an archipelago of operational, relaxation, and social zones for Tripledot Barcelona’s staff of 70. The brief called for chromatic hues and whimsical installations, “Like Google,” Martin notes—but you won’t

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find any scooters here. Instead, spaces are bright and airy, outfitted in far-from-corporate modern and contemporary furnishings and unique acoustical solutions, with nods to the company colors and output.

The reception lounge is a perfect example.

A trio of playful sofas—their deconstructed profiles resembling chain links, their fabric color-blocked in citrus, azul, and emerald tones, a logo-derived palette achieved by NT using the National Color System (Spain, Sweden, Norway, and South Africa’s version of the Pantone Matching System) that appears throughout— face a partition on which Martin installed a mosaic of square fabric baffles in softer shades that riffs off the Triple Tiles video game.

“The lighter accents help generate cohesion,” he explains. But an energizing orange is the main course in the café, its ceiling, structural

ELTON ROCHA

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ELTON ROCHA

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FROM FRONT CAMIRA FABRICS: BANQUETTE FABRIC (NOOKS).

ESPATTIO: CHAIRS (CAFÉ), STOOLS (KITCHEN). ONDARRETA: TABLES (CAFÉ). NORDIC TALES: PENDANT FIXTURES. RS BARCELONA: PING-PONG TABLE. MUUTO: PENDANT FIXTURES (KITCHEN).

INALCO: ISLAND SURFACING. AUDO: SCONCES (NOOKS). SLALOM: PET PANELING (NOOKS, MEETING ROOM), CEILING FIXTURES (LOUNGE). &TRADITION: PENDANT FIXTURE, CHAIRS (MEETING ROOM). PEDRALI: TABLES (MEETING ROOM, CONFERENCE ROOM).

SANCAL: SOFAS (LOUNGE). BAUX: WALL BAFFLES. PUNT MOBLES: MODULAR SOFA (GAMING AREA). THROUGHOUT ECOCERO; FINSA: WOODEN PANELING. TARKETT: CARPET TILE.

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beams, and enormous modular sofa boasting the shade. That’s also where amenities befitting a game developer—PlayStation consoles, ping pong, arcade machines—are found.

A conference room and several meeting rooms dot the perimeter, the former enclosed by ½-inch-thick glass and the latters’ walls lined with fluted panels of PET felt—one room even references Barcelona icon Antoni Gaudí.

Additional local flavor comes in the form of banquette nooks. There’s a trio of them too, each monochromatically dressed top to bottom in one of the logo colors, their vaulted recesses recalling Catalan caverns. —Lisa Di Venuta 72

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ELTON ROCHA

Clockwise from top: Beneath a lounge’s pendants lined with sound-absorbing Ecodrop, Link and Loop sofas by Raw Color gather before a partition host­ ing an arrangement of wood-wool acoustic baffles inspired by the Triple Tiles video game. Glass framed in lacquered aluminum encloses the conference room. Slatted MDF paneling clads the restroom corridor. Sections of the gaming area’s Gin modular sofa by Terence Woodgate face a structural beam’s color-matched fireproofing spray.

Natural Versatility

Gemma Collection Designed by Altherr Désile Park

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remade to matter.

PATC R A F T. C O M | @ PATC R A F T F L O O R S | 8 0 0 . 2 4 1. 4 0 1 4 © 2024 Shaw, a Berkshire Hathaway Company

PVC-free. Fully recyclable. Backed by a 25 year warranty. For 25 years, EcoWorx® has been the backing system for making our high-performance carpet tile. Now we are bringing that innovation to our resilient flooring with ReMATERIAL PVC-free EcoWorx™ Resilient. Backed by a 25 year warranty, it is fully recyclable at the end of its useful life. Rethinking performance, sustainability and design, ReMaterial is the next generation of resilient flooring.

walk through show time firm: o’riley office site: chicago

ERIC LAIGNEL

The 1929 Ramova cinema is now the Ramova Theatre, an entertainment complex with live-music and dining venues, its 1944 neon blade sign restored, the marquee rebuilt in a mid-century style.

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When the Ramova movie theater was built in 1929 by Myer O. Nathan, it was the South Side of Chicago’s main first-run cinema. Even though it sat empty since 1985, it was in better shape than its continuously occupied commercial building next door, recalls Illinois-born, Chicago-based architect Dan O’Riley. The O’Riley Office founder knows this well, as he’s been studying how to revive the site since 2017. Some seven years later, he has completed what’s now called the Ramova Theatre, a 36,000-square-foot entertainment complex—a $30 million endeavor achieved by a passionate band of locals.

The cinema portion of the project, its two-story interior boasting a Spanish Revival courtyard-style lobby and theater, did not originally include preservation. But after being listed on the National Register of Historic Places and owners Tyler and Emily Nevius, who live in the neighborhood and purchased the theater for $1, received a cost and tax-credit analysis, it became a combination of adaptive reuse and conservation, renovation and expansion, encompassing the theater, the

commercial building, and an adjacent town house. A layperson “should be able to visually differentiate between what was original and what’s new,” O’Riley explains.

Under the theater’s refreshed terra-cotta facade with original rosette window and 1940’s neon signage, both preserved, visitors enter the restored lobby, which now leads to a large livemusic auditorium (it debuted in January with a concert by South Side native Chance the Rapper, also a project investor). New LEDs twinkle overhead, the seating replaced by moveable benches that accommodate 1,800. But Nathan’s existing envelope of faux building facades with archways and tiled roofs remains.

Where contemporary interventions were made, color is an indicator. The three bars are defined by teal or begonia laminate. Red-tiled walls act as wayfinding for restrooms. Installing the technology for a 21st-century concert venue, however, was a covert exercise. “The architecture is of a time where infrastructure was not expressed,” O’Riley continues. “When the plaster went back in,

ERIC LAIGNEL

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Clockwise from opposite top: Old and new converge in the second-floor concessions area, where original theater levers join a sleek laminate bar front and Giant Globe Radius Fitter pendant fixtures. The same laminate in a different colorway faces the ground-floor bar serving the main auditorium. The cinema’s former organ loft is now an intimate VIP lounge, the decorative grillage original, the custom bench Baltic birch plywood. Under reinforced bowstring trusses, the same benches seat 200 in the Ramova Loft. A restored plasterwork door surround stands behind another bar, topped with speckled solid-surfacing. The Spanish Revival–style lobby was preserved and all the stained glass in the rosette window is original, aside from one piece.

The 16-stool Ramova Grill has vinyl flooring, Teton pendants, and the sign from the original eatery, retrieved from a neighbor who had taken it when the diner closed in 2012.

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nobody’s the wiser.” The two other structures house the more intimate performance space Ramova Loft, a VIP lounge, brewery, and 1950’sstyle diner that nods to the site’s original Ramova Grill. It’s headed by chef Kevin Hickey, who grew up on South Halsted, the same street as the theater.

—Elizabeth Fazzare PRODUCT SOURCES

From top: For concerts, the auditorium fits 1,800 people, who are surrounded by whim­ sical faux building facades, originally designed by architect Myer O. Nathan to give the impres­ sion of a courtyard. The entire 36,000-squarefoot, three-story project encompasses the terra cotta–clad cinema, adjacent brick commercial building, and a greystone town house (that adjoins the other end of the commercial building and isn’t shown).

FROM FRONT METROPOLITAN CERAMICS: FLOOR TILE (LOBBY).

ARMSTRONG: FLOORING (DINER). TRENDLER: STOOLS. TILEBAR: BAR-FRONT TILE. BASWA: ACOUSTIC CEILING (AUDITORIUM).

THROUGHOUT ZAK ROSE: CUSTOM BENCHES. ABET LAMINATI: LAMINATE. DURAT: SOLID SURFACING. SPECTRUM LIGHTING: PENDANT FIXTURES. TECH LIGHTING: SCONCES. JUNO: TRACK FIXTURES. TUBELITE: STOREFRONTS, ENTRY DOORS. SHERWIN-WILLIAMS: PAINT. STUDIO SUMI: LIGHTING DESIGNER. MC HUGH ENGINEERING GROUP: STRUCTURAL ENGINEER. AMS INDUSTRIES; JMS ELECTRIC: MEP. SMP PROJECTS: CIVIL ENGINEER. RYAN: HISTORIC ADVISOR. WISS, JANNEY, ELSTNER ASSOCIATES: RESTORATION CONSULTANT. DAPRATO RIGALI STUDIOS; CHICAGO ORNAMENTAL PLASTERING: HISTORIC PLASTERWORK. NAVILLUS WOODWORKS: MILLWORK.

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ERIC LAIGNEL

MC HUGH CONSTRUCTION: GENERAL CONTRACTOR.

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Elevating Meetings Everywhere From breakout spaces to boardrooms, the Meeting Collection elevates gatherings with ergonomic excellence and aesthetic refinement.

humanscale.com/meeting-collection

Some of the Best Designs are Hidden!

In 1992, Sugatsune introduced the Adjustable Hidden Door Hinge. Today we offer many ways to help create a perfect hidden door that the entire family will enjoy!

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all shapes and sizes Whether stateside or abroad, tech company or video production studio, these offices have made providing creativity- and community-inducing spaces job number one BOYSPLAYNICE

See page 96 for the South Moravian Innovation Center, or JIC, a workplace hub for entrepreneurs and start-ups in Brno, Czech Republic, by KOGAA. JUNE/JULY.24

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SEAMUS PAYNE/COURTESY OF INTUIT

Studio O+A; TVS project Intuit, Atlanta. square feet 360,000. standout Although this nine-floor workplace for 1,000 employees is set in the South, it was imagined by the two studios and Wink, the in-house agency of Intuit’s Mailchimp, as a cityscape based on New York’s neighborhoods, namely the creativity and sense of community that unite them. Nearly 300 works of vivid art from such movements as outsider, surrealism, and pop were commis­sioned from global up-and-comers to energize and inspire, like Finnish illustrator Annu Kilpeläinen’s pink mezzanine mural. Local artisans have skin in the game, though, too: They teach workshops to staffers at the on-site maker space. o-plus-a.com; tvsdesign.com

SEAMUS PAYNE/COURTESY OF INTUIT

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Kinzo project PUBG, Seoul, South Korea. standout Inspiration for the concept of this production studio came from Battlegrounds, one of the video games it makes.

The scheme mirrors the gameplay dynamics, emphasizing functionality while capturing the essence of PUBG’s aesthetic. A bloodred staircase serves as the spine, guiding employees to tea kitchens and recreation rooms. Nearby lounges, phone booths, and meeting rooms complement this central feature, allowing for chance encounters and scintillating exchanges, encouraging exploration and interaction as staffers move between zones, much like players do in the game. kinzo-berlin.de 88

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COURTESY OF KRAFTON

square feet 90,000.

COURTESY OF KRAFTON

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Partners by Design project Pinterest, Chicago. square feet 19,000. standout The visual discovery engine we all know and love boasts a workplace worthy of being “pinned” itself by looking to all things Windy City—from its cultural attractions to its culinary delights. Conceived in partnership with the company’s in-house design team, there’s a Navy Pier–inspired executive business center, a Chicago-style hot dog IT help desk, and a crafting creator space inspired by the Mart. A verdant lounge pays homage to the Riverwalk, embellished with living and faux native wildflowers and grasses that shroud seating enclaves and integrated lighting that mimics twinkling fireflies. pbdinc.com

TOM HARRIS ARCHITECTURAL IMAGES

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introducing

these walls can talk

perennialsfabrics.com

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BDG Architecture + Design project WPP, Atlanta. standout Situated inside an Olson Kundig building in the city’s new Fourth Ward development, specialty areas for production are a must for the advertising firm’s 12 creative agencies inhabiting this postpandemic office, its more than 400 employees on a hybrid schedule.

Inspired by hospitality, the interiors are inviting, with soft, rounded furniture and locally sourced materials and art, like the Georgia stone found in the terrazzo floor at the perimeter and a corridor installation that abstracts the site’s former railroad tracks. bdg-a-d.com.

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ERIC LAIGNEL

square feet 39,300.

LOS ANGELES · CHICAGO · DANIA BEACH · NEW YORK

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Snarkitecture project 530 Broadway, New York. standout Cofounder Daniel Arsham is also a sculptor who’s represented by Perrotin gallery. So it made sense to commission his firm this 11-story, multitenant office interior—its first—geared toward the creative class (tenants so far include Armani Exchange, Anomaly ad agency, and Snarkitecture itself). A black-and-white palette is graphic yet clean, allowing for the showcasing of the “exploded” brick wall near the entry, a pantry’s travertine table, the overhead custom pendant fixture mirroring its seamlike brass inlay, and Arsham’s candles. snarkitecture.com

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DAVID LIPMAN/COURTESY OF SHVO

square feet 198,000.

Elevate Your Workspace Danza by Tuohy

Tuohy Furniture Corporation 42 Saint Albans Place, Chatfield MN 55923

E: info@tuohyfurniture.com www.tuohyfurniture.com © TUOHY All Rights Reserved

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KOGAA project JIC, Brno, Czech Republic. square feet 17,800.

BOYSPLAYNICE

standout Sculpted Plexiglass pods for meeting rooms and workstations impart a retro space-age look to an erstwhile research laboratory turned start-up incubator, as do vibrantly tinted shapes of the same material hung above the ground floor as an artful intervention visually connecting levels one and two. Curtains add welcome privacy to the see-through pods, their fluted drape echoing the colorful corrugated metal that clads other sinuously shaped rooms. kogaa.eu

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Danny Forster & Architecture project Rithm Capital, New York. square feet 24,000. standout A sculptural switchback staircase veneered in warm stained ash organizes and unites the asset-management firm’s two-level workplace, one of the interventions used to lure workers back to the office post pandemic. The element is echoed, but in walnut veneer, in the ceiling-scapes above the monumental marble bar and media lounge, the latter, like the conference room, outfitted with choice seating by the likes of Mario Bellini and Charles and Ray Eames and artworks from the client’s collection. dannyforster.com

CLOCKWISE FROM TOP: LIAM SHEEHAN; TY COLE; LIAM SHEEHAN (2)

—Annie Block and Georgina McWhirter

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WHEN PERFORMANCE MATTERS Up to 4x Harder Real Wood Flooring built with pride in Pennsylvania.

nydreeflooring.com

workplace education healthcare

spaces COLLABORATIVE

Bring people together. Collaborative SpacesTM fosters teamwork through adaptable environments that can transform at a moment’s notice or evolve over time. Optimize existing spaces with individual pieces or create new ones with the full range of mobile team carts, work tables and accessories. Scale up, scale down, create a space for the way you work.

globalfurnituregroup.com

New colors.

For wherever your

Design

takes you.

Our refreshed rubber palette helps you realize your vision.

Over 200 colorways, including 29 new solid and marble colors across product portfolios, make it easy to coordinate for cohesive looks.

Our updated palette was developed based on trend forecasts and with solutions for key market segments in mind, including education, healthcare, retail, government, corporate, hospitality, manufacturing and sports.

Available in rubber tile, rubber tread and wall base, our products offer superior functionality and durability, excellent life-cycle value, plus appealing aesthetics and unlimited design possibilities.

With more colorways than ever, it’s easy to bring your design visions to life, from start to fabulous finish.

Scan to see all of the new colors.

roppe.com

Stacked in your favor.

VS Stakki chair. The iconic utility player that works in your favor. Honored with several design awards, it’s the hot seat for common areas and dining spaces. College campuses. Around team tables and in tight spaces. Stacks for easy maintenance. And sits comfortably from front or reverse.

VSAMERICA.COM 704.378.6500 INFO@VSAMERICA.COM

The design-forward Italian company heads to the Windy City to showcase wares it dubs “acoustethics”: a portmanteau of acoustics, ethics, and aesthetics. Slalom’s sounddeadening ceiling baffles, wall panels, acoustic light fixtures and furniture, curtains, and more come in refined, ethically produced felts and fabrics made in Italy. Innovation abounds, as evident in two new offerings: lightweight Woody, perfect for vertical applications, is composed of FSC-certified wood and recycled-plastic fibers that have been thermoformed via a patent-pending technology, while Bloom is a blend of natural fibers and real flower petals treated at high temperatures to retain their fragrance. slalom-it.com

slalom

GIANLUCA BELLOMO

market

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

NeoCon preview June 10-12, The Mart, Chicago

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Cory Grosser for BuzziSpace

product Liaison. standout The industrial designer’s curvaceous soft seating, crafted of FSCsourced plywood over-molded with soy-based foam, comes as a static perch, on casters, or in a gently rocking iteration created with neuro-divergent users in mind. darran.com 106

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Harald Gründl, Martin Bergmann, and Gernot Bohmann for Keilhauer

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product Shroom. standout High-density foam and cobalt fabric wrap a wood structure to form an acoustic floor lamp modeled after fabulous fungi, a new-in offering from the Pasadena, California–based interior architect and product designer. buzzi.space

Cara Danis, Kori Podjan, Mitch Bakker, and Zach Raven for Arcadia

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product Swish. standout The EOOS team introduces a fully upholstered—and carbonneutral—lounge chair whose caster model sports an integrated handle for easy transport to wherever the office action happens to be unfolding.

product Lineup. standout Poised on steel-tube legs, this modular sofa by Michigan-based IDA Design is available in three back heights offering varying levels of privacy and comes with an accompanying occasional table graced with gentle curves.

keilhauer.com

arcadiacontract.com

PORTRAIT 3: ELFIE SEMOTAN/KEILHAUER

Brad Ascalon for Darran Furniture

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m a r k e t s c a p e neocon Alfredo Häberli for Andreu World

PORTRAIT 7: HIGHTOWER/ANNE BOYSEN STUDIO

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product Afuera. standout Sparked by the construction of traditional Japanese shoes, a modular outdoor sofa by the Swiss-Argentinian designer sits on an iroko platform and boasts nubby upholstery with a unique zigzag stitch detail. andreuworld.com

Peter Opsvik for Sandler

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product Globe Tree. standout The Norwegian designer’s rule-breaking workstation based on his prior Garden chair sprouts pivoting tabletops and spherical backrests that rotate as the sitter changes position. sandlerseating.com

Anne Boysen for Hightower

Dorothy Cosonas for Wolf-Gordon

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product Toward. standout This modular collection, certified Red List–free and Indoor Advantage Gold, is a re-engineered version of the Danish designer’s sofa born in 2012 as a student project and painstakingly iterated over the years. hightower.design

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product Dreamweaver. standout This gem from the textile designer’s Crossings collection, inspired by needlework and finishing-school workbooks, is woven of postconsumerrecycled–content polyester and boasts a PFAS-free, bleach-cleanable finish. wolfgordon.com JUNE/JULY.24

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turf “Carrara mirrors the look of veined stone’s sinuous lines” The Chicago-based manufacturer’s Carrara transforms the beauty of natural stone into an acoustic panel. The product comprises two layers of 9mm felt, the top one intricately carved—with cracks and veins abstracting those of marble—to expose the contrasting-colored underlayer. The 4-by-10foot panels are customizable in any of the brand’s 32 colors, can be mirrored horizontally or vertically, and come in five standard layouts: book match, slip match, reverse slip match, aesthetic match, and continuous match. As for materiality, Carrara earns sustainability points: the PET felt incorporates up to 60 percent preconsumer-recycled content. It’s a natural for workplaces and hospitality spaces alike. turf.design

m a r k e t neocon CARRARA

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Expormim —— (212) 204-8572 usa@expormim.com www.expormim.com

Cask Outdoor. Armchair. Norm Architects —— Photographer: Meritxell Arjalaguer ©

“I wanted to bring my own heritage to the collaboration, and so you’ll find details that nod to English folk art”

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poltrona frau The Italian manufacturer’s first collaboration with Faye Toogood reflects her soft, sculptural approach to furniture, subverting stuffy ideas of formality. The Squash lineup (at Haworth) includes a side table with a cosseting cushion that’s, er, squashed between two lacquered-wood blocks. Natural-fiber rugs feature a hand-painted checkerboard inspired by patchwork chairs.

Upholstered mirrors juxtapose hard glass with soft leather frames—“my personal response to early English leatherwork,” the British design star says. Finally, there’s an ottoman and an armchair dressed in tonal leathers, the latter of which is effortlessly baggy and wrinkled. It nods to Renzo Frau’s 1930’s Vanity Fair chair, whose archival lipstick-red leather Toogood fell for during a trip to the manufacturer’s Tolentino, Italy, factory. “It feels very refreshing to make a chair in such a strong, saturated shade,” she notes. Too good. poltronafrau.com

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FAYE TOOGOOD

isomi

m a r k e t neocon

“Frame, fabric, even the castors: Everything about Tejo is based on natural materials”

PAUL CROFTS

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The Portuguese wine industry treats cork sustainably: The offcuts that remain after bottle stoppers are stamped out of tree bark get passed through a chipper and compacted into blocks for reuse as other objects. The dimensions of those blocks sparked Paul Crofts’s Tejo: The sofa system’s 60 and 90cm modules are efficiently formed by cutting one such block down its length or width. Any dust generated from the process is returned to the chipper to be converted right back into more blocks—making production circular and almost zero-waste. Grown in the Alentejo region, which gave the sofa its name, cork is an ideal material for seating support: soft, warm, tactile.

Plus, it regenerates naturally. The bark can be harvested every nine years for the full lifespan of the tree, often more than two centuries. Moreover, whereas most sofas use polyurethane-foam cushioning, Tejo employs natural latex, another self-generating material. The padding is wrapped in wool wadding before being upholstered in flax, wool, or hemp fabric. isomi.com

Designed by Dirk Wynants

Made for togetherness

PANIGIRI Come party in our back yard @ Suite 355 Discover our new collection: w w w.extremis.com

“The modern patterns harken to the feel of bygone eras and artists” m a r k e t neocon

shaw contract The newest contract carpet-tile collection from the U.S. flooring giant was inspired by various art movements and techniques and explores a plethora of patterns, constructions, scales, and colors. Aptly dubbed Curate, its 18 styles traverse saturated hues, organic shapes, graphic motifs, rich tonal designs, sisal textures, and even plush constructions with a carved aesthetic. The 24-inch carbon-neutral modules are manufactured of EcoSolution Q100, a high-performance nylon fiber composed entirely of recycled content. Within the range there’s plenty of flexibility to create moments of impact or more subtle floorscapes. It’s all about how you curate it. shawcontract.com

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The bio-based trailblazer Biobased Xorel is the world’s first plant-based commercial grade textile offering all of Xorel’s legendary design and performance qualities, but made from rapidly renewable sugarcane.

Available in knit, woven, or crocheted constructions, it’s suitable for infinite applications, including wallcovering, indoor/outdoor upholstery and drapery.

CARNEGIEFABRICS.COM/CARNEGIE-XOREL

CRADLE TO CRADLE GOLD

LIVING PRODUCT CHALLENGE

PVC FREE

EPD AVAILABLE

UP TO 4 LEED POINTS

“The Fortune chair represents the epitome of a Jumbo project: It’s symmetrical, commodious, and food-themed”

JUSTIN DONNELLY, MONLING LEE

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heller When Heller CEO and president John Edelman discovered Jumbo on Instagram, he was immediately struck by how much the New York studio’s designs embodied the essence of his brand. Founded in 1971, Heller has produced awardwinning modern furniture by some of the world’s greatest talents, among them Frank Gehry, Massimo and Lella Vignelli, and Mario Bellini; Jumbo founders Justin Donnelly and Monling Lee now join that elite roster. The pair explain they have an abiding interest in “reductivism, whimsy, and gastronomy,” the latter passion influencing their Fortune chair, named for the iconic cookie and channeling its pinched-circle shape. Fully recyclable and U.S.-made using a high percentage of postconsumer-recycled plastic, the perch comes in six foodie hues: Oatmeal, Cookie, Olive, Tomato, Dark Cherry, and Licorice. Available exclusively at DWR. dwr.com; hellerfurniture.com

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arcadiacontract.com

FLIPSIDE MODULAR NeoCon, Showroom #340

design pool This brand is notable as the only pattern library created exclusively for interior designers, with a focus on commercial markets. The New Hampshire company partners with digital printers that leverage on-demand technology, thus giving designers more options when specifying materials. Design Pool’s partners can print any of the nearly 1,000 available patterns onto vinyl flooring, faux leather upholstery, acoustic panels, wallpaper, window film, and more. Check out company founder Kristen Dettoni’s evocative new Light Play collection made of Veilish, a semi-transparent woven-polyester window film manufactured by Graphix Unlimited. The 14 designs, conceived to add decorative élan to the transition zone between inside and out, were inspired by cast shadows. designpoolpatterns.com; graphixunlimited.com

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KRISTEN JULIANNA PHOTOGRAPHY

“The woven texture adds a tactility not available in traditional window films”

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zing, zap, kapow!

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Put some pep in your step with vibrant colors and graphic patterns 1. Kenneth Ng and Edmund Ng’s Guy rechargeable indoor/outdoor LED lan-

tern of aluminum and plastic with movable “hat” shade in new Clearwater Blue, Matte Fire Red, Matte Yellow, and Matte Pink finishes by Koncept. koncept.com 2. Armstrong Flooring’s Red List–free MedinPure homogeneous vinyl sheet 7

with exclusive scratch-, stain-, scuff-, and slip-resistant no-polish technology

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and coordinating PVC-free weld rods (for aseptic areas) in At the Pool, Coconut, and Hot Sand by AHF Products. afhproducts.com 3. Chill backless bench in proprietary lightweight fiberglass-reinforced concrete in Sage by JANUS et Cie. janusetcie.com 4. Block Grid wallcovering, conceived in partnership with the Frank Lloyd Wright Foundation, by Designtex. designtex.com 5. Rainlight’s Sunny guest chair and settee with wood frames, comfortenhancing cushions, and metal connectors by Encore. encoreseating.com 6. Sonrisa lounge furniture with high-resilience polyurethane-foam cushioning and interior back frame of molded or laminated hardwood veneer by KI. ki.com 7. Free-Form contract textiles in polyester and polyester blends by C.F. Stinson. cfstinson.com

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Revere Triptych by Matera

Customized art for projects of every size.

From expert art consulting to production and delivery.

On time, every time, direct from Austin, Texas.

Carrying the Olive Branch No. 2 by Tyler Guinn

Organic Curves III Triptych by Four Hands Art Studio

Learn more:

m a r k e t neocon

“Cloud delivers architectural interest in a whimsical way”

CLOUD

scandinavian spaces The term noise-dampening and the word joy don’t often show up in the same sentence, but that’s about to change. The shape and vivid color palette of Cloud sound-absorbing spheres are sure to infuse any interior with energy. And the good vibes don’t end with the groovy aesthetics: The balls are manufactured using sustainably hand-picked reindeer moss, whose soft and spongy feel makes it a natural for buffering ambient sound. The plant, native to mountain ranges in northern Scandinavia, is also fire-resistant, hypoallergenic, and maintenance-free. Cloud can be specified in three sizes and both bold and natural hues, so you can create a visually compelling arrangement. In other words—you’ll have a ball! scandinavianspaces.com

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Mayland Wood Guest

Visit us at NeoCon, Showroom #340

encoreseating.com

gloster Danish designer Henrik Pedersen, founder of Aarhus-based studio 365°, introduces Deck, a seating and table collection whose name and materiality derive from seafaring vessels. The simple yet striking silhouettes are precision-crafted of solid plantation teak slats that have ends finished with subtle curves. The collection encompasses large and small seating units, an ottoman, plus three sizes of dining tables, two sofa tables, and a coffee table. Though rooted in the uncompromising craftsmanship of yore, the collection has a future-minded ethos, suggestive of global adventuring yet encouraging lounging and chillaxing right where you are.

“Traveling, exploring, and being inspired by the moment are essential to being able to see beyond tomorrow,” Pedersen says.

All aboard! gloster.com

“The linear style exemplifies the Gloster aesthetic” m a r k e t neocon

HENRIK PEDERSEN

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CREATE YOUR SPACE. choose from 64 func.y finishes

funcconnect.com

cooee mobile wall | euro beech

Nidra™: Brittnau Oak 80875 Ylang, 80876 Patchouli, Zenscape™: Aurora 80730 Lotus

Reshaping Spaces Transform and elevate your commercial environments with the harmonious fusion of Nidra™ and Zenscape™. Our unique combination of organic wood grain, abstract and textilelike visuals creates a therapeutic atmosphere perfect for healthcare, education, retail and office spaces.

Featuring our innovative Diamond 10® Technology, you can rest easy knowing that Nidra and Zenscape are engineered to handle the demands of commercial settings.

Experience the transformative combination of power and performance.

ArmstrongFlooring.com | ©2024 AHF, LLC. Armstrong Flooring™ and the Armstrong Flooring™ logo are under license from AWI Licensing, LLC. All other trademarks are owned by AHF, LLC, or its subsidiaries or affiliates. | www.ahfproducts.com | 1-855-243-252

JAUME RAMÍREZ

m a r k e t offsite

marset

Barcelona-based Jaume Ramírez experimented with timeless forms and modern technology to create Fragile, a totally transparent table lamp that hides in plain sight. The simple design— spherical body, cone-shaped shade, cylindrical LED—casts light in all directions while showing off its internal structure. The silhouette is a sort of abstracted hybrid of the archetypal oil lamp and tapered candles, though the materiality of the clear or amber glass (and the name itself) is meant to symbolize the temporary nature of the present moment.

Peep it at Lightology. marset.com

“The lamp is transformed into a new object for the contemporary moment”

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© 2024 emuamericas

it’s in to be out

®

Twins Collection by Sebastian Herkner

®

T he c o l le ct i o n c o nt a ins t wo “ t w in ” ve rs i o ns : o ne m ad e e nt ire ly of te a k a nd t he ot he r an intriguing mix of FSC® teak and aluminum. This fusion showcases the designer’s a b i l i t y a n d E M U ’ s ex p e r t i s e . I t b l u r s t h e l i n e s b e t w e e n o u t d o o r a n d i n d o o r s p a c e s .

emuamericas llc

800.726.0368

www.emuamericas.com

70 years of manufacturing experience in outdoor furniture.

“Made in Italy” at its best.

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well-mannered Resi-mercial finds with flair and finesse 1. Travis Clifton’s Firma wood-veneered plywood coffee table with glass top by HBF. hbf.com 2. Brad Ascalon’s Kithara benches in solid walnut with Willow finish and Maharam’s cotton-

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velvet Mirror fabric and solid maple in Canyon finish and Luum Fleece wool-blend fabric, both by David Edward, a brand of Kimball International. kimballinternational.com 3. Loria stackable work-café chairs with one-piece shells by Teknion. teknion.com 4. Etched and Threaded low-carbon-footprint recycled-nylon carpet tile in E611 Granite, which coordinates with the brand’s integrated portfolio of carpet tile, LVT, Nora rubber flooring, and FLOR area rugs, by Interface. interface.com 5. Hella Jongerius’s Jetty wool rug by Maharam. maharam.com 6. Catifa Carta chair with sustainable body made of PaperShell—29 layers of paper pressed together and bonded with natural resin—by Arper. arper.com

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knoll

CESCA

Drawing from its considerable archives, Knoll presents relaunches and revamps of some of its most iconic chairs. First up are reissues of Ludwig Mies van der Rohe’s well-padded Tugendhat, a cantilevered perch dating from 1929, and Morrison Hannah, a sumptuous tufted-back task chair Andrew Morrison and Bruce Hannah designed 50 years ago. Also back in the spotlight are Marcel Breuer’s Cesca and Mies van der Rohe’s MR, whose tubular-steel structures now come in ultra-matte black, white, and archival dark red. knoll.com

MR

MORRISON HANNAH

TUGENDHAT

“New finishes enliven Bauhaus-era products”

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kvadrat Designer Teruhiro Yanagihara’s Ame upholstery textile celebrates longevity and mindful reuse via both construction and aesthetic. It is the Danish brand’s first fabric woven of recycled polyester made entirely from textile waste. The yarn, which is also recyclable, offers the same level of performance as virgin polyester. Yanagihara sought to imitate sashiko, a Japanese embroidery technique used to mend worn fabrics, an effect the Kobebased designer achieved by using contrasting threads for the stitching and the base. Ame’s palette, meanwhile, was inspired by Heian-era imperial court kimonos that reflected the wearer’s rank and the change of seasons. kvadrat.dk

“The inspiration was the Japanese philosophy of not throwing away items and instead using them beautifully for a long time” TERUHIRO YANAGIHARA

PORTRAIR: ICHIRO MISHIMA

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A HUGE thank you to our terrific partners for creating the space at NeoCon...

A WOMAN-OWNED BOUTIQUE CONTRACT FURNITURE SOURCE

EST. 1943

MALLOW COLLECTION by Note Design Studio @C_SUITENY

EXCLUSIVELY THROUGH C SUITE NY

WWW.CSUITENY.COM

c enter fold

learning modules Architecture students and A+U Lab construct a pair of large-scale outdoor cubes on a university campus in Busan, South Korea, to immerse viewers in the possibilities of polycarbonate

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“I have an interest in working with nonconventional building materials”

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TEN

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students and researchers led

by Pusan National University professor and A+U Lab director Lawrence Kim

3,500 INTERLOCKING POLYCARBONATE PANELS

6MONTHS of design and construction

LAWRENCE KIM

OVER8 FEET HIGH AND WIDE

1. For Paired Cubes, two temporary pavilions at South Korea’s Pusan National University, where Lawrence Kim is a professor and the A+U Lab director, students and staff 3-D mod­eled a self-supporting structure made of polycarbonate panels large enough to accommodate several humans at a time. 2. and 3. Physical mock-ups were then crafted from foam board. 4. The crew experimented with polycarbonate in various thick­ nesses, colors, and trans­lucencies to determine which would best allow for natural light passage but still be sturdy enough structurally.

5. and 6. The final scheme called for 10mm-thick panels in orange, white, and clear, cut so the panels could interlock and form tall volumes that can stand on their own. 7. They were assembled and installed at Unjeugjeon Garden on the PSU campus. 8. Ladders were needed to reach the top of the structures.

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c e n t e r fold 1. The 67-square-foot interiors of Paired Cubes, which stood for four weeks last winter in PSU’s bamboo garden before being dismantled, reconstructed, and exhibited another month inside a campus building, each fit up to six people, standing or sitting on the floor. 2. Although each cube had inside space, they were essentially open-air structures; rain would simply wash down the panels. 3. The majority of the panels are clear polycarbonate, with orange and white each composing approximately a third. 4. Paired Cubes is Kim’s eighth installation exploring materiality— “applying materials as spatial devices while also accentuating their beauty”; prior works utilized such items as paper, wool, silk, and mirror. —Athena Waligore 4

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M9423 Brass Patina

View the DecoMetal ® Collection www.formica.com/decometal

june july24 Stretching

boundaries, reaching new heights

STUDIO FLUSSER

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cellular network text: rebecca dalzell photography: eric laignel

Perkins&Will puts a 1920’s New York building under the microscope, transforming it into West End Labs, a 21st-century hub for life-sciences professionals

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The life-sciences industry is a growing part of New York’s economy. It accounts for 1,000 companies and 20,000 jobs, and researchers there received $3 billion in funding from the National Institutes of Health last year. The city has invested heavily in the sector and changed zoning rules to unlock millions of square feet of real estate for labs. All this has paved the way to open a multitenant life-sciences facility, called West End Labs, situated inside a 1920’s edifice on the mostly residential Upper West Side that’s been adaptively reused and made state-of-the-art by Perkins&Will.

The firm has designed scientific research centers across the country for more than 40 years, including the Allen Institute for Brain Science in Washington and the National Bio and AgroDefense Facility in Kansas. It’s also been involved in New York’s push to become a life-sciences hub; a decade ago, Perkins&Will contributed to a Manhattan nonprofit’s study about how to make the city more competitive in the industry. It connected with Elevate Research Properties, a life-sciences subsidiary of Taconic Partners, which had acquired what was developed into 140

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the Hudson Research Center in midtown in 2012 and is currently developing Iron Horse Labs, a research facility on the Upper East Side. When Elevate Research Properties bought this eightstory, over 400,000-square-foot building 10 blocks north, it hired the studio to retrofit it for life-sciences companies. “We looked at an array of properties to determine their suitability as conversion candidates, and this site, with its proximity to transit, opportunities for private entrances and direct loading on multiple levels offering ‘building within a building’ tenant potential, and 55,000-square-foot, center-core floor plates, is unmatched,” Matthew Malone, senior vice president, life science, Taconic Partners/Elevate Research Properties, says. “A new exterior enclosure not only improves its thermal performance but also introduces abundant natural light into the work environments, which of course includes the labs.”

The property most recently held offices for Disney and ABC, but it was originally constructed a century ago as a maintenance and assembly facility for Chrysler Motors. That made it a good fit for laboratories: It had large loading docks and

Previous spread: At West End Labs, a multitenant life-sciences workplace in New York by Perkins&Will, exposed ceiling beams in the lobby house a grid of custom acoustic-felt fixtures that resemble blood cells seen under a microscope, as does the geometric MDF paneling.

Top: In the lobby, where custom flooring is epoxy resin terrazzo, custom walnut benches create a sense of motion that ties into the building’s his­ tory as a car-maintenance facility. Bottom: Insulated aluminum panels and a glass curtain wall give a new energy-efficient, light-penetrating skin to the eight-story, over 400,000-square-foot concrete structure, which dates to the 1920’s.

Opposite top: Irregularly corrugated aluminum paneling in the elevator lobby also evokes movement. Opposite bottom: The hand-sprayed ceramic wall mosaic is by Alyson Shotz.

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“The charge was to make the building effective for life-sciences tenants"

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Top, from left: Above a Haller storage system in the con­ ference center’s pre-function lounge, Virginia Jaramillo’s Curvilinear Editions series references textures seen under a microscope. A glass storefront separates but allows views between a tenant lab and its adjoining office area.

Custom panels of oak tambour line the porcelain-tiled ramp leading to the conference center. Bottom: An Oran sofa by Mark Gabbertas and Lina armchairs by Gianfranco Frattini meet a Studiopepe coffee table in the conference center café, accessible by all tenants and rentable to the public.

floors that could support heavy equipment. “The charge was to make the building smart, attractive, and effective for potential tenants,” Perkins&Will managing principal William Harris begins, “to organize it for a variety of start-ups and accommodate them as they grow over time.”

Elevate Research Properties expected to lease to companies that explore therapies to treat disease or medical conditions, which often work with biological samples like cells. Harris, senior associates Susan Heersema and Jeanette Kim, and their teams had to anticipate the needs of different types of research and formulate flexible floor plans roughly split between lab and office space; each floor can host one or multiple tenants and accommodate up to 360 people. They also had to install new mechanical and electrical infrastructure, like systems to neutralize chemical waste and exhaust hazardous substances, and generators to protect samples during a power outage.

Space for collaboration was necessary, too. “Scientists typically work in a community,” Harris continues, citing the many authors behind a single research paper. “Different tenants want to connect and interact, so we created opportunities for that to happen.” He’s referring to the project’s three shared amenities: a 300-person conference center and café on the lower level, a 7,400-square-foot landscaped roof terrace with Hudson River views, and a common area on each floor called the helix.

The latter grew from a clever bit of reuse. When the building was a car-service center, it had a circular concrete ramp for vehicles that connected all levels. The floors were later sealed off and the approximately 13-foot-high areas used for storage.

“We thought, This is a challenge and an opportunity,” Heersema recalls. “How can we keep it and create something generous?”

The answer was to install an oak and steel stair on top of the ramp and surround it with meeting rooms, each at a different elevation, with a lounge at the center, exposing part of the original ramp to hint at the building’s history.

That ramp became a symbol of the visionary work that would be done in the building, nodding to the symmetry between the innovations of the early auto industry and those of life-science start-ups today. “It speaks to the aspiration of upward motion,” Kim says. “We’re going forward and ascending.” The theme JUNE/JULY.24

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“Different tenants want to interact, so we created opportunities for that to happen"

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Geometric shapes inform the conference center’s auditorium, with Lievore Altherr Molina’s Catifa 46 chairs, Grain + Bias Burnout carpet tile, and Xorel Artform acoustic paneling.

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begins in the lobby, where a ramp leads from the entry to security and the walnut benches that curve beside it. Columns with irregular aluminum piping and a vectorlike ceramic mosaic by Brooklyn sculptor Alyson Shotz add a sense of movement. “We also celebrated science with interpretations of textures that would be seen under a micro­scope,” Kim adds, such as woodveneered paneling that evokes neural networks. Overhead, a grid of light fixtures references cells: The bulb is the nucleus and the surrounding acoustic felt the cytoplasm around it.

The brainy atmosphere lightens in the below-grade conference center, which takes inspiration from the TV studios that once occupied the adjacent site. A ramp with wallcovering of a Sarah Morris artwork leads to a jazzy auditorium with black ceiling panels and large round light fixtures. In the café, open daily to tenants, Gianfranco Frattini armchairs and a Mark Gabbertas sofa invite researchers to gather, while a wall of burgundy porcelain tiles alludes to the color of yesteryear movie theater curtains. The space is available to rent for outside events, and Perkins&Will hopes it becomes a neighborhood amenity, making the life sciences part of the city’s DNA. 146

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PROJECT TEAM ROBERT GOODWIN; BRENT CAPRON; ROBERT CLEMENS; JULIO COLON; MICHAEL WOODS; GERMAN ORTIZ; HUGO SANTIBANEZ; GREGORY LEVY; ESTEFANIA HAMELINCK; MARKO GOODWIN; DANIEL KIM; MICHELLE MÜHLBAUER; PABLO SEPULVEDA; STEVE STOBBE; MARGARITA MILEVA; SARITA MANN; EMILY BILLHEIMER: PERKINS&WILL. SBLD: LIGHTING CONSULTANT. DRIVE21: LANDSCAPING CONSULTANT. DESIMONE: STRUCTURAL ENGINEER. JB&B: MEP. LANGAN: CIVIL ENGINEER. EVANS & PAUL: MILLWORK. FARRELL FLYNNE: FURNITURE DEALER. JRM: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ARKTURA: LIGHT FIXTURE FELT (LOBBY). WOOD-SKIN: WOOD PANELING. GAGE 78 EARTH METAL: METAL PANELING. WASAU: CUSTOM ENCLOSURE SYSTEM (EXTERIOR). VITRO ARCHITECTURAL GLASS: GLAZING. USM: CABINETS (LOUNGE).

STYLEX: CHAIR. ALLERMUIR: SOFAS (LOUNGE, CAFÉ). LIVING CERAMICS: FLOOR TILE (RAMP, CAFÉ). DESIGN & DIRECT SOURCE: WALL TILE (CAFÉ), FLOOR TILE (HELIX).

TACCHINI: LOUNGE CHAIRS, COFFEE TABLE (CAFÉ). WEST COAST INDUSTRIES: DINING TABLES. MUUTO: DINING CHAIRS. ROLL & HILL: PENDANT FIXTURE. CARNEGIE: ACOUSTIC PANELING (AUDITORIUM). ARPER: CHAIRS. MILLIKEN: CARPET TILE. BOLIA: WOOD CHAIRS (HELIX). ANDREU WORLD: CAFÉ TABLES. BERNHARDT: OTTOMANS. NUCRAFT: CONFERENCE TABLE. SUITE NY: UPHOLSTERED CHAIRS. SHAW CONTRACT: CARPET TILE. TOJA GRID: PERGOLAS (TERRACE). HANOVER: PAVERS. KRISALIA: HIGH TABLE, STOOLS. KETTAL: ROUND TABLES. HIGHTOWER: ORANGE CHAIRS. THROUGHOUT KEY RESIN COMPANY: CUSTOM TERRAZZO FLOORING. DELRAY: ROUND CEILING FIXTURES. CARVART: DEMOUNTABLE GLASS PARTITIONS. ARMSTRONG: ACOUSTICAL CEILINGS. BENJAMIN MOORE & CO.: PAINT.

Top: In what’s called the helix, a breakout space found on each floor, oak partitions and built-in benches encircle both the concrete ramp once used for vehicles as well as Piergiorgio Cazzaniga’s Reverse tables and Henrik Sørig Thomsen’s wooden Swing chairs. Bottom: Glass panels adhered with graphic stickers enclose a small meeting room built into another helix.

Opposite top: Wallcovering of Taurus, a Sarah Morris artwork, energizes the handicap-accessible ramp leading to the conference center. Opposite bottom: The 7,400-square-foot landscaped roof terrace is another shared building amenity.

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taking flight For Supernal, a startup electric-aviation company, RMW created a campus spanning three separate California locations, each tailored to its particular workforce text: wilson barlow photography: garrett rowland

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Previous spread: Reception at Supernal Laguna Canyon in Irvine— one of three California workplaces developed concurrently by RMW for the electric-aircraft start-up—has a custom thermoformed solid– surfacing desk and expanses of white oak, a motif material linking the locations.

Clockwise from top left: At the Fremont site’s library, Toluca lounge chairs by Chris Adamick are backed by a cork tile–covered wall.

The coffee bar’s custom counters are white-oak veneer topped with quartz. PET felt ceiling baffles and wood-wool paneling help tame acoustics in the compact gym. Oak and walnut butcher block caps reception’s custom desks. Naoto Fukasawa’s Common modular benches and tables define a seating zone in the central all-hands area, which is flanked by white-oak bleachers leading to the coworking mezzanine. Inspired by strings of lanterns in outdoor cafés, LED ropes and bannerlike felt baffles loop across the break-room ceiling.

Photography: Jason O’Rear.

Fremont Flying cars, or something like them, may not be as far away as you’d think.

Headquartered in Washington, D.C., startup Supernal, its name taken from the Latin for of the skies, is promising a “mobility revolution” via personal electric aircraft. It’s a mission that resonated with RMW, an urban transportation–savvy firm that had already designed headquarters for Uber when Supernal tapped it for a multipart project across California. The brief was for three new workplace sites—dubbed Fremont, Laguna Canyon, and Waterworks—geographically separate and functionally distinct but conceived as a single campus, with similar furnishings and finishes, so the transition from one to another would be seamless, all led by RMW principal Stan Lew and senior designer Jenna Szczech.

Housed in a two-level former warehouse in Silicon Valley and dedicated to battery research and development, Fremont is the smallest facility, but still clocks in at an expansive 72,000 square feet. Since there were few windows, RMW took pains not to block any available natural light, creating what Szczech calls “the heart of the space”: a capacious central hub that fluidly connects the ground floor to the mezzanine level—the former for all-hands meetings, the latter for coworking—via a symmetrical pair of bleacher-style staircases. Open-plan areas predominate, but enclosed spaces include a sequestered library with live plants behind glass on one wall and natural-cork acoustic tiles on the other, providing a quiet respite from the bustle outside.

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PRODUCT SOURCES FROM FRONT MARTIN BRATTRUD: LOUNGE CHAIRS (LIBRARY). CRESTMARK: CUSTOM CORK WALL. WOODTECH: TABLE. MOST MODEST: LAMPS. BENTLEY MILLS: CARPET. BLUDOT: SIDE TABLE (LIBRARY), PLANTERS (ALLHANDS). STEELCASE: TASK CHAIRS (LIBRARY, ALL-HANDS), CONFERENCE TABLE, BLEACHER PADS (ALL-HANDS). TO MARKET: FLOORING (GYM). GUARDIAN GLASS: MIRROR. AXIOM; BEYOND BALANCE; SIGNATURE: EXERCISE EQUIPMENT. VICCARBE: BENCHES, SIDE TABLES (ALL-HANDS), CHAIRS (BREAK ROOM). MODERNFOLD: FOLDING GLASS WALL (ALL-HANDS). BOLIA: TABLES (BREAK ROOM).

Laguna Canyon The other two projects are located within a half mile of each other in Irvine, California. Hosting design, engineering, and manufacturing teams, the Laguna Canyon office is both the most multipurpose and the largest, occupying all of a new 105,600-square-foot, four-story building. Upon seeing the structure, RMW had a bold idea: Why not cut holes in the floor plates to allow for a central stair linking all levels? “The client was all in, excited for the openness it would bring,” Szczech reports. The stair is backdropped by a soaring green wall, the vegetation bordered by an undulating white-oak frame that gives it a naturalistic flow. “We didn’t want it to look like a big block of plants,” Lew explains.

The blond wood is a connecting thread throughout all three projects. Here, it’s found as bench seating in a sensory retreat room, for example, or as the handrails, treads, and undersides of the staircase, which has a built-in oak table tucked into the open spandrel space at its base—a social nook for employees that, being detectable by a cane, also meets accessibility codes for the visually impaired. Supernal Laguna Canyon is already gathering honors, recently winning two IIDA Southern California Calibre Design Awards.

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PRODUCT SOURCES FROM FRONT SMARIN: SOFT SEATING (RETREAT). CALICO WALLPAPER: WALLCOVERING. KNOLL TEXTILES: CURTAIN FABRIC. ANDREU WORLD: CHAIRS (UNDER STAIR), TABLES (MULTIUSE), STOOLS (HELP DESK). EMBLEM: CUSTOM SOFT SEATING (MULTIUSE). KAY CHESTERFIELD: CUSTOM BLEACHER PADS. ALERT: SLAT CEILING. RESAWN TIMBER CO.: BLEACHERS (MULTIUSE), TREADS, RISERS (STAIR). COALESSE: SMALL TABLES (CAFÉ).

BOLIA: LARGE TABLES. HIGHTOWER; VICCARBE: CHAIRS. GLASPRO: GLASS BALUSTRADES (STAIR).

Clockwise from opposite top left: Live plants, gentle circadian lighting, cork flooring, and Stéphanie Marin’s Livingstones soft seating modules set a meditative mood in the sensory retreat at Laguna Canyon. Accessibility codes for the visually impaired requiring that the area under the stair be cane detectable are met by a custom white-oak table surrounded by Patricia Urquiola’s Õru chairs. Outfitted with casters, custom soft seating in the multiuse space can be rearranged as needed. In the café, Glismand & Rüdiger’s large Nord tables and Lievore Altherr Molina’s small Enea Lottus pedestals are served by EstudiHac’s button-back Hari chairs and Mario Ferrarini’s stackable Quadra seats, respectively. Benjamin Hubert’s Hula stools pull up to the IT help desk, above which hangs BIG-Bjarke Ingels Group’s Alphabet of Light fixture.

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“The tripartite campus’s diverse spaces have been strategically planned to accommodate the preferences of current and future workforces”

From left: A curved wall of dichroic glass wraps one side of Laguna Canyon’s sensory retreat room, acting as a way finder on the outside while becoming part of the calming experience inside, its colors changing depending on the viewing angle.

A living wall rises almost the full 44-foot height of the atrium in the new four-story building.

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Waterworks The third facility, Waterworks, an 80,000-square-foot, two-level structure also in Irvine, is where the magic happens: the design, manufacturing, and testing of full-size aircraft. “It’s a highly functional space,” Lew observes. “There was much consideration of the program and the way people and vehicles would flow through it.” Lots of white was used to brighten up the interior, while pops of color satisfy both aesthetic and safety goals. Much of the real estate is given over to the machines, but the office area on the second floor helps keep the building from feeling too cavernous, featuring humancentric spaces like a coffee bar with a custom banquette framed by a curved white-oak canopy. More than just connecting it to the other offices, the honeytone wood is an example of how even this location eschews an industrial look in favor of naturalistic warmth. As does the tranquil break room, where flexible tube lighting hangs beneath a grid of felt acoustic baffles that dampen any noise from the shop floor below. It all adds up to RMW helping Supernal and its mobility revolution get off the ground.

Clockwise from top left: A custom A/V wall separates the break room from the open office area beyond at Waterworks. Tonella lounge chairs by Note form a seating group in the doubleheight reception. A white-oak portal frames custom banquette seating in the coffee bar, while Cohda’s disklike Kepler pendant fixture hangs in the foreground. Cork flooring and PET felt ceiling baffles provide acoustic solutions in the break room. Gantry cranes run on brightly painted steel beams in the main assembly and testing floor, which accommodates full-scale aircraft.

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PROJECT TEAM JENNA WITTENBERG; KRISTEN BEUS; STEFANIE WIBIASA; CINDY MARK; NELLY PAZ; FELICE ROSARIO: RMW. HABITAT HORTICULTURAL: LANDSCAPE CONSULTANT. LIGHTING SYSTEMS: LIGHTING CONSULTANT. BLIK; STUDIO O+A: GRAPHICS CONSULTANTS. SALTER: ACOUSTICS CONSULTANT. ARCHITECTURAL WOODWORKING COMPANY; TABER COMPANY: MILLWORK. OC MARMOL: STONEWORK. SYSKA HENNESSY GROUP: MEP. KPFF: STRUCTURAL ENGINEER. GCI GENERAL CONTRACTORS; HITT CONTRACTING: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT BOLIA: WOOD TABLES (BREAK ROOM). ANDREU WORLD: WHITE CHAIRS. HIGHTOWER: PLANTERS (OFFICE AREA), LAPTOP TABLES (COFFEE BAR), SIDE CHAIRS (BREAK ROOM). FLOS: PENDANT FIXTURE (RECEPTION). REKHA: RUG. SANCAL: LOUNGE CHAIRS (RECEPTION, BREAK ROOM). BLU DOT: COFFEE TABLES (RECEPTION, BREAK ROOM). LUUM: BANQUETTE FABRIC (COFFEE BAR). EUROFASE: SCONCES. COALESSE: WHITE TABLES (BREAK ROOM). MARTIN BRATTRUD: BANQUETTE. NORDIC KNOTS: RUG. AMERICAN EQUIPMENT: GANTRY CRANES (ASSEMBLY FLOOR). CROWN DOORS: VERTICAL LIFT DOORS. THROUGHOUT BENDHEIM: SPECIALTY GLASS. ARTEMIDE; BRUCK LIGHTING; CORONET LIGHTING; ELITE LIGHTING; INTRA LIGHTING; LUKE LAMP CO.; LUMENPULSE; LUMENWERX: LIGHTING. INNERMOST: DISK PENDANT FIXTURES. CAESARSTONE; DURAT; SILESTONE: COUNTERTOPS. TINKERING MONKEY: CUSTOM SIGNAGE. ARKTURA; BAUX; NORDGRÖNA; SLALOM; TURF DESIGN: ACOUSTICAL PRODUCTS. AMORIM CORK: CORK FLOORING. STATEMENTS TILE: BACKSPLASH TILE. BENJAMIN MOORE & CO.: PAINT.

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on the map ATLAS, a multipurpose public space at the National Gallery Prague renovated by No Architects, invites visitors to explore creative territory

text: peter webster photography: studio flusser

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Designed by architects Josef Fuchs and Oldrǐ ch Tyl and completed in 1928, Prague’s imposing Trade Fair Palace—a sprawling eight-story edifice encompassing more than 258,000 square feet of airy, light-filled exhibition space— was not only the largest facility of its kind in the world but also an outstanding example of avant-garde functionalism. Even the movement’s best-known prac­ titioner, Le Corbusier, was envious of the reinforced-concrete building’s scale since he was largely confined to smaller, residential projects at the time. (The Swiss architect’s contemporaneous plans for the modernist campus of the Czech shoe company Bata in Zlín were never fully realized.)

After World War II, the palace was converted into an office building, its spacious interior cut up into a dreary warren of smaller business suites, all of which were destroyed in a massive, six-day fire in 1974 that left nothing but the structural frame and landmarked exterior standing. Four years later the building was given to the National Gallery Prague, a multivenue museum with the largest collection of art in the Czech Republic, as a new home for its modern and contemporary holdings. Reconstruction, which centered on the Small Hall—a superbly proportioned atrium topped with a skylight and encircled by six tiers of exhibition balconies—was slow and completed in stages. The first few floors opened in 1995 to be joined by others over time, the most recent addition being a mezzanine level that stretches the conception of what a public art gallery can be.

The new 9,000-square-foot multifunctional space, dubbed ATLAS—the acronym for Ateliér Tvorby a Laboratoř Asociativního Snění, which translates to Creative Studio and Laboratory of Associative Dreaming—“is basically a big urban living room,” says Jakub Filip Novák, co-executive with Daniela Barác ̌ková of No Architects, the local firm that helmed the renovation. Comprising an enfilade of loosely defined zones, ATLAS encompasses a café, a low-platform stage flanked by

“ATLAS is basically a big urban living room where you can sit back in a ‘cultured’ way”

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Previous spread: A low-platform stage serves as a pop-up yoga studio in ATLAS—the acronym for Creative Studio and Laboratory of Associative Dreaming in Czech—a 9,000-square-foot multifunctional public space renovated by No Architects in the National Gallery Prague.

Opposite: Michael Thonet bentwood chairs pull up to custom recycled-MDF tables in the café.

Top, from left: Furnished with easily moved custom tables and seating blocks, the creative space hosts LEGO and art-making workshops for kids. Breasts, Children, Beings, and Debris, a handwoven tapestry made of fabric scraps by Barbora Fastrová and Johana Pošová, hangs in the café. Bottom: A raised platform, outfitted with washable fabric–covered padded mats, turns one corner into a playground.

Top, from left: Custom bleachers and benches in recycled MDF provide seating for lectures, performances, or video presentations on the low platform. A built-in partition transforms the playground window into a child-friendly circular nook overlooking neighboring historical facades.

Flooring in the café and throughout is the original terrazzo.

Bottom: ATLAS occupies the entire mezzanine floor in the Small Hall, a soaring atrium space topped by a skylight and encircled with six tiers of open galleries.

benches and bleachers, a reading nook with shelves of library books, a row of workstations, an elevated mini playground, and a series of flexible workshop spaces. “You can be at home here and sit back in a ‘cultured’ way,” Novák continues, enumerating several possible activities: “Stretch out lazily on a couch, read or look out the window, practice a musical instrument, work on your laptop, play, chat with other visitors, have a cup of coffee, and, last but not least, enjoy art you are allowed to touch with impunity if you feel the need.”

That last, groundbreaking idea—experiencing art without the traditional museum barriers—is central to the ATLAS concept. “In the NGP, of course, every piece is insured, guarded, and accessible only through a ticket paywall—a sort of symbolic permit that binds your behavior,” notes Barác ̌ková, who met Novák when they were students at the Academy of Arts, Architecture and Design in Prague. “How do you get rid of such control?”

ATLAS, which is dotted with works and installa­ tions by leading Czech talents, solves the problem through subversion: There is no entry fee and, although there is a commissioning program, offi­ cially there is no art. Artists contributing any kind of work to the space agree to drop the “art” cate­ gorization, “so their pieces become just ‘property,’ which can go uninsured and unattended,” explains Barác ̌ková. There are no eagle-eyed curators mak­ ing sure visitors don’t get too close to the aesthetic interventions, many of which, in fact, encourage the public’s direct participation.

Due to a severely limited budget (“about the same as you’d spend on a quality kitchen for a two-bedroom flat,” Novák quips), No Architects’s makeover was largely a matter of stripping the mezzanine down to its fine bones; removing par­ titions, panels, and other later additions that cluttered the space; uncovering windows so that natural light flows in once again; and restoring the terrazzo flooring, smooth plaster walls, and steel-frame fenestration back to their original glory. “We made full use of the most expensive thing we had: the 1928 architecture,” Novák says.

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Top, from left: Invisible Collection, an interactive installation by Eva Kot’átková, allows visitors to curate personal art constellations with miniature replicas of works from the NGP’s holdings. Echoing the curved counter at the other end of the café, built-in bleachers offer window seating and a close-up view of The Crocheted Tent, a collaborative work by artist Marie Tučková and Elpida, an organization for senior citizens. Bottom: Gallery goers are encouraged to don glued-paper flower masks from sculptor Anna Hulačová’s Let’s Talk About Pollination, a multipart piece intended to stimulate real and imaginary conversation.

Opposite: Stocked with public library books, the reading space offers a cushioned platform on which to relax amidst artist Kristina Fingerland’s pillowlike textile forms.

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basement, which were used to construct the minimalist built-in furnishings—the low stage, the curving café counter, the workstations, and a variety of platforms for sitting, lounging, and playing on—simple geometric forms painted in brilliant, primary colors that give the facility a jaunty, Rietveldian feel.

ATLAS has proved wildly successful. “In the Czech Republic, you can receive state support to stay home with your children until they’re 4 years old,” reports Barác ̌ková. “Prague is full of young mothers and fathers who need inexpensive places to take their kids.” Elements such as the elevated playground are designed to attract youngsters, so that they look forward to accompanying their parents to the museum and also get a chance to expend some rough-and-tumble energy— not something most art institutions look kindly on. While there are workshops for art making, LEGO modeling, and other creative activities, visitors are free to use the facilities as they wish, as long as they clean up after themselves. As its name suggests, ATLAS maps a specific territory where anyone can create, dream, be poetical, or explore whatever else touches their imagination. “The space reflects the visitors who use it, for better or worse,” Novák concludes.

“After all, it’s still a lab.”

PROJECT TEAM KRISTÝNA PLISCHKOVÁ: NO ARCHITECTS. BARBORA KLEINHAMPLOVÁ; EVA SKOPALOVÁ; OLDŘICH BYSTŘICKÝ: NATIONAL GALLERY PRAGUE CURATORIAL TEAM. ANEŽKA MINAŘÍKOVÁ; MAREK NEDELKA: GRAPHIC DESIGN. MICHAL ŠTOCHL: PRODUCTION COORDINATOR. JIŘÍ LEUBNER; TOMÁŠ VEBER: CONSTRUCTION TEAM.

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power shift A relocated Washington headquarters for law firm WilmerHale not only unites staffers but also, thanks to LSM, showcases transparency, blue-chip art, and repurposing text: laura fisher kaiser photography: eric laignel

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“LSM took cues from the building’s organic curves, rounding corners of demountable glass office partitions and the workstations within”

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Previous spread: To enliven the double-height, street-facing tenant lobby of the headquarters of international law firm WilmerHale in Washington, LSM, which designed the entire 225,000-square-foot, eight-floor workplace, commissioned a painting from Mexican artist Bosco Sodi.

Opposite top: The lobby’s illuminated curved glass walls reference the building’s undulating curtain wall, as does the custom reception desk in Calacatta Sponda marble. Opposite bottom: A strip of LEDs outlines the spiral of the custom staircase.

Top, from left: Sodi’s painting is 13 feet wide by 10 high. The stair’s treads and risers are the same Calacatta Sponda, its handrails wrapped in leather. Bottom: Ansel Adams photo­ graphs from the client’s collection line a corridor, where a glass-enclosed meeting room continues the curved theme.

Some images die hard. K Street in Washington is still a metonym for the nation’s ultimate power corridor even though lobbyist and law firms have been migrating off the strip for years. WilmerHale is the latest to move operations—and update its corporate culture in the process. Over several decades, the international law firm’s K Street headquarter offices were sprawled out among multiple floors in three buildings, occupying more than half a million square feet. Having conceived several iterations of those workspaces, LSM founding partner and Interior Design Hall of Fame member Debra Lehman Smith worked with WilmerHale project-team members to undertake an extensive real estate study and see what else was out there. They found a golden opportunity: as lead tenant in a groundup, 11-story building by Pelli Clarke & Partners at K Street–adjacent 2100 Pennsylvania Avenue.

“It was good timing,” Lehman Smith begins.

“The developer had embarked on a strategic public-private collaboration to redevelop the prime location, and the building supports a healthy urban fabric, including a walkability score of 99. Plus, we could have our pick of space.” That space is 225,000 square feet across eight floors.

The structure has an asymmetrical footprint with two towers forming a V, the center of which is an airy atrium running the height of the building, maximizing daylight for all tenants. The east facade provides views to the Capitol, and an undulating curtain wall allows even more natural light to penetrate the interiors where it bows.

While the main public entrance, on the east side, features a triple-height lobby with flooring and cascading stairs in gray marble, LSM located WilmerHale’s private street lobby on the northern facade, scaled it down to double-height, and used veined white Calacatta Sponda marble from top to bottom, including for the spiral stair that connects to the mezzanine. “The gray marble is Pelli’s base building,” LSM partner Rebecca Montesi explains.

“The white marble is us.”

At one end of the lobby, next to the custom reception desk in that same Calacatta Sponda, a giant painting by Mexican artist Bosco Sodi adds a potent blast of color. Commissioned by LSM, the

10-by-13-foot work consists of large inky-black splotches on a pulsating red field. An entourage from LSM and WilmerHale visited one of Sodi’s studios, in Brooklyn, New York, to observe his process; then he traveled to 2100 Penn to understand how the light played off the white marble at different times of day—and to measure the doors. (Installers were able to thread the crated piece through the opening, if barely, without a single ding.) “The dynamic architecture of the entry is energized by Bosco’s work, its texture and vivid color for which he is so well-known,” Lehman Smith notes. “It’s the perfect juxtaposition for the space.”

The most bespoke change Lehman Smith, Montesi, and team negotiated for the WilmerHale portion of the building was creating a second-floor conference center. The original plan called for a typical core to house elevators and restrooms. But, since WilmerHale’s mandate was transparency, LSM convinced the landlord to “split the core” to allow for an expansive thoroughfare between the two towers around which the firm could colocate all its public functions, including a multipurpose and other meeting rooms, a dining room, and a coffee bar for WilmerHale’s 500 employees.

The showpiece of this center is the glass jewel box of a multipurpose room, a freestanding building-within-a-building. In addition to a Top: The public lobby’s cascading base-building entrance opens to the nine-story atrium.

Center: A fabric ceiling dampens sound in the multipurpose room, which stands in WilmerHale’s second-floor conference center, enclosed by privacy glass and furnished with Jehs+Laub Occo stacking chairs. Bottom: Calacatta Sponda lines the elevator lobby.

Opposite: When the privacy glass is turned off, occupants inside the multipurpose room can view Chuck Close’s Lyle on the wall.

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stretched-fabric ceiling, the electronic privacy glass on the inside is angled to stop sound from reverberating. And, even though it seats 200, it seems intimate, due to its elongated ellipse plan that makes occupants feel like they’re close to the screen from anywhere in the room. “Everything about it operates independently from everything else on the floor, including the HVAC, which comes from underneath,” Montesi says. “Before the base building was completely designed, we helped shape what the atrium would be, even to the point of having thicker glass on the west elevation for acoustics because that’s where the loading dock is.”

LSM took cues from the building’s organic curves, rounding corners of demountable glass office partitions and the workstations within. Yet the team also echoed the triangular geometry of the V by using diamond-shape marble tiles for some floors, carpet tile for others, like in the dining room. DC’s notorious building-height limitations inspired LSM to cover soffits around the atrium’s second-floor perimeter in film-clad mirror, which softens the transition to lower ceilings beyond and tricks the eye into seeing columns that soar into infinity.

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Left: Also part of the conference center, Erik Jørgensen’s Flamingo chairs serve the coffee bar, which, along with an Olafur Eliasson artwork, precedes the full-service dining room.

Top, from left: On the six practice floors, RP System demountable partitions were cus­ tom­ized for the standard offices and conference rooms, with Piergiorgio Cazzaniga Gala guest chairs and Eero Saarinen’s Executive armchairs, respectively. In the dining room, custom banquettes join Sebastian Wrong carpet tile and Supercircular tables by Piet Hein, Bruno Mathsson, and Arne Jacobsen. Above: Seating options in a practice-floor pantry, where flooring switches from marble to polished concrete, include Charles and Ray Eames molded-plywood lounge chairs with Isamu Noguchi Rudder tables.

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Opposite top: An operable curtain wall retracts to turn the penthouse, used for events, into a terraced indoor-outdoor space. Opposite bottom: Inside is a boardroom and Garry Webb’s Washington Split wall sculpture.

Top, from left: The former features a custom 23-foot-long table, its marble top repurposed from the previous office, and Eames Aluminum Group chairs. A serpentine corridor winds past the elevator lobbies. Bottom: Another practice floor pantry has Afra and Tobia Scarpa’s Miss chairs and Embrace tables by Eoos.

For the four practice floors plus the penthouse, LSM curated the art program using WilmerHale’s own robust collection, which includes works by Ansel Adams, Jasper Johns, and Robert Motherwell.

“We spent hours and hours reviewing, to figure out what pieces go best where,” Montesi notes, “and how to properly light them.”

In another example of creative repurposing, LSM reused WilmerHale’s existing conference tabletops, which happened to be an older version of Calacatta Sponda. “Our stone contractor cleaned them up, then mounted them on new stainless-steel bases with updated data cabling,” Montesi reports. Several Poul Kjærholm benches had a lot of life in them, so they were freshened and installed in the lobby.

“How could we get rid of them?” she adds. Old Eames chairs occupy some conference rooms, too.

“The buildout was highly collaborative and instrumental in seamlessly integrating the tenant’s program with the promise of the building,” Montesi concludes. That promise is perhaps most evident in the ultimate power trophy, a penthouse with a 15foot ceiling, a boardroom and private terrace, and views to all the cardinal points of the district, from the Washington Monument and the Potomac River to the White House.

PROJECT TEAM JAMES BLACK MC LEISH; RICK BILSKI; MARK ALAN ANDRE; CIARA BUCCI; DHVANI DOSHI; STEVEN SCHARRER; DONNIE MORPHY; MARIO DEGISI: LSM. FMS: LIGHTING DESIGN. ART SOURCE: ART CONSULTANT. SK&A: STRUCTURAL ENGINEER. WSP: MEP. WASHINGTON WOODWORKING COMPANY: MILLWORK. DEPP GLASS: GLASSWORK. DAVIS CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SVEND NIELSEN: CUSTOM DESK (LOBBY), CUSTOM LECTERN (MULTIPURPOSE). BIG D METALWORKS: CUSTOM STAIR (LOBBY). SPINNEYBECK: HANDRAIL LEATHER. NOVAWELL: CEILING (MULTIPURPOSE). WILKHAHN: CHAIRS. FLETCO: CARPET TILE (MULTIPURPOSE, DINING ROOM). KENSINGTON GLASS ARTS: PRIVACY GLASS (MULTIPURPOSE), GLASS CEILINGS. GUNNEBO: TURNSTILES (ELEVATOR LOBBY). COYLE & COMPANY GRAPHICS: SIGNAGE. ANDREU WORLD: GUEST CHAIR (OFFICE). MILLERKNOLL: CHAIRS (CONFERENCE ROOM). UNIFOR: TABLE (CONFER­E NCE ROOM), CUSTOM TABLE (BOARDROOM), DEMOUNTABLE GLASS PARTITIONS. THROUGH FURNITURE FROM SCANDINAVIA: CHAIRS, TABLES (COFFEE BAR, DINING ROOM). HERMAN MILLER: CHAIRS, TABLES (PANTRY), CHAIRS (BOARDROOM). STEPSTONE: PAVERS (TERRACE). MOLTENI & C: CHAIRS (PANTRY). CARL HANSEN & SØN: TABLES. THROUGHOUT CAMPOLONGHI ITALIA: MARBLE. CORONET; ECOSENSE; INTERLUX; USAI: LIGHTING. SIENA: CARPET. ARMSTRONG: METAL CEILINGS. HYDE CONCRETE: CONCRETE FLOORING. SHERWIN-WILLIAMS: PAINT.

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fair trade A decarbonization-focused investment firm’s New York office by Schiller Projects profits from responsibly forested blond woods, recycled materials, and reusable systems text: jane margolies photography: eric laignel

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Previous spread: Natural materials and light abound at the New York office of Climate Initiatives, an investment firm focused on advancing global decarbonization, by Schiller Projects, as witnessed in the all-hands area’s white oak flooring and washi-paper Akari pendant fixtures by Isamu Noguchi.

Top: Custom partitions are Douglas fir, that wood and the oak floor planks both Forest Stewardship Council–certified. Bottom: In the entry lounge, the Tones rug by Clàudia Valsells is wool.

Opposite top: A cove carved out of the elevator lobby ceiling is fitted with plastercoated acoustic paneling and hidden LEDs. Opposite bottom: Dune Studio’s Hybrid sofa and Sejour armchairs by GamFratesi flank the lounge’s Jean Prouvé Guéridon Bas table, backdropped by one of the office’s two conference rooms.

Climate Initiatives, an investment and philanthropic venture, was established nearly a decade ago. For several years, it operated out of a rented, furnished office in New York. But by 2022, with the company expanding and gaining traction in its quest to help turn the tide on climate change by incubating start-ups and funding projects that advance global decarbonization, the cofounders felt the firm should have a place of its own.

Among the list of requirements was a workplace flexible enough to accommodate further growth, particularly tricky to determine considering the changing work patterns resulting from the pandemic and not knowing how many people might be on the premises on any given day; an environment that’s comfortable and sophisticated, with a residential feel; and, above all, a space that reflects the Climate Initiatives mission. That meant everything, from finishes to furniture, had to be “filtered through the lens of sustainability and carbon footprint,” recalls Aaron Schiller, founder and principal of Schiller Projects, the architecture firm tapped for the job. His studio is well-versed in designing with materials and processes low in greenhouse-gas emissions, recently renovating a 19th-century Brooklyn carriage house utilizing mass-timber construction.

Consider the partitions that divide the 6,000-square-foot floor Climate Initiatives leased in a midtown Manhattan building. Instead of being composed of standard drywall, they’re formed from vertical slats of Douglas fir, bringing a warm, natural material to the fore. The slats, made of Forest Stewardship Council–certified wood, demarcate areas while also enabling sunlight to penetrate the all-hands area at the center of the plan, along with inspiring glimpses of Central Park to the north and the Empire State Building to the south. “The ‘wood wall’ was conceived as a device that would never block but filter, a tool to allow and organize focus or collaboration through light and connection,” Schiller explains. Where acoustics and privacy are concerns, panes of glass have been added over the slats. Should the firm relocate, the wood components can be disassembled and repurposed,

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“Everything, from finishes to furniture, had to be filtered through the lens of sustainability”

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Below: Behind the custom 10-foot-square, quartz-topped worktable with GamFratesi’s Beetle task chairs in the all-hands is a pair of Petit Repos club seats by Antonio Citterio.

Opposite top, from left: Niels Diffrient’s Freedom chair in a principal’s office. A partition niche sized to accommodate art from the clients’ collection. A custom standing desk of rift-cut white oak in a cofounder’s office. Opposite center, from left: Lumen wallcovering backing a Lina swivel chair by Hlynur Atlason at the end of the elevator lobby. Some of the 18 Noguchi lanterns in all-hands. Residential notes in the entry lounge. Opposite bottom, from left: Sunlight shadow play on the Tweed Indeed carpet tile, composed of 84 percent recycled content, recessed into the polishedconcrete floor. Brass banding a conference room’s Coolabah Natural wool rug, anchoring a Corian-topped table and an Aesync chair.

Simon Legald’s Form stool and RBW’s Dimple sconce furnishing a heads-down nook.

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minimizing waste. “It’s like an erector set,” Schiller Projects partner Colin Cleland adds. “Nothing is fixed in place.”

On the perimeter of the floor are the founders’ and principals’ offices along with myriad flexible spaces, each fronted with glass so everyone has access to light and views. There are two large conference rooms as well as a series of smaller meeting rooms, about 10 by 15 feet, each furnished with a desk and chair as well as a separate table with chairs, to function either as conference spaces or private offices, depending on employee needs.

Aesthetics were as important as functionality. The cofounders “shared a concern about offices designed by men for men,” Schiller says, adding that they requested theirs be inviting and “not too overtly masculine.” So, here, textured wallcoverings add color and tactility to select expanses. Rather than the usual wall-to-wall carpet, there are abstractly patterned wool and cotton rugs enlivening the polished-concrete flooring. That switches to planks of FSC–certified white oak in the all-hands, where more than a dozen Isamu Noguchi paper lanterns in various sizes and shapes animate the ceiling-scape. Other accent lighting is from local makers, such as Fort Standard in Brooklyn and Stickbulb, a Certified B Corporation in Queens that incorporates wood salvaged from decommissioned New York City water towers in its LED-lit fixtures. Keepsake furniture pieces by such mid-century and current masters as Jean Prouvé, Antonio Citterio, and Ronan and Erwan Bouroullec have rounded, organic silhouettes. Paintings from the clients’ collection are mounted

Top: Softshell chairs by Ronan & Erwan Bouroullec pull up to a Ryvit white oak–topped table in a meeting room. Bottom: The wallcovering and Raf Simons chair fabric bring a tactile quality to another meeting room.

Opposite top: A wool Båstad rug under the custom desk in the cofounder’s office joins Mark Müller’s Vox conference table on a cotton Plus rug by Alexander Girard, capped by Fort Standard’s Counterweight pendant fixture. Opposite bottom: Eoos designed the Aesync task chairs and the Bouroullecs the Tyde 2 desks in the open office area, where the Doug fir partition incorporates shelving.

in openings in the slatted walls, each niche sized to accommodate a specific artwork; other recesses are fitted with display shelves. “Where we coincided with immovable moments, like building columns, we made those barriers disappear by giving depth to the partition system, hanging art within it or making it interactive through the deployment of books and objects that relate to the clients’ work,” Schiller says.

The entry lounge at one end of the elevator lobby is particularly residential in character. In other workplaces, this is where you’d find a reception desk.

But this space—with its curvilinear sofa and generous armchairs upholstered in sage-green and pale-pink velvet, respectively, anchored by a plush rug, its vibrant pattern suggesting rare gems or paving stones—can serve as a waiting area for visitors, a breakout space for events held in the nearby conference rooms, or a comfy place for staffers to work on their laptops or phones.

One measure of the project’s success is how well the office has accommodated the firm’s evolution. At the start of the process, the company had about a dozen employees; now there’s more than double that. There was a name change as well, starting out as something more abstract. So the company recently adopted the more straightforward Climate Initiatives to make clear, as this office surely does, what it’s all about.

PROJECT TEAM ALBERTO RODRIGUEZ; ALISON HOCHMAN: SCHILLER PROJECTS. STAMP ARCHITECTURE: ARCHITECT OF RECORD. LIGHTING WORKSHOP: LIGHTING DESIGNER. ROBERT DERECTOR ASSOCIATES: MEP. MILLER BLAKER: MILLWORK. TKO: PROJECT MANAGER. STRUCTURE TONE: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT NOGUCHI SHOP: PENDANT FIXTURES (ALL-HANDS). GUBI: TASK CHAIRS. DESIGN PUBLIC: STOOLS (ALL-HANDS, NOOK). FLOR: CARPET TILE (HALL). NANIMARQUINA: RUG (LOUNGE). DUNE: SOFA. DWR: ARMCHAIRS (LOUNGE), SWIVEL CHAIR (LOBBY). VITRA: COFFEE TABLES (LOUNGE, ALL-HANDS), CLUB CHAIRS (ALL-HANDS), CHAIRS (MEETING ROOMS), DESKS (OPEN OFFICE). CAESAR­S TONE: TABLE­ TOP (ALL-HANDS). HUMANSCALE: TASK CHAIR (PRINCIPAL OFFICE). TUOHY FURNITURE: CUSTOM DESKS (OFFICES), ROUND TABLES (MEETING ROOMS). SOFTLINE: DRUM TABLE (LOBBY). CORIAN: TABLE­TOP (CONFERENCE ROOM). TSAR CARPETS: RUG. KEILHAUER: CHAIRS (CONFERENCE ROOM, FOUNDER OFFICE, OPEN OFFICE). RBW: SCONCE (NOOK). NORDIC KNOTS: GRAY RUG (FOUNDER OFFICE). FORT STANDARD: PENDANT FIXTURE. NEINKAMPER: TABLE. MAHARAM: GREEN RUG (FOUNDER OFFICE), WALLCOVERING. THROUGHOUT PORCELANOSA: FLOOR PLANKS. TEKNION: OFFICE FRONTS. BENJAMIN MOORE & CO.: PAINT.

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setting the scene Around the world, institutional projects from theaters and museums to offices and libraries are creating compelling drama text: edie cohen

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See page 186 for the Jirásek Theatre, a 14th-century building in Ceská Lípa, Czech Republic, artfully renovated by Adam Rujbr Architects. Photography: BoysPlayNice.

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“The renovation was a mash-up of history, modernity, function, and technology, all enhancing the theater’s position as a cultural hub—curtain up!”

adam rujbr architects project Jirásek Theatre, Ceská Lípa, Czech Republic. standout Renovation of a four-story, 14th-century structure, operating as a theater since 1932, entailed alterations addressing accessibility and connectivity to the town’s center piazza and additions enhancing modern theatrical functions. The former led to a new entry segueing to a suitably dramatic double-height foyer replete with glassworks by Jika Skuhrava and a spiral stairway; the latter involved raising the main hall’s roof and inserting a balcony to increase seating capacity to 371, as well as adding new rehearsal rooms, costume storage, smaller performance spaces adjoining a secondary entrance, and a café. photography BoysPlayNice.

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“Bamboo, the signature element for seating, the soaring ceiling, and the curving walls, nods to the project’s ecological roots”

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via. project WWF Peter Scott Visitor Centre, Hong Kong. standout Located at the entry of the Mai Po Nature Reserve, the 18,600square-foot facility is a nucleus for the conservation and management of the wetland’s ecosystem and a locus for research, training, and immersive learning experiences. Pyramidal in form, and spanning two floors centered around a skylit atrium, the building comprises a gallery, café, gift shop, and learning center on the public-facing ground level, which has easy access to nature via full-height glazed doors, while meeting rooms and nine accommodation suites for staff and guests populate the upper level. Standouts in the limited materials palette are terrazzo and slatted bamboo. photography Clockwise from top center: courtesy of WWF HK; Kris Provoost (4).

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peter pichler architecture project Bonfiglioli, Bologna, Italy. standout Sustainability drove the design and construction of the sevenstory headquarters for this manufacturer of gearmotors, drive systems, and industrial inverters. To filter direct sunshine, the south facade is clad in a second skin of pleated aluminum mesh, as is the roof, which not only incorporates six south-facing terraces but also slopes, resulting in an enlarged north facade for increased indirect daylight. Modeled on courtyard typology, the 67,000-square-foot, columnfree interior features a ground-floor green garden that enhances natural ventilation and two spiraling steel staircases that allow for creative exchange among staffers. photography Gustav Willeit.

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“The building’s pleated aluminum-mesh cladding references the company’s gears and shavings produced as a byproduct of its supply chain”

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triskell project National Széchenyi Library Archive, Piliscsaba, Hungary. standout Hungary mandates the preservation of printed books, newspapers, and documents. To this end, the hermetically sealed, 46,000-square-foot warehouse containing a copy of every such item from the 19th-century to today sits within a densely forested park populated by research and university buildings, intentionally hidden from view. Yet up close, one can see how its perforated copper facade reflects the leafy environs, as if recalling that paper is made of wood. Graphic patterns etched in glass and stone, meanwhile, comprise images of the cellular structure of tree trunks, enlarged and transcribed into binary code. photography Clockwise from top left: Bálint Jaksa (2); György Dénes (4).

“A 49-foot-high internal tower connects the main storage section with a binding and restoration laboratory, digitization center, and special emergency storage facility”

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“A second phase will provide additional galleries, an auditorium, and spaces for teaching, curatorial, administrative, and storage needs”

robert a.m. stern architects project Raclin Murphy Museum of Art, South Bend, Indiana. standout Sited on the University of Notre Dame’s campus, the brick-andstone, 70,000-square-foot institution has roots dating to 1875, when it was known as the Snite Museum of Art. This incarnation accommodates the school’s collection of 30,000 works in 23 galleries surrounding a sunlit atrium, with two staircases connecting upper and lower floors, along with a teaching gallery, café, and chapel. There are site-specific commissions by Jenny Holzer, Maya Linn, and Jaume Plensa, and recent acquisitions by the likes of Sir Anthony Caro, Louise Nevelson, and Beverly Pepper will grace the 9-acre sculpture garden by Michael Van Valkenburgh Associates. photography Francis Dzikowski/Otto.

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNERS IN WALK-THROUGH

Adam Rujbr Architects (“Setting the Scene,” page 184), ararchitects.cz.

NT (“Next Level,” page 69), nordicthink.com.

Peter Pichler Architecture (“Setting the Scene,” page 184), peterpichler.eu.

O’Riley Office (“Show Time,” page 77), oriley-office.com.

Robert A.M. Stern Architects (“Setting the Scene,” page 184), ramsa.com.

Triskell (“Setting the Scene,” page 184), triskell.hu.

PHOTOGRAPHERS IN WALK-THROUGH

Via. (“Setting the Scene,” page 184), via-arc.com.

Eric Laignel Photography (“Show Time,” page 77), ericlaignel.com.

Elton Rocha (“Next Level,” page 69), eltonrochafotografia.com.

PHOTOGRAPHERS IN FEATURES Eric Laignel Photography (“Cellular Network,” page 138; “Power Shift,” page 166; “Fair Trade,” page 176), ericlaignel.com.

DESIGNER IN CENTERFOLD A+U Lab (“Learning Modules,” page 133), au-lab.net.

Jason O’Rear (“Taking Flight,” page 148), jasonorear.com.

Garrett Rowland (“Taking Flight,” page 148), garrettrowland.com.

Studio Flusser (“On the Map,” page 158), studioflusser.com.

DESIGNER IN CREATIVE VOICES Carole Baijings Studio for Design (“Color Field,” page 59), carolebaijings.com.

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Unity Side Table, Natural White Oak

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Interior Design (ISSN 0020-5508), June/July 2024, Vol. 95, No. 5, is published monthly 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; NONPOSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2024

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current affairs

FROM TOP: MYLES GELBACH; BEN PREMEAUX

Charlotte, North Carolina, is largely powered by Duke Energy. Literally but, thanks to a new public art installation by Depeña Studio, figuratively, too. The utility company com­ missioned the work for its head­ quarters plaza downtown, where founder Ivan Toth Depeña drew on his interpre­ tation of the photon, the small­ est particle of electromagnetic energy, aka light.

The result, Photon/s, consists of two sculptures that soar 32 and 37 feet high, with 11 rays bursting from each centroid in a 20- and 30-foot diameter, re­ spectively. The rays approach contact, which Depeña says “plays with the idea of connec­ tivity at the atomic and sub­ atomic level, where theoreti­ cally nothing actually touches.”

Weighing 3,500 pounds collec­ tively, they’re anchored in a 10-foot-square, 5-foot-deep concrete foundation and comprise steel armatures encased in high-density EPS foam wrapped in woven glass fiber cloth, coated with resin, sanded smooth, and finished with a fluoropolymer coating. Each arm is capped with a node of white LEDs that blinks in a nonrepeating pattern, together creating the effect of embers in a campfire.

A third burst appears as a 40-by-60-foot silhouette in Duke Energy’s facade beyond. Here, more than 3,000 LEDs pulse in a looping pattern. “The light bounces off the surrounding buildings, creating a choreography of reflecting and refracting within the plaza volume,” Depeña adds. Cables threading throughout all three sculptures deliver power and data, enabling Photon/s to send actual photons into the evening sky. —Wanda Lau JUNE/JULY.24

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