Interior Design October 2024

OCTOBER 2024

hip for hospitality

Photograph Photograph

by Kendall

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

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Love. Curved sofas, designed by Sacha Lakic.

Myrtéa & Yin Yang. Armchair and ottomans, designed by Sacha Lakic.

Nonette. Floor lamps, designed by Cédric Ragot.

Photos by Flavien Carlod and Baptiste Le Quiniou, for advertising purposes only. Éditions Zulma. (1)Conditions apply, contact store for details. (2)Quick Ship Program available on select products in stock, subject to availability. Images are for reference only and models, sizes, colors and finishes may vary. Please contact your local store for more information.

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CONTENTS OCTOBER 2024

VOLUME 95 NUMBER 9

ON THE COVER Tasked with renovating the public areas of Wild Palms Hotel, a Hyatt JdV property in Silicon Valley, BHDM Design conjured mid-century California vibes, infusing peppy geometries like reception’s custom ombré-vinyl desk inserts and Visual Comfort lamps, backdropped by Tilde Grynnerup's painted-wood sculpture.

Photography: Garrett Rowland.

features 144 DOWN-HOME HOSPITALITY

by Jen Renzi

Rottet Studio celebrates the dynamic culture of Fort Worth, Texas, with a sociable, artcentric scheme for the Crescent Hotel.

154 JUMP AROUND

by Wanda Lau

Gen Z-ers can trampoline, zip-line, climb, and slide— with their parents observing in comfort—at XBox Family Sports Center, a high-energy futurama in Shanghai by Fun Connection.

164 LEGAL STEPS

by Michael Lassell

A series of elegant staircases provides both utility and drama in a confidential law firm’s Chicago office by IA Interior Architects.

172 FEELIN’ GROOVIER

by Jane Margolies

Workshop/APD and Metafor turn a 1960’s motor lodge in the Canadian Rockies into the Moxy Banff, and the age of Aquarius has never looked so good.

180 NATURAL WONDERS

by Dan Haworth

A biophilic atmosphere of greenery, waterfalls, and birdsong lands at Terminal 2 in Singapore’s Changi Airport, recently renovated and expanded by Boiffils Architectures.

GARRETT ROWLAND

10.24

190 FEELS LIKE HOME

by Georgina McWhirter, Peter Webster, and Annie Block

From the Greek islands to the Catskills of New York, these seven hotels and resorts offer accommodations perfectly attuned to their strikingly disparate settings.

164

new! chieftain chair, designed by finn juhl, 1949 - made in denmark by house of finn juhl

house of finn juhl herman miller carl hansen & son muuto vitra kartell knoll flos foscarini and more!

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

10.24

CONTENTS OCTOBER 2024

VOLUME 95 NUMBER 9

walk-through special hospitality section 79 SHOWING ITS TRUE STRIPES

by Edie Cohen 87 SIT, STAY

by Annie Block

From adaptive reuse to new construction, properties in Europe and Central America encourage leisurely connection with local culture.

99 HOME COOKING

by Ravail Khan 107 THE ART OF DINING

by Wilson Barlow

In eateries from Switzerland to Canada, designers craft atmospheres that are visual feasts cleverly linked to the cuisines.

departments 33 HEADLINERS 41 DESIGNWIRE

by Annie Block 50 BLIPS

by Edie Cohen 54 PINUPS

by Rebecca Thienes 60 BOOKS

by Wilson Barlow 64 SHOPTALK edited by Georgina McWhirter 69 CREATIVE VOICES Soul Provençale

by Peter Webster

Artist Charlotte Culot evokes the sunny essence of Southern France in a new collection of hand-knotted rugs for Maison Rhizomes.

119 MARKET edited by Rebecca Thienes text by Rebecca Dalzell and Georgina McWhirter 139 CENTERFOLD Walk This Way

by Athena Waligore

206 CONTACTS 215 INTERVENTION

by Athena Waligore 99

NOUR EL REFAI

To revitalize and draw more visitors to Bogong Island Ecology Park near Shanghai, Wutopia Lab reenvisions the traditional Chinese pergola in new materials and a beckoning form.

Spinneybeck celebrates the legacy of Erwin Hauer with Design 406. This carved wall panel is now available in five solid wood species, plus the option to add color with leather-wrapped MDF in over 700 upholstery leather colors. spinneybeck.com/design-406

C U S TO M PAT T E R N R R 9 3 7 1 1 A N D C A M A R E T OA K I N S H E R W O O D

Awaken Creativity, Create Magic Awaken is our newest collection of rugs and broadloom designed for hospitality environments. Using new machinery and techniques, Awaken features our most expansive palette yet. The option to use up to 16 colors with textural variation creates unique blends and painterly effects for any rug size in any room. Organic, otherwordly and utterly magical.

L EA R N M OR E AT S HAWCONTRACT.COM/AWAKEN

Let’s crank some metal. 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

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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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Cindy Allen

Chemetal presents Transparency, laser cut, thicker aluminum designs. Impressive color and design selections.

Optional frame system. Plus, our team can design to custom fit your space. Part of Chemetal’s massive collection of metal designs for interiors. See it all and order free samples.

chemetal.com

SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes 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.

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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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LEISURE REFINED.

M E R I TAG E C O L L E C T I O N - A L U M A-W E AV E

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e d i t o r ’s welcome

A huge trove of terrific hospitality ideas, clearly a pent-up effect of the two-year time-out the world just experienced, finally moved from the drawing boards to reality. Hooray! This recent building spree naturally demanded its own toll: in time and care. Eventually, however, all these creative puzzles came together, tile by tile, to form accomplished design endeavors… wowza. Now, I have seen plenty of hospitality projects over my past 23 years. I’ve assembled multiple portfolios, witnessed

hospitality, here we come! trends come and go, studied the resurgence of established brands and the invention of new ones. I’ve examined sites ranging from a supertall skyscraper (like the whopping 163-floor Burj Khalifa, housing the exquisite Armani Hotel) to an über-trendy neighborhood joint (53 by ICrave in New York is one of my faves), but I don’t think I’ve ever put together a hospitality issue so simply…opulent. From collective walkthroughs and roundups of hot hotels and rockin’ restaurants to major features like the hipster Moxy Banff in the Canadian Rockies, we’ve assembled a staggering amount of domestic and international projects—and the teams behind them—that in turn should prove a treasure chest of inspiration for your practice.

Whatever genre of practice that may be, incidentally, because in these pages, we show how this take-no-prisoners creative wing of our industry has made tangible inroads into all sectors of the craft. Like IA Interior Architects, which designed an entire floor of dining and event space—not for a hotel, but for a high-powered law firm. And a Singapore airport full of hospitality amenities, within a biophilic atmosphere to boot (thanks to Boiffils Architectures). And finally, a lively sports center for Gen Z-ers by Fun Connection that’s all about family and fun, fun, fun!

Enough talk—more walk—just turn the page! xoxo

Follow me on

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thecindygram

OCT.24

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Enhancing Playful Spaces Atmosphera® Ceiling System Undulating Acoustic Baffle System

arktura.com

North Bend Elementary School, Humble, TX, a collaboration with PBK Architects.

Fun Connection “Jump Around,” page 154 chief designer: Yaotian Zhang. firm site: Shanghai. firm size: 20 architects and designers. current projects: Lit Time dining/work/cultural venue in Xianning, China; Vanke Liangzhu Bir Land vacation complex in Hangzhou, China. honors: Interior Design Best of Year Award; Jinteng Award Gold Award. student: Zhang has a background in children’s psychology. founder: The kids’ projects he takes on at Fun, which he established in 2014, incorporate elements of play and competition. funconn.com

headliners “We regard innovation as the eternal strategy of development and core competitiveness of our team”

JIAHUI CHI

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Workshop/APD “Feelin’ Groovier,” page 172 cofounding principal: Matt Berman. associate principal: Andrew Kline. firm hq: New York. firm size: 70 architects and designers. current projects: Union and Le Depot restaurants in Park City, Utah; product collections for Arteriors and Sutherland. honors: NYCxDesign Award. nj: Berman has a weekend home in Asbury Park. ny: Kline escapes to his in Barryville. workshopapd.com

h e a d l i n e rs

IA Interior Architects “Legal Steps,” page 164 principal, design director: Neil Grant Schneider, IIDA. firm hq: San Francisco. firm size: 600 architects and designers. current projects: Raymond James office in Vancouver, Canada; Northern

Trust headquarters and McDonald’s Speedee Labs in Chicago.

honors: Interior Design HiP Awards honoree; IIDA, PA NJ DE Chapter Design

Award; Mixology23 Best Design Practice of the Year. ears: Schneider is a music aficionado with diverse tastes, sometimes attending several concerts a week. eyes: A sucker for fresh flowers in the house, he has his florist make arrangements of locally sourced blooms. interiorarchitects.com

Rottet Studio “Feelin’ Groovier,” page 172 principal: Chris Sparrow. firm sites: Calgary and Edmonton, Canada. firm size: 52 architects and designers. current projects: Rundle Park and Ascent & Cascade lodges, and MTN House by Basecamp hotel, all in Canmore, Canada. honors: CAGBC National Zero Carbon Design Award; Gold Award at the International Olympic Committee. squad: Sparrow and his wife have two sons and twin girls, all under 8 years old. team: He enjoys coaching hockey. metafor.studio

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“Down-Home Hospitality,” page 144 founding principal, president: Lauren

Rottet, FAIA, FIIDA. firm hq: Houston. firm size: 75 architects

and designers. current project: A

luxury resort casino on Al Marjan Island, United Arab Emirates. honors: Interior Design Best of Year Awards; SBID Inter­national Design Award; IIDA Icon Award. north: Rottet uses her new 17-foot Boston Whaler for grocery runs across Lake Montauk when at her Hamptons vacation house. south: A family addition, a granddaughter, has kicked off a renovation of and an addition to her main home in Houston. rottetstudio.com

TOP: LESLIE UNRUH; BOTTOM, FROM LEFT: CHRISTOPHE BERNARD; DELISE WARD

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h e a d l i n e rs

Boiffils Architectures “Natural Wonders,” page 180 managing partner, creative director, principal architect:

Basile Boiffils.

firm site: Paris. firm size: 14 architects and designers. current projects: Charles Oudin watch boutique and

past: Boiffils caters to his passion for Renaissance art and architecture by traveling in Italy. present: That country also satisfies his love of natural landscapes and ecosystems. boiffils.com

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JAIME OCAMPO-RANGEL

office in Paris; Bangkok Mall mixed-use complex; Persée jeweler flagship in Riyadh, Saudi Arabia. honors: Architizer A+Awards; Singapore Good Design Award.

WHEN EVERY DETAIL MATTERS,

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design wıre edited by Annie Block

From top: “Elmgreen & Dragset: Spaces,” at Amorepacific Museum of Art in Seoul, South Korea, through February 23, features The Amorepacific Pool, a 59-foot empty pool dotted with white-lacquered male figures, and The Cloud, a restaurant installation including All Dressed Up, a hyperrealist sculpture of a costumed entertainer who seems to have fallen asleep in the reception area and that alludes to the saying, “All dressed up with nowhere to go.”

space invaders

Many of us stateside may be most familiar with one particular project by Michael Elmgreen and Ingar Dragset: Prada Marfa, their full-scale but nonfunctioning store built in 2005 in the remote Texan town—a commentary on consumerism, luxury branding, and gentrification. Today, the Scandinavian duo is in the midst of pulling in a whole new audience with “Elmgreen & Dragset: Spaces,” which opened last month at Amorepacific Museum of Art in Seoul, South Korea.

The first-ever survey of their spatial practice and the most extensive presentation in Asia takes over the entire building, some 17,000 square feet, with five immersive installations, from a comprehensive family house to a restaurant to a swimming pool with lifeguard, each continuing to challenge conventional exhibition formats and explore the underlying values that shape our public and private lives. Elmgreen and Dragset make or source every aspect of each artwork, from the Portuguese ceramic tile surrounding the pool, a leitmotif of their practice and a nod to disappearing communal civic spaces, to the fleece bunny costume on the male figure in The Cloud, a fully furnished, high-end restaurant that never opens.

ANDREA ROSSETTI

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d e s i g n w ire Clockwise from bottom: Olafur Eliasson’s 2017 The Hinged View is among more than 250 pieces in “Sand, Ash, Heat: Glass at the New Orleans Museum of Art” through February 10, all from the institution’s private collection. Gene Koss’s Ridge Road Climb from 1984. The circa 1926 Bottle by Maurice Marinot. Yoichi Ohira’s 2004 Nostalgia Vase #2. Ghost chair, a 1987 design in ½-inch-thick tempered glass by Cini Boeri and Tomu Katayanagi for Fiam Italia.

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Glassmaking dates to Mesopotamia circa 2500 BCE, but it was the Romans, approximately 2,000 years later, who pioneered glassblowing, allowing for the production of intricate decorative items, while, in 1903, French chemist Édouard Bénédictus developed tempered glass, which is some 10 times stronger and plays a critical role in design today.

All this and more are explored in “Sand, Ash, Heat: Glass at the New Orleans Museum of Art,” an exhibition of hundreds of items drawn from the NOMA’s permanent collection, examining how the material is connected to scientific discovery, foodways, cultural exchange, and artistic innovation across time and cultures, from Ram’s Head, from the 18th Dynasty of Egypt (1550–1292 BCE), to 2017’s The Hinged View by Icelandic-Danish artist Olafur Eliasson. “Lenses, architecture, phone screens, even wine bottles and the vessels used to toast— all are part of our shared human history in glass,” Mel Buchanan, NOMA’s RosaMary curator of decorative arts and design, says. Local talent is celebrated as well, with items by former Tulane University students and professors, including Gene Koss, who founded the school’s hot shop in 1976.

CLOCKWISE FROM BOTTOM: COURTESY OF OLAFUR ELIASSON AND TANYA BONAKDAR GALLERY, NEW YORK; COURTESY OF GENE KOSS; COURTESY OF THE NEW ORLEANS MUSEUM OF ART AND WILLIAM MCDONALD BOLES AND EVA CAROL BOLES FUND, 2004.40; COURTESY OF THE NEW ORLEANS MUSEUM OF ART AND WILLIAM MCDONALD BOLES AND EVA CAROL BOLES FUND, 2005.41; RAGO/WRIGHT/COURTESY OF THE NEW ORLEANS MUSEUM OF ART AND WILLIAM MCDONALD BOLES AND EVA CAROL BOLES FUND, 2023.23

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Clockwise from top left: For the main dining room at Il Totano restaurant in downtown Manhattan, Sasha Bikoff Interior Design channeled coastal Italy through 60-inch-wide basketlike rattan ceiling fixtures from Visual Comfort, Maharam’s sunset-toned felt banquette upholstery, and grotto-inspired wall paint in a custom limewash finish conceived with Little Greene. All branding and custom dishware also by Bikoff. A restroom’s Etsy-sourced mirror and Octopussy wallpaper from Voutsa. The bar’s Marcel Breuer Cesca stools and chairs, Bellhop table lamps by Edward Barber and Jay Osgerby, and custom sconces in alabaster-esque resin.

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It was 2018 when Sasha Bikoff made a splash at her first ever Kips Bay Decorator Showhouse in New York, turning the staid spiral stairway into a vivid and memorable journey of chromatic pattern play. Since that, her residential practice took off— and, more recently, so has her commercial work, as witnessed in Il Totano, located a couple dozen blocks south of that fateful showhouse.

The 1,900-square-foot, 85-seat restaurant is an ode to all things southern Italian, from the seafoodfocused cuisine (chef Harold Dieterle is of Sicilian heritage; il totano means flying squid) to the décor, its luminous, saturated palette inspired by the “sunsetcolored beach umbrellas, terra-cotta ceramics, and calypso-blue grottos,” Bikoff admires on her frequent visits to the Amalfi Coast. Among the highlights are the dining room’s massive rattan light fixtures remi­ niscent of fishing baskets, the restroom’s octopusspangled wallpaper, and the bar’s lemon-yellow table lamps, fittingly sourced from Flos.

TORY WILLIAMS

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for

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Showroom and warehouse 150 Bruckner Blvd, Bronx NY 10454 sicis@sicisna.com T. +1 917 291 0399

Headquarters Via Canala 75, 48123 Ravenna ITALY info@sicis.com

Scan the QR to see the entirety of the project

man of the hour

CLOCKWISE FROM BOTTOM LEFT: COURTESY OF WEXLER GALLERY; COURTESY OF JOMO TARIKU (2); COURTESY OF WEXLER GALLERY; COURTESY OF JOMO TARIKU

Jomo Tariku has come a long way—literally and figuratively. Born in Kenya and raised in Ethiopia, he came to the U.S. to study industrial design at the University of Kanas, launching his first furniture studio in Washington, DC in 2000, then relaunching it in 2016. A year later, we met him at ICFF in New York where he was debuting his modular Birth II chair; acquisitions of his pieces by the Metropolitan Museum of Art, LACMA, and Denver Art Museum—and their appearance on 2022’s Black Panther: Wakanda Forever set—soon followed.

This fall, Tariku is the subject of his first-ever solo exhibition, “Juxtaposed,” at Wexler Gallery in Philadelphia. In keeping with the tradition of most material artists in Ethiopia, Tariku’s work has historically been done in wood (birch, walnut). But this exhibition, which includes 31 pieces, seven of them never before seen, including the 22-foot-tall Meedo wall sculpture, explores new technologies and materials, such as metal, plastic, and leather, but that still relate to his heritage. “It’s a celebration of the past and the present,” Tariku says, “a contribution to a positive cultural experience, a new creative language based on Black culture.”

d e s i g n w ire Clockwise from bottom left: The 2023 walnut Meedo bench is appearing in “Juxtaposed,” Jomo Tariku’s solo exhibition at Wexler Gallery in Philadelphia, from October 10 to December 20. The Boraati, birch with natural finish, and Ashanti, birch in black finish, stools, both earlier designs that have been modified in 2024. Meedo chair in bronze, 2023. A rendering of the Meedo plywood wall sculpture, 2024.

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Cut short by an untimely death in 1989 at age 50, American artist Scott Burton’s 20-year career crossed over myriad genres: from sculpture, pho­ tography, drawing, performance, and video to art criticism, curation, and collecting. This legacy is examined in “Scott Burton: Shape Shift,” taking over all six galleries and the outdoor courtyard at the Pulitzer Arts Foundation in St. Louis through February 2. Among the exhibit’s more than 100 pieces, some of which Burton referred to as “sculp­ ture in love with furniture,” is his 1980 Aluminum Chair that pays homage to the Adirondack version, 5-ton granite Rock Settee from 1988, and Five-Part Storage Cubes, 1982, in a rainbow palette. Inde­pen­ dent curator Jess Wilcox penned the show’s pro­voc­ ative title, alluding not only to the breadth of Bur­ton’s work but also the reality of life as a gay man who died from an AIDS-related illness. —Edie Cohen

206.788.4210

Made in the U.S.A.

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CLOCKWISE FROM TOP RIGHT: THE ART INSTITUTE OF CHICAGO/ART RESOURCE, NY/COURTESY OF THE 2024 ESTATE OF SCOTT BURTON/ARTIST RIGHTS SOCIETY (ARS), NY; THE MUSEUM OF MODERN ART/LICENSED BY SCALA/ART RESOURCE, NY; COURTESY OF THE 2024 ESTATE OF SCOTT BURTON/ARTISTS RIGHTS SOCIETY (ARS), NY, AND 2022 PHILLIPS AUCTIONEERS LLC; COURTESY OF THE MUSEUM OF MODERN ART ARCHIVES, NEW YORK; ROBERT PETTUS/COURTESY OF THE ESTATE OF SCOTT BURTON/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

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40TH ANNIVERSARY CELEBRATION

Honoring significant contribution to the field of interior design, architecture and the design industry

2024 INDUCTEES David Galullo Rapt Studio Holly Hunt House of Hunt Adam Rolston, Drew Stuart & Gabriel Benroth INC Architecture & Design SPECIAL TRIBUTE

Jeffrey Beers Jeffrey Beers International ANNIVERSARY HONOR

DIFFA (also celebrating 40 years)

DECEMBER 11, 2024 THE GLASSHOUSE, NYC

p i n ups

by Rebecca Thienes

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Natural materials bend to the will of the maker’s hand in covetable designs that invite interaction Part of an ongoing series multimedia artist/designer Daniele Giannetti initiated last year, her Terra Anima 6 vase was handsculpted without the aid of tools or sketches, its textured, glazed form guided instead by the natural tendencies of terra-cotta clay.

Through Alcova Design Shop, shop.alcova.xyz; @daniele.giannetti

LEONARDO MORFINI

mind over matter

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IGNEA

Neolith sintered stone presents its four new models, where innovation and versatility combine to create a new product range.

As a gentle, enveloping breeze, Neolith Atmosphere transforms spaces and creates environments of peace and well-being, drawing unique atmospheres through its designs.

Neolith presents a whole new range of models that convey sensations and offer a fresh breeze of innovation while reflecting a free, warm and inspiring spirit.

Neolith surfaces are highly resistant to heat, scratches, stains, and UV radiation, and require minimal maintenance and resurfacing to look and perform brilliantly for decades.

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With Stance, Japanese design duo Kotaro Tominaga and Futo Sakurai of KT&FS bridge the gap between object and user by incorporating a well-placed footrest and onboard storage into the slim stool’s molded-plywood base. ktandfs.com

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TETSUYA&TOMOYO HAYASHIGUCHI

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Dreamscape

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Design for impact.

Material Bank is supporting the industry’s efforts to decarbonize by making it easy to search and sample materials sustainably, from lowwaste shipping practices to our Carbon Impact Program for firms.

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Our commitment to sustainability by the numbers.

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1.3M+

Returned samples diverted from sanitary landfills

Shipping emissions offset with verified carbon credits

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When a young Alexander Girard moved from New York to Michigan in 1937 to eventually become chief designer at Detrola Radio & Television Corporation, he brought with him three architectural degrees and a robust portfolio of interior and graphic design work.

During his three-year tenure at Detrola, he extended his purview beyond radio design to reimagining the entire office, from its con­ ference rooms to the factory floor, and had a fateful meeting with another star on the rise, Charles Eames. Girard’s multi­disciplinary approach and friendship with Eames, who he joined at Herman Miller in 1952 to head up the company’s textile division, would remain constants throughout his career. In fact, Eames’s own

books edited by Wilson Barlow

photograph of Girard in his Grosse Point home studio is featured in the introduction to this new book by Todd Oldham and Kiera Coffee, which expands on their 2012 monograph.

Fittingly, this iteration devotes its largest chapter to Girard’s textile patterns, such as Eden, produced by Herman Miller in 1966 and displayed here in all 10 colorways. His interiors are given their due as well, with one chapter dedicated to the Miller House and Garden, a 1950’s project in Columbus, Indiana, that also involved architect Eero Saarinen and landscape designer Dan Kiley, now a landmarked museum, and another chapter detailing what may be Girard’s magnum opus: the 1961 Manhattan restaurant La Fonda del Sol, where he conceived every aspect down to the matchbooks.

Finally, a timeline highlights such bright milestones as Girard creating a new visual identity for Braniff International Airways, which included exterior paint schemes. The book’s title comes from something Oldham, a multi-hyphenate himself, with fashion, products, and interiors to his credit, found written in one of Girard’s notebooks, among other affirmations: Let the sun in.

Alexander Girard: Let the Sun In

By Todd Oldham and Kiera Coffee New York and London: Phaidon, $125 408 pages, 800 color illustrations

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Transformable armchairs & sofa-beds from Prostoria Years ago, Prostoria’s visionary owner, Tom Knezovic, spotted an underdeveloped furniture niche correlating to the shrinking size of city living spaces. Enter Revolve and Up-Lift, sofa-bed designs that have since become bestsellers. The playful Up-Lift collection by Neisako encompasses an armchair and a sofa that convert to oneand two-person beds, respectively. Both transform in seconds by simply pulling the wraparound backrest forward, rotating it up and over the seat to rest on the floor, where its underside becomes part of the flat bed. The same elegant “one swift motion” mechanism animates Revolve

by Numen/ForUse and Borovnjak & Bratović. “Our sofabed is based on previous experience, when we realized that complicated mechanisms do not really function in the long run,” the design firms explain. “That is why we focused on the search for the simplest unfolding method possible.”

Rounding out the convertible furniture range is Neisako’s Kontrapunkt, a design-forward and minimalist alternative to traditional bulky recliners, in which the sitter lowers an armrest to ease the chair into a leaned-back position and kick out the footrest.

TOP: UP-LIFT BY NEISAKO; LEFT: KONTRAPUNKT BY NEISAKO; OPPOSITE PAGE: REVOLVE BY NUMEN/FOR USE

SCULPTURAL DESIGN WITH COMFORT IN MIND

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What game-changing material, product, or idea elevated a recent hospitality project?

“We are nearing completion of our first hotel with no framed wall art: Hotel Saint Augustine, located adjacent to the famed Menil Collection in Houston.

Recognizing we could never compete with the vast collection just next door, and understanding the need for contemplative white space after a day of museum visits, we focused instead on thoughtfully curated objects and framed views.”

—Tenaya Hills, Bunkhouse

“We’re constantly looking for innovative ways to approach sustainability, and at Thompson Palm Springs in California we worked with Smile Plastics to create a backlit bar, inlaid with recycled tinsel that is itself recyclable.”

—Tom Parker, Fettle

“At Moxy Virginia Beach Oceanfront, we embraced the brand’s playful energy by integrating an unconventional statement piece in the lobby: a slide! It adds a twist to the guest experience and creates a unique selling point that enables the hotel to stand out in a saturated market.”

—Patricia Lopez, Baskervill

s h o p talk “Until recently, we relied on media like Pinterest to gather inspiration, and as a result, different firms often used the same images in client presentations. Now, AI soft­ ware helps relieve white-canvas syndrome, eliciting solutions that might not be obvious to our more conditioned brains. Hospitality presents a particularly creative realm for bold idea exploration. I’ve found myself pivoting after an unexpected happy accident generated by AI, developing that idea through the normal design and iteration process. I’m excited to see how younger generations will continue to explore these tools and change the course of our work with faster innovation and more unexpected solutions.”

—Enrique Vela, V Starr

“AI, which used to scare us. But when we started using it to assist on cutting-edge projects in the Middle East, we were shocked at how well it created inspiration images to convey a general direction while we worked out the actual design. AI also helped analyze environ­ mental factors in remote areas to suggest eco-friendly materials and sustainable practices, which usually comes later in the process, and thus saved time and money.”

—Sally Pollock, MAED. Collective

“Our guiding philosophy is founded on meeting four core human need states: safety, surprise, significance, and synergy. At La Padrona restaurant in Boston, that plays out at the macro level, through space planning, and the micro, such as the detail of a barstool.”

—Andres Lamos, AvroKO 64

INTERIOR DESIGN OCT.24

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soul provençale Artist Charlotte Culot evokes the sunny essence of Southern France in a new collection of hand-knotted rugs for Maison Rhizomes

It took Henri Matisse a lifetime to achieve the simplicity of the paper cutouts he made in his later years—works of great sophistication that nevertheless appear effortless, as if art had become joyfully easy for him. A similar sense of happy mastery can be found in the brilliantly colorful, strikingly graphic rug collection that Belgian-born French painter Charlotte Culot has created for Maison Rhizomes, an atelier she cofounded with Hannah Vagedes in 2022. In fact, Culot began her career painting still lifes inspired by the vibrant palette, flat perspective, and compositional framing that Matisse and the Nabi movement favored. She showed those early works in her first U.S. exhibition 20 years ago. “It took me about 15 years to evolve from the semiabstraction of the still lifes to the real abstraction I practice today,” she notes, a move toward pure color and form that’s epitomized by the rugs, which comprise most of “Weaving Colors,” a show of her current work now at the Amelie Maison d’Art gallery in New York.

The daughter of potter and sculptor Pierre Culot and children’s book illustrator Micheline Wynants, Culot grew up in an 18th-century farmhouse in the Brabant countryside, immersed in art and nature. Confident that artmaking was in her DNA, she eschewed formal training, opting instead to study archaeology and art history at university, where she wrote a thesis on the traditional mud architecture of West Africa. Since childhood, she has worked with gouache, a medium she loves for its matte finish and saturated pigments, which she always mixes herself. Adopting a collage technique, she applies the gouache to wallpaper that she tears into various shapes and pastes onto a kraft paper– primed canvas. Built in layers, her abstract images seem architectural in both form and content. Intriguingly, an architect inspired Culot’s move into rugs, as she explained when we talked to her recently.

c r e at i v e voices

@PORTIASARRIS

The artist and cofounder of Maison Rhizomes photographed at her studio in Provence, France, backdropped by Rhizomes 4 Colorful, an abstract design inspired by Le Corbusier’s architecture, from her new collection of hand-knotted silk, wool, and linen rugs, which form the bulk of “Weaving Colors,” her exhibition at the Amelie Maison d’Art gallery in New York through October 30.

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You call them ‘rugs,’ but wouldn’t it be more accurate to say you’re using a knotted-rug technique to achieve a tapestry effect?

CC: Yes, that’s why I often refer to them as ‘art rugs’ or ‘tapestries.’ Early on, our customers decided to

hang them on the wall like paintings rather than put them on the floor. They start as micro-size collages, about 11 by 13 inches. Sometimes one of these hits the eye as a fantastic rug pattern, one that works no matter which way you turn it. (As one of my favorite artists, Nicolas de Staël, noted, a good painting should work just as well hung upside down.) So that acts as our maquette, and we recreate the layered, textured collage effect with different heights of pile—you can touch them and feel the difference.

Why the name Maison Rhizomes?

CC: A rhizome is a plant stem that grows horizontally underground, generating new shoots and roots. It’s a symbol that perfectly embodies our connection to nature. By adding ‘maison,’ we’re signaling our commitment to offering artists a nurturing space to translate their paintings into a new medium.

It’s quite noticeable that the rugs are very painterly. Who are the artists you admire and how have they influenced you?

CC: When I started painting, I really liked Matisse, particularly the way he framed his compositions because I was also interested in photography. I’ve used gouache since I was a child, so I was mesmer­ ized by his cutouts and the way the cutting makes the medium jazzy. Acrylics and oils don’t interest me nearly as much. Following Matisse, I began painting white wallpaper with gouache, tearing it into pieces—déchirer, as we say—enjoying the energy of the moment.

That’s an interesting difference from Matisse, who used scissors.

CC: I like irregularity and accidents, a bit of craziness. I’m also drawn to American color field

painters like Helen Frankenthaler, Mark Rothko, and Joan Mitchell, who’s probably my favorite. And then there are Russian-born French artists like de Staël, Sonia Delaunay, and Serge Poliakoff—I feel I really understand what they try to express.

You split your time between Brittany and Provence. Many of the rugs seem to embody the sunny essence of Southern France, like the paintings of Pierre Bonnard.

CC: Bonnard is probably not as well-known as he should be, but if I had to choose one French painter, it would definitely be him—he’s really my chouchou.

He allowed me to assemble colors that normally don’t work together, turquoise with pink with yellow with orange and so on. Color is really energy.

If you scuba dive, you’re always surprised by what you meet. With colors, it’s the same: endless, 70

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CLOCKWISE FROM TOP LEFT: COURTESY OF AMELIE MAISON D’ART; CHRISTOPH PHILADELPHIA (2)

After years of collage painting, what led you to start designing rugs?

Charlotte Culot: Back in 2017, at a Tadao Ando– designed art pavilion near Aix-en-Provence, I saw a tapestry by Le Corbusier on a wall and thought, Wow! So, I started making tapestries. In 2022, my business partner Hannah Vagedes and I founded Maison Rhizomes in Berlin as a studio for handknotted art rugs. We collaborate with skillful work­ shops in Nepal and India, using Tibetan wool and Chinese silk that are hand-dyed on-site. Each rug is produced in a limited edition of 22.

c r e at i v e voices Opposite, clockwise from top left: At Amelie Maison d’Art in Paris, J’ai rêvé la nuit verte, a 2022 gouache and paper collage on canvas. Rhizomes 6 Pomme d’Or, a rug from the new collection, its palette and Mediterranean mood inspired by the paintings of Pierre Bonnard. Gouache-covered papers, also in Bonnardian colors, hanging in Culot’s studio.

Clockwise from top: Basking in sunshine at a bus stop for a photo shoot, the Rhizomes 4 Yellow rug. Originally a horizontal composition, Rhizomes 5 Colorful retaining its formal integrity when hung vertically, as here. In the studio, torn gouache-painted papers waiting for assemblage into small-format rug maquettes. Preparing a painting, the artist sketching a pastel underdrawing on a canvas primed with kraft paper.

CLOCKWISE FROM TOP: @PORTIASARRIS (2); CHRISTOPH PHILADELPHIA (2)

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infinite. Like Bonnard, you can spend a lifetime assembling them.

You’re also a serious equestrian who keeps horses. How does that relate to your artwork?

CC: Nature is my soul, my base. I couldn’t do what I’m doing creatively if I wasn’t connected to nature.

I spend a lot of time in my head, so I need to ground myself. My horses help me do that—it’s all part of the journey, I would say. —Peter Webster

c r e at i v e voices

CLOCKWISE FROM TOP: CHRISTOPH PHILADELPHIA; @PORTIASARRIS; COURTESY OF LEONET HANG; COURTESY OF AMELIE MAISON D’ART.

Clockwise from top: The artist working with her painted papers in the studio. A hand-knotted wool, silk, linen, and hemp runner, Cobble Stone White, evoking the designs of Charlotte Perriand and Le Corbusier. A homage to the beauty of brutalist architecture, the subtly monochromatic Rhizomes 1 White rug. Marseille, a 2022 gouache and paper collage on canvas, capturing the vibrancy of the Mediterranean port city.

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walk through hotels

showing its true stripes

firm: bhdm design project: wild palms hotel, sunnyvale, california

GARRETT ROWLAND

Cabana stripes—from the custom wallcovering to the slipper chairs’ indoor/outdoor polyester upholstery—distinguish the lobby-adjacent dining lounge.

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Clockwise from top left: A custom composition of iridescent acrylic discs fills the double-height lobby’s volume. Below it, a custom rug and coffee table anchor the seating area, lit by a wicker floor lamp. The MDF stair rail, perforated to reiterate the circular theme, extends to become the second-floor overlook’s balustrade. Each wing of the hotel features a different door color for easy wayfinding. Custom wallcovering perks up the dining lounge’s laminate-faced coffee counter. A dimensional paintedwood artwork by Tilde Grynnerup backs reception’s custom MDF desk, inset with ombré vinyl circles.

GARRETT ROWLAND

w a l k through hotels

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GARRETT ROWLAND

No need to inquire about the ethos of Hyatt’s JdV brand: It’s in the name, an acronym for joie de vivre. “Effervescent, bubbly, bright, and celebratory,” is how Dan Mazzarini, principal and creative director of New York’s BHDM Design, describes the global JdV identity. Those descriptors certainly apply to the portfolio’s Wild Palms Hotel in tech-centric Silicon Valley, which BHDM recently completed. Know what else fits that description?

An Aperol spritz. In fact, a vintage ad for the trending aperitivo sparked the direction for the five-year renovation effort—“one of our smallest yet longest projects,” continues Mazzarini, whose firm has left its mark on hospitality interiors from Atlanta and New York to Honolulu.

BHDM was commissioned to redesign the two-story hotel’s public areas—lobby, F&B, conference zone, corridors—totaling 16,500 square feet. (The 207 keys had been refreshed over the years during changes in ownership.) The property gave off “easy, breezy, mid-century California vibes,” Mazzarini says, “and we wanted to exploit what we had.” The chief inherited asset was the loftlike double-height lobby. Lacking, however, was a strong connection with the adjacent dining lounge and the outdoor pool, not to mention an overall sense of cohesion.

Working with staff designers Sheila Cahill and Mattie Over­myer, Mazzarini initially devised a less ambitious and more sedate solution. But COVID halted the project for two years, and when it was rebooted, the team pivoted. “We changed the narrative to optimism,” Mazzarini recalls. “We also needed a drink!” So, the team paired Aperol spritz allusions with an apropos tagline: ’62 and sunny, a double entendre referencing the locale’s climate and the decade of the hotel’s origins.

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w a l k through hotels To instate clarity, walls that separated reception, lobby, and dining functions were razed and structural work implemented.

Checking in, guests now perceive a singular, joyous space with unobstructed sight lines all the way to the pool. Interiors are populated with a plethora of circles (think bubbles, beach balls) in a riot of cheerful colors: sunny yellows, clear-sky blues, rosy pinks. A custom mobile of acrylic discs takes center stage in the loftlike lobby, while a sculptural painted-wood artwork by Tilde Grynnerup backdrops the reception desk, an MDF construction with ombré vinyl insets. Cabana stripes and poolside-appropriate From top: Columns in the dining lounge, newly connected to the lobby, are clad in fluted ceramic tiles.

An Anthony Land Yoom sectional and Filter Studio’s Rita lounge with powder-coated steel frame furnish the lobby seating area. The pool, now visible from the public spaces, boasts vintage solid-iron “face” chairs.

FROM FRONT WOLF-GORDON: CUSTOM MURALS, BANQUETTE UPHOLSTERY (LOUNGE), SOFA FABRIC (LOBBY). AMTREND: SCONCE BRACKETS (LOUNGE), ORANGE TABLE (LOBBY).

HBF TEXTILES: BLUE PILLOW FABRIC (LOUNGE, LOBBY). COLOR CORD COMPANY: SCONCES (LOUNGE). DIVISION TWELVE: BLUE CHAIRS. BLUDOT: CAFÉ TABLES, OTTO­M ANS. ASH NYC: UPHOLSTERED CHAIRS. SCHUMACHER: STRIPED CHAIR FABRIC, FRINGED PILLOW FABRIC. MOROSO: SOFA. KVADRAT: SOFA FABRIC. TRANS-LUXE: CUSTOM FACE LAMP. HEDGE HOUSE FURNITURE: WOOD COCKTAIL TABLE. MOWAX VISUAL: WALL DECORS, MOBILE (LOBBY). STYLEX: SOFA. BD: YELLOW CHAIR. GRAND RAPIDS CHAIR COMPANY: RED CHAIR. MY HOME: MARTINI TABLE. CRATE & BARREL: BOOKSHELF, CEILING FIXTURES (LOUNGE), ANGLE-BASE SIDE TABLE (LOBBY). VISUAL COMFORT:

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LAMPS (RECEPTION). TOMNUK: COLUMN SCONCES (LOUNGE). HKLIVING: TREE LAMP. PETITES POMMES: FLOATS (POOL). BUSINESS & PLEASURE CO.: UMBRELLAS, TOWELS. THROUGHOUT ROYAL THAI: CUSTOM RUGS. BRERETON ARCHITECTS: ARCHITECT OF RECORD. PHIL STEIN DESIGN COLLECTIVE: ART CONSULTANT. SAN JOSE WOOD­WORK­ ING: MILLWORK. MARTIN SIGN CO.: CUSTOM SIGNAGE. GIDEL & KOCAL CONSTRUCTION CO.: GENERAL CONTRACTOR.

GARRETT ROWLAND

furniture reference the indoor-outdoor setting. Extending the spirited theme into the grab-and-go dining lounge at the lobby’s rear is a punchy, graphic mural wallcovering. It was designed

by BHDM, as was the powder-coated aluminum face lamp—pure whimsy. —Edie Cohen

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sit, stay From adaptive reuse to new construction, properties in Europe and Central America encourage leisurely connection with local culture

wa l k through

hotels

See page 92 for Ses Sucreres, a boutique hotel on the Spanish Island of Menorca

by Calderon-Folch Studio featuring a dog painting from Barcelona-based artist Miguel Macaya’s Bestiario series.

OSÉ HEVIA

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Saguez & Partners project Hilton Paris La Défense. standout The studio’s first project for the mega brand is housed inside the Center for New Technologies & Industries, built in 1958 by architects Robert Camelot, Jean de Mailly, and Bernard Zehrfuss (with Jean Prouvé contributing to the exterior) in what’s now Europe’s largest business district. But since work and play constantly intermingle post-COVID, public spaces, which have maintained such original elements as the 150-foot-tall concrete vault and reception’s stone flooring, and guest rooms have been imbued with “French 1960’s glamour.” Custom furniture in the lobby, lounge, and Muses restaurant is informed by that by Pierre Paulin and Charlotte Perriand from that era, while Berit Mogensen Lopez’s artworks, the eatery’s bold vinyl mural, and guest-room corridor carpet by Alarwool boast rhythmic patterns and engaging colors. saguez-and-partners.com 88

INTERIOR DESIGN

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ERIC LAIGNEL

keys 153.

w a l k through hotels

ERIC LAIGNEL

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JSa project Hotel Volga, Mexico City. standout Drama and vernacular architecture are permanent guests at this property by the local firm. The journey begins in the lobby, where a sculptural stair clad in carbon-steel panels coated in copper automotive paint spirals down to a subterranean speakeasy in the central atrium, a standout U-shaped void that simultaneously pays tribute to the country’s cenotes (cavelike wells), features a large-scale lava, stone, brass, and travertine floorwork by Mexican sculptor and painter Perla Krauze, and rises all the way up eight floors to the rooftop. Along the way is a mezcal tasting bar enveloped in concrete, plus the guest rooms and suites, each with granite, Brazilian bamboo quartzite, or Calacatta marble finishes and balconies facing the atrium. jsa.com.mx 90

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w a l k through hotels

RAFAEL GAMO

keys 49.

RAFAEL GAMO

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Calderon-Folch Studio project Ses Sucreres, Menorca, Spain. keys 12. standout Ca Ses Sucreres, the island’s grocery shop where, in the 1940’s, village children would get sweets (the name derives from sucre, Catalan for sugar), has been reenvisioned and expanded—from 4,800 square feet to 9,200, plus another 3,200 of courtyards, with the annexing of two adjoining buildings—into a boutique hotel by this firm specializing in passive architecture.

Traditional—and local—Menorcan marés, or sandstone, clads the exterior, while interiors skew more brutalist, with a ribbed-slab ceiling of reinforced concrete, its formwork poured in situ, terrazzo flooring, lime stucco walls, and such contemporary furniture as Jacques Deneef’s N701 sofa from Ethnicraft. cfs.catz

JOSÉ HEVIA

w a l k through hotels

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Manufacturing a Better World

Oru Collection Patricia Urquiola

w a l k through hotels

Joi-Design project The Usual, Rotterdam, Netherlands. standout The new-to-market brand targets travelers who prioritize circularity and ESG principles, this debut property powered entirely by renewable energy from Dutch windmills; finished in materials that are either bio-based, recyc­ lable, made from recycled components, or reusable at end of life; and rife with biophilia. Guest rooms offer three levels of accommodations, from the budget-minded, green-toned Pod, inspired by Japanese capsule hotels, with bunk beds and shared bathrooms, to the terra cotta-colored Cosy, with cork walls and a balcony sleeping loft, to the spacious long-stay Studio with kitchenette and dining area, all with U-shaped details. joi-design.com —Annie Block 94

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WOUTER VAN DER SAR

keys 209.

DISCOVER RADIUS DOOR, SELF SUSPENDED CABINET, MODULOR WALL PANELLING SYSTEM, SIXTY COFFEE TABLE. DESIGN GIUSEPPE BAVUSO

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wa l k through restaurants

home cooking firm: badie architects project: escá cueva, cairo

NOUR EL REFAI

In the restrooms, colored LEDs highlight the organic forms found throughout the restaurant.

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Among the inspirations for Escá Cueva, a new restaurant by Egyptian firm Badie Architects that’s heating up Cairo’s culinary scene, is the feminine form. “I was looking to reflect the body’s complex elegance, while prioritizing comfort and practicality,” recalls founder and chief architect Mohamed Badie, who earned his master’s in architecture from SCI-Arc. But, as witnessed by the sweeping rocklike formations pervading the 5,300-square-foot venue, it’s clear nature contributed to the concept as well. “There’s a sense of enclosure and intimacy, similar to what would be experienced in a grotto,” adds junior architect Farah Kamel—an apt description, as cueva means cave in Latin.

Sited atop a hill with panoramic city views, the architects have built upon the existing base of a former home, softening and reshaping it with organic forms cut from silhouettes of the human body in motion, and added an expansive dining terrace to take advantage of those vistas. The undulating contours, while raw and elemental,

NOUR EL REFAI

Clockwise from top left: The scheme entails a steel infra­ structure covered in a cement-polymer mix, achieved with 3-D software and finished by hand by local artisans. The female body and Egyptian caves inspired the undulating, cocooning curves. Under stretched ceiling fixtures, the main dining area seats 75. Glass doors framed in aluminum open entirely to a terrace featuring custom furniture and unobstructed views of the Cairo cityscape.

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were complex to formulate, made possible by mixing 3-D software and traditional hand craftsmanship by local artisans, wrapping a steel skeleton with a cement-polymer mix painted the color of sand dunes.

Rough surfaces, such as the ecru flooring, complemented by modern custom furniture upholstered in earthy-toned leathers ground the scheme, illuminated by natural and artificial light. Stretched ceiling fixtures emulate the diffuse glow of sunlight filtering in through the rounded openings, while others embedded into creases and depressions accentuate depth and texture. “Blurring the lines between architecture and nature, the user and their surroundings, strategic placement of lighting helped enhance the forms, creating a visual peace,” Kamal adds. The vibe intensifies, however, in the restrooms, where the fluid, monumental curves are lit by vividly hued LEDs that may remind patrons of saffron, a common Egyptian spice. —Ravail Khan FROM FRONT AQUA ART: STUCCO WORK (RESTROOM). THROUGHOUT NEOCEMENT: WALLS, FLOORING. COLORTEK: PAINT. MRIYA BY ELLA: BLACK CERAMICS. ARCHILIGHT: LIGHTING DESIGNER. FREE ART STUDIO: GENERAL CONTRACTOR.

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Clockwise from top: Leather upholsters the custom seating.

The terrace includes a DJ booth. Flooring throughout the 5,300-square-foot space, a former home, is a cement-polymer mix. The color of the restroom LEDs is meant to spark curiosity.

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wa l k through restaurants

the art of dining In eateries from Switzerland to Canada, designers craft atmospheres that are visual feasts cleverly linked to the cuisines

See page 110 for Carlo’s in Manila, Philippines, by JJ Acuna/Bespoke Studio, where an abstract painting

by David White, aka Mr. StarCity, complements the saffron-colored upholstery of the banquettes.

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External Reference project CAAA by Pietro Catalano, Lucerne, Switzerland. standout For this 16-seat, fine-dining establishment, next door and with direct access to an art gallery, a snowy, Nordic setting was achieved by bringing an AI-generated image to life via a ceiling of 63 individual modules 3-D printed from plant-based cellulose. Natural materials carry over to the custom tables and chairs in stainless steel and ash, their and the overall venue’s monochromatic palette referencing the alpine forests surrounding the city. externalreference.com 108

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FILIPPO BAMBERGHI

square feet 915.

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JJ Acuna/Bespoke Studio project Carlo’s, Manila, Philippines. square feet 2,045. standout Inspired by New York City’s Italian-American red-sauce joints, old-world touches at the neighborhood spot include an oak bar, brass-framed mirrors, hand-plastered walls, and a pizza oven imported from Italy. Contemporary, international moments come in the form of vibrant paintings by such artists as Brian Calvin and Nicasio Fernandez, tartan textiles, and Japanese paper lanterns—all a testament to the city’s multi­culturalism.

SCOTT A. WOODWARD

jjabespoke.com

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Zikzak Architects project Gloria Café, Kyiv, Ukraine. square feet 2,315.

COURTESY OF ZIKZAK ARCHITECTS

standout Part of a downtown business center has been transformed into an urban oasis that embodies the best parts of coworking spaces and public parks. Ample custom seating in diverse zones range from a coffee bar to long communal tables to a cozy nook with a woven wall panel, while the combination of milk oak, beech, and alder with the green-painted exposed ceiling and biophilia throughout create the feeling of a forest path. zikzakarchitects.com

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restaurants

Bold Workshop Architecture and _SA Sturgess Architecture project Milpa, Calgary, Canada. square feet 2,200.

HAYDEN PATTULLO

standout Vivid colors and rounded archways define the Spanish colonial architecture of chef Elia Herrera’s native Veracruz—and they do the same at her restaurant serving authentic Mexican cuisine (milpa is Spanish for cornfield). The rhythmic arcs were CNC-cut from MDF, coated with bright semigloss turquoise paint, and embedded with LEDs, creating a wave effect that delineates zones, including the seating areas near the long, central bar faced in quarry tile. boldworkshop.ca; sturgessarchitecture.com —Wilson Barlow

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Weaving Collection by estudi{H}ac JMFerrero pays tribute to fashion and textiles with aluminum chains kriskadecor.com

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wallcovering

laine + alliage The viral meme of the “sad beige baby” aesthetic has given shades of greige a bad rap lately. But a composition of taupe, tan, and cream needn’t be a snoozefest. Enter Dénudé, “stripped” in French, a collection for which New York designer Tania Leipold recolored a selection of her most-loved wallcoverings in neutrals (vis-à-vis their original brights). The subtle botanicals and geometrics, in warm to cool shades of sepia and putty, are printed on handwoven sisal grass cloth for added texture and interest. Sad? No way! laine-and-alliage.com

market ATARAH ATKINSON

edited by Rebecca Thienes text by Rebecca Dalzell and Georgina McWhirter

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FLEUR, CLOSE UP, KIMONO UNTAMED

FLEUR

KIMONO MOSAIC, CLOSE UP

"I love using my art to create illusions—what you see may be more than what you think”

PETE McDANIEL

REBECCA MOSES X MOMENTUM COLLECTION

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CLOSE UP, FLEUR, KIMONO MOSAIC, HAVE A SEAT, KIMONO UNTAMED

REFLECTION, DECO DREAMS

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REBECCA MOSES

Fashion illustrator and designer Rebecca Moses is a genius at female portraiture, her colorful sketches presenting women as goddesses in all their stylish diversity. This coming January (with a sneak preview here, then at BDNY), she will debut a 10-print wallcovering collection, her first, with elements culled from those compositions. “As I’m passionate about color, pattern, and creating magical spaces, it has always been my dream to design a wallcovering,” Moses recalls. “I was fortunate to meet Momentum’s Jennifer Nye through Interior Design editor in chief Cindy Allen at the Giants event in Palm Springs, and our creative synergy was immediately evident.” Drawn from her Kimono Lady canvas comes the self-portrait Close Up, Kimono Mosaic (a maximalist repetition of her attire), the minimalist abstraction Kimono Untamed, and Fleur, which scales up the portrait’s floral watercolor elements. Other highlights are a gallery of Moses’s painted women, various riffs on the Queen of England’s likeness (including Reflection), and Take a Seat, featuring watercolor chairs. All speak with wit and whimsy to women’s enigmatic beauty and power. momentumtextilesandwalls.com

PETE McDANIEL

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YOGA MEMORY

m a r k e t furniture

de sede The Swiss seating specialist de Sede crafts furniture with personality. Stefan Heiliger’s wormlike Yoga recliner, for instance, effortlessly folds into a chair; Ubald Klug’s Terrazza sofa resembles a terraced hillside. But these bold characters have always been confined indoors—until a customer asked for weatherproof versions to furnish the deck of his yacht. The company obliged and introduced outdoor iterations of seven popular designs this year: Yoga, Terrazza, the Memory daybed, and the modular Snake, Slide, Island, and Collina sofas. Upholstered in fun and funky acrylics from the likes of Sunbrella and Romo Fabrics, the pieces sport stainless-steel or solid-wood frames that can withstand the elements and antibacterial, mold-repellant foam that won’t waterlog. desede.ch

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m a r k e t lighting

As Chatdaroon Narkphanit and Rumrada Taungwelageati tell it, the journey of making their dome-shaded Hed table lamp began with a visit to a local marble factory in Saraburi, Thailand. There, the Bangkok-based graphic designers turned furniture makers were impressed by the sight of stone pieces piled in mounds, each one with its own distinct color and vein pattern. Some of the marbles boasted solid hues of green, red, or yellow, while others exhibited a more translucent quality, catching the daylight and emanating a luminous glow. It was in that moment that the concept of stacking stone slabs to create Hed’s striped base was born. The graphic all-marble lamp is now produced in three pretty colorways perfect for mixing and matching. And it’s economically priced to boot. kaoistudio.store

NOPANON ITTHIAKARAPONG

“The layers of marble show millions of years of history: Each vein tells a story of immense heat and pressure”

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

Nautica. Swing chair. MUT Design —— Photographer: Meritxell Arjalaguer ©

m a r k e t flooring

DARIA ZINOVATNAYA

“Irregular rugs have the potential to transform ordinary spaces into extraordinary ones” LOKO COLOR

gan Ukrainian-born furniture and interior designer Daria Zinovatnaya is known for her use of rich colors and edgy, demandsattention graphic shapes. Those skills combine in Loko, her second collaboration with Spanish rug expert Gan. Cut like a Constructivist collage or resembling flattened origami, the 79-by-131-inch wool rug comes in two colorways: hand-tufted Color is a chromatic play of intense rainbow hues plus black, gray, and cream, while Natural features light-to-deep earth shades of undyed wool and is hand-knotted. Different strokes for different folks. gan-rugs.com

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Bastille Lounge design by Patrick Norguet

Come and say hello November 10–11, 2024 Booth #3337 allermuir.com

“Each lamp is informed by the industrial processes of mining and shaping sandstone”

m a r k e t lighting While students at the University of Cincinnati, Hank Beyer and Alex Sizemore spent a summer studying the operations of a family-owned quarry located along the Berea sandstone formation in northeastern Ohio. After turning some of the quarry’s discarded stone offcuts into lamps, they attracted the eye of talent scout Leo Lei, founder of minimalist-design outlet and online publication Leibal. Returning to the site this past winter, Beyer and Sizemore—the founders of San Francisco studio HB-AS— spent a week salvaging more sandstone fragments to be shipped back to their West Coast workshop.

There, they spent the subsequent six months crafting Berea Sandstone, a new series of 11 lamps exclusive to Leibal. Each piece is formed with minimum intervention: raw and deliberately crude in shape. As such, it’s a rich reflection of the mining process. store.leibal.com

leibal

BEREA SANDSTONE

CLOCKWISE FROM TOP LEFT: HANK BEYER (3); MICHAEL SHYR (2)

HANK BEYER, ALEX SIZEMORE

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

Gather is a conversation starter in itself. This elegant aluminum collection, paired with natural NexTeak accents, boasts 12 versatile pieces—from chaises and lounge seats to ottomans and tables. Its design allows for seamless integration and customization, letting you craft endless layouts. With over 140 fabric options and 19 f inishes available, you can tailor your space to your exact taste. Explore Gather and other collections at woodard -f urniture.com.

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Vincent Van Duysen for Fantini

Patricia Urquiola for Agape

Fabio Calvi and Paolo Brambilla for QuadroDesign product Super. standout Milan-based studio Calvi Brambilla took a rounded square as the dominant form repeated throughout a bathroom fittings collection that’s contemporary in affect and unobtrusively chic. quadrodesign.it

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product Origami. standout Displayed for their debut in a striking 1920’s palazzo, faceted basins inspired by and named after the Japanese paper art are the brainchild of the skilled ItalianGerman duo behind Milan studio Bernhardt&Vella. ex-t.com 130

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product Flora. standout A “light nostalgic touch” was the remit for the Belgian design star’s characteristically spare and effortless sink fittings, which feature double or single levers and low, generous proportions. fantini.it

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product Cenote. standout Clay washbasins, pedestal sinks, and a tub designed by the Interior Design Hall of Famer all have a deliberately roughened, rustic exterior juxtaposed with a shiny enameled interior.

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PRODUCT 4: LEA ANOUCHINSKY AND ALBERTO CARLO MACCHI

Paola Vella and Ellen Bernhardt for Ex.t

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Romano Adolini and Niccolò Adolini for Amphora

Jacquelyn Bizzotto of New Ravenna

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product Luca. standout Part of a collection evoking Venetian decorative arts, a trio of honed and polished water-jet-cut marbles meet in a kaleidoscopic floral design from the Exmore, Virginia–based manufacturer’s lead designer. newravenna.com

Seyhan Özdemir Sarper and Sefer Çağlar for Bisazza

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product Reel. standout An upstart Italian tapware brand introduces a collection of bathroom fittings by Studio Adolini made of bent tubular 316 steel that can be hand-brushed or PVD-finished. amphoradesign.it

Naomi Neilson of Native Trails

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product Bliss. standout At Milan Design Week, the Turkish founders of Autoban debuted a mosaic tile for interior walls and floors, its wavy Crema Botticino rivulets cascading down a Rosso Verona ground. bisazza.com

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product Ocean. standout A new finish for the manufacturer’s NativeStone, which is a composite of jute fiber and cement that’s stronger than concrete but 40 percent lighter, fuses shades of blue and green into a single muted hue. nativetrailshome.com OCT.24

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star turn Characterful new products bring style and drama to the ritual of bathing 1. Murà marble tub in amber gray by Monitillo 1980. monitillo1980.it 2. Holm tinted-concrete basins with terrazzo inserts by Kast. kastconcretebasins.com 3. Mystic Luxe Agate carbon-neutral porcelain stoneware slabs in claret by Florim. florim.com 4. Park Avenue porcelain tile in Hedge Ceppo (on island and floor) and fluted Pearl (on wall) by

Nemo Tile + Stone. nemotile.com 5. Cristallo Vitrum Wow tub carved from a single block of natural

quartz by Antolini. antolini.com 6. 002 Collection chromed-brass sink fittings by Kallista. kallista.com 7. Suave bathroom console and mirror with powder-coated tubular-

metal frames and porcelain sink by Lacava. lacava.com

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Industrial designers Clara del Portillo and Alex Selma ideated the cantilevered Ethere pedestal sink with the admirable goal of hiding the drain. “It’s not the most attractive feature of a washbasin,” Selma observes. “We wanted to make the water disappear in an elegant and ALEX SELMA, CLARA DEL PORTILLO mysterious way.” The cofounders of the Valencia, Spain–based studio Yonoh devised a clever solution: a removable marble tray above the drain that doubles as a shelf for soap. Users can lather their hands without taking them out of the 19-inch-wide basin, eliminating countertop splashes. The freestanding sink comes in white or black Corian; pair it with a tray of Carrara or Nero Marquina marble for a monochromatic look or opt for moody red or green stone. rexadesign.it

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“Ethere was born from the search for simplicity and delicacy”

ETHERE

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walk this way To revitalize and draw more visitors to Bogong Island Ecology Park near Shanghai, Wutopia Lab reenvisions the traditional Chinese pergola in new materials and a beckoning form

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CLOCKWISE FROM TOP LEFT: WUTOPIA LAB (4); “SPRING DAWN AT THE HAN PALACE,” ATTRIBUTED TO SUN HU, ZHOU KUN, & DING GUANPENG

TEN architects and designers led

by Wutopia Lab cofounder and chief architect Ting Yu

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“I see this as my semitransparent Pantheon” 4

10,000 32 FEET HIGH SQUARE FEET

1. and 2. Using Photoshop, Wutopia Lab illustrates the site plan and elevations for Emerald Screen Pergola, the firm’s new multi-arched pavilion at Bogong Island Ecology Park in Wuxi, China. 3. Wutopia cofounder and chief architect Ting Yu and his team were tasked with replacing an existing ¾-mile-long canopy, which had fallen into disrepair, with an architecturally dynamic, photo-worthy centerpiece.

4. Construction workers spent four months on-site building Emerald Screen Pergola from bent tubularsteel panels inset with steel mesh, all later painted white. 5. Yu drew inspiration for the structure from an Imperial-era handscroll depicting walled gardens, a wisteriacovered pergola, and structured paths in a lush landscape.

10MONTHS of design and construction

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c e n t e r fold 1. Wutopia Lab modernized the typology of traditional bamboo pergolas into stacked and overlapping mesh panels. 2. Like leaves, the curved panels vary in height and width and will eventually be covered in climbing jasmine, ivy, roses, wisteria, and honeysuckle. 3. An aerial view captures the top of the pergola and its flowerlike configuration. 4. An incentive for the Emerald Screen Pergola is to make it a site for wedding photo shoots.

5. The structure follows a long, winding path—Yu refers to it as “dragonlike,” and, in China, the mythical animal symbolizes wisdom, power, good fortune, and wealth. —Athena Waligore

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J0789 Rosso Namib

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Check in for welcoming new perspectives

ROLAND HALBE

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text: jen renzi photography: eric laignel

down-home hospitality Rottet Studio celebrates the dynamic culture of Fort Worth, Texas, with a sociable, art-centric scheme for the Crescent Hotel 144

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Lauren Rottet designs hotels and workplaces and residences all over the world, but she was born, raised, and educated in Texas and founded her now five-office firm there. So, when she offers up a nuanced description of Fort Worth, the burg of nearly 1 million located 30 miles west of Dallas, you know it’s a legit assessment. “Fort Worth is a quiet, unpretentious city with a lot of old money and stunning estates, and it’s also quite dynamic and social,” the Interior Design Hall of Fame member explains, adding that the college town has a devoted football fan base and major game-day culture (Texas Christian University’s Horned Frogs were Big 12 champs in 2023). Although perhaps best known by its nickname, Cow Town, courtesy of its protected cattle industry and stock shows, Rottet continues, “More recently, it’s come into its own as an entertainment venue and an art destination.”

That latter designation is thanks largely to a trio of institutions that line up along Camp Bowie Boulevard in the downtown cultural district: the Kimbell Art Museum, the Modern Art Museum of Fort Worth, and the Amon Carter Museum of Art. Rottet and an “all-women power team” from her Houston and Austin offices spent much time in those hallowed blue-chip halls when conceiving the Crescent Hotel directly across the street. The 200-key, 216,000-square-foot luxury property anchors a new-build mixed-use development that includes a high-end residential 146

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component and a Canyon Ranch Wellness Club (which the firm designed for the same client, Crescent Real Estate). “The whole block related to the museums, so we drew on that,” Rottet says. Her team looked at not only the masterworks that hung on the museum walls but also the walls themselves and other architectural finishes. “All three museums boiled down to two materials—one type of wood, one stone—so we took cues from that and decided to go as purist as possible,” Rottet describes.

“The interior is quite robust in its color and forms and visual interest, but also minimal in a way.”

The Crescent’s lobby is, naturally, the space that forges the strongest connection with its artful neighbors. Gallery-esque white walls are ample enough to accommodate large-scale canvases, which provide the majority of the color. Sight lines were strategically mapped out, down to the view from within the elevator while waiting for the doors to close. Floors are pale oak, just like those in Louis I. Kahn’s 1972 Kimbell building. Structural columns are partially clad in limestone, referencing Philip Johnson’s 1961 Amon Carter facility, while others were concealed: one within a faceted plaster fireplace, an abstraction of early 20th– century Spanish Mission style (“like what you might have found in a grand house during Fort Worth’s heyday,” Rottet notes), and another behind a floating partition outlined with a subtle reveal, creating a

Previous spread: At the Crescent Hotel, a 200-key, luxury property in Fort Worth, Texas,

by Rottet Studio, a faceted plaster mantel with a two-sided fireplace partitions reception’s seating areas, one with Carolyn Salas’s Figuring No. 4, the other with a wall in the same Calacatta Vision marble as the mantel’s base.

Opposite: White oak planks cover floor and ceiling in another lobby seating area populated with custom sofas, backdropped by Madeline Peckenpaugh’s Specular Reflections.

Top, from left: Richard Misrach’s Elephant Parable #36 and a Gonzalo Lebrija bronze vivify the elevator lobby. The lobby’s floral-themed glass chandeliers are custom. Bottom, from left: More Calacatta Vision marble forms the custom reception desk. Lauren Rottet’s Lyda sofa and Glide by Anna Membrino furnish the lounge serving the hotel’s conference center.

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Opposite top: Matteo Zorzenoni’s Leaf chandelier illuminates Emilia’s, the main restaurant. Opposite bottom: The conference room with custom carpet can be enclosed via sliding glass walls, while the wall-mounted marble credenza across the corridor distinguishes the pre-function area.

Left: Glass-enclosed, brass-shelved wine storage separates one of Emilia’s private dining rooms, lit by a Lee Broom chandelier. Right, from top: Jose Dávila’s Joint Effort, in San Andrés stone sandwiching an epoxy-painted boulder, anchors the courtyard, which doubles as an event spillover space and features Studio Segers’s Senja seating.

Mònica Subidé’s Vase With Two Lemons hangs above a custom sofa in the Circle Bar.

sort of frame and pedestal for a Madeline Peckenpaugh oil painting from the hotel’s impressive contemporary collection.

The studio’s mission for the F&B spaces was to devise a modular dining zone that could expand and contract according to time of day and flow of patrons and that was flexible enough to host simultaneous shindigs. “The hotel is very centered around private functions—events are a big deal there,” Rottet emphasizes. “The challenge was trying to figure out how many parties could be thrown at once.” Sliding glass doors framed in bronze-finished steel screen the restaurant’s open-concept kitchen during morning coffee service and predinner prep, so it always feels activated, never empty. Multiple private rooms have direct kitchen or courtyard access, including one veiled behind a glass wine-storage wall and the white-tablecloth Blue Room, which is the most saturated manifestation of the hotel’s sky-toned palette.

Guest accommodations cater to art tourists, Canyon Ranch spa-goers, and attendees of football games, weddings, bachelorette bashes, and other events requiring multiple costume changes. Given this clientele, a minibar and ample wardrobe space were essential and ultimately dictated the layouts. “Pushing the bar into the room allowed the dressing area to be more prominent, so there’s a spot to place your shopping bags and take off your shoes as you come in,” Rottet explains. The size of closets and built-in storage was also maximized. “It’s all about the party and ‘Where am I gonna hang the dress?’”

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Left: The Blue Room, another private dining room within Emilia’s and that’s courtyard adjacent, features custom cane-back chairs and the most saturated manifestation of the Crescent’s sky-toned palette.

Right, from top: Velvet lines its walls. Custom vintage-inflected furni­ ture populates the top-floor speakeasy, Ralph’s, which can be opened to the elements and boasts views of the neighboring museums. Exub­ erance at Ralph’s comes in the form of Arte’s Pavartina wallcovering and a gold-leaf mural by Maksim Koloskov.

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Certainly, one needn’t leave the hotel to have a ball. The courtyard and restaurant are filled around the clock with hotel guests and locals, but the most party-centric space is Ralph’s, the top-floor speakeasy and a decadent departure from the otherwise elegantly restrained vibe.

A hand-painted, gold-leaf mural wraps around the bar, M.C. Escher– esque wallpaper sheathes the ceiling, and vintage-inflected multifunctional seating units are kitted out in performance velvet. Barstools embroidered with a dromedary motif nod to the family who once owned the land the hotel stands on. “We found amazing archival video footage from the ’70’s, when a camel purchased from the Neiman Marcus catalog was delivered to their home dressed in gold and red tasseled ropes,” Rottet laughs. It’s that kind of locally specific insider’s detail that gives the Crescent a feeling of authentic hospitality. “Coming here feels like you’re being invited into someone’s grand home,” she concludes.

“It’s very much designed around entertaining, welcoming you in,and getting a drink in your hand before sitting down together.”

PROJECT TEAM ANJA MAJKIC; TAYLOR MOCK; HANNAH RAE: ROTTET STUDIO. OZ ARCHITECTURE: ARCHITECT OF RECORD. TBG PARTNERS: LANDSCAPE ARCHITECT. OLDNER LIGHTING: LIGHTING DESIGNER. RUNYON ARTS: ART CONSULTANT. VIEWTECH: STRUCTURAL ENGINEER. BLUM CONSULTING ENGINEERS: MEP. DUNAWAY: CIVIL ENGINEER. AMTREND: CUSTOM FURNITURE WORKSHOP. ANDRES CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT KYLE BUNTING: CUSTOM CHAIR UPHOLSTERY (RECEPTION). BRIDGEPORT: CUSTOM CREDENZAS, CUSTOM TABLES. IWORKS: CUSTOM CHANDELIERS (RECEPTION, BLUE ROOM).

HAWORTH: SOFAS (LOUNGE). MM LAMPADARI: CHANDELIER (RESTAURANT). FURNITURE ATELIER: CUSTOM TABLES (RESTAURANT), CUSTOM CASEGOODS, CUSTOM SECTIONAL (SUITE).

LUKE LAMP CO.: CUSTOM PENDANT FIXTURE (CONFERENCE ROOM). CAM STUDIO: CUSTOM PEN­ DANT FIXTURE (WINE PRIVATE DINING). HILL ASSOCIATES: SOFAS, CHAIRS, TABLES (COURT­ YARD). JONATHAN CHARLES: CUSTOM SOFA, CUSTOM CHAIRS, CUSTOM TABLE (BAR). ARTE: CEIL­ ING WALLCOVERING (SPEAKEASY). LIGHT ANNEX: PENDANT FIXTURES. DAC ART CONSULTING: ART (CORRIDORS). CROSSLEY AXMINSTER: CUSTOM CARPET. THORNTREE SLATE: FLOOR TILE. PIANCA: CHAIR (SUITE). ROTTET COLLECTION: MIRROR. POTOCCO: DINING CHAIRS. VISUAL COMFORT: PENDANT FIXTURE. THROUGHOUT SACCO CARPET: CUSTOM RUGS, CUSTOM CARPET. SYGMA STONE: STONE SUPPLIER. FARROW & BALL: PAINT.

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“The interior is quite robust in its color and forms and visual interest, but also minimal in a way”

Opposite top: DAC Art Consulting supplied the large-scale works that hang on the walls of guest-room corridors. Opposite bottom: Jennifer Paxton Parker’s Self series of Fort Worth notables also animates corridors, edged in marble-look porcelain tile.

Top: In guest rooms, the headboard and other built-ins are Koto veneer and carpeting is cus­tom. Bottom, from left: A Calatea armchair by Cristina Celestino occupies a corner of a suite’s living area. Rottet Collection’s bronzed Ovo Ellipse mirror and a porcelainbacked bar furnish its dining area.

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jump around

text: wanda lau photography: aqi

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Gen Z-ers can trampoline, zip-line, climb, and slide—with their parents observing in comfort—at XBox Family Sports Center, a high-energy futurama in Shanghai by Fun Connection

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Previous spread: Among the activity areas at XBox Family Sports Center in Shanghai by Fun Connection is the trampoline zone, which visitors can use to slam dunk basketballs, backdropped by Chinese plum piles and a climbing wall.

Top, from left: Since the center is located inside Shanghai Zhonggeng Wander City Mall, neon signage and a wide reception desk accented by a quilted wall of cushions draw atten­tion to it and in­ troduce its color and material palette. The 32,300-squarefoot indoor playground can accom­mo­date up to 600 visitors at a time to partici­ pate in more than 30 activi­ ties. Bottom, from left: The adventure castle intermixes climbing, crawl­ing, observation, and a dartboard. Part of the color palette represents dy­ namism and the energy of the sun. The zipline is 13 feet high and 118 long.

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In-person experiences are trending—and not just for work. In Shanghai, XBox Family Sports Center offers a sleek outlet for entertainment of the old-fashioned, IRL nature. The roughly 32,000-square-foot, three-story indoor playground, by local firm Fun Connection for Hangzhou Ningnuo Investment Management Company, houses more than 30 interactive games to get the adrenaline pumping in up to 600 visitors at a time. And it does so in style.

Completed in May, XBox merges recreation with a minimalist, futuristic aesthetic that targets “Gen Z’s craving for novel and unique experiences,” begins Fun Connection chief designer Yaotian Zhang. The facility’s interwoven array of activities and equipment are both fun and challenging, while imbuing “the joy and sense of accomplishment that sports bring,” continues Zhang, who, in addition to design, has a background in children’s psychology, which he has put to use in such projects as the Most Cured Home in the World, a kids healthcare clinic in Chongqing, its pale blues, sunrise oranges, and cheery terrazzo earning an Interior Design Best of Year Award in 2021. For XBox, clearly different in purpose but similar in demographic, he and his team chose an industrial look “with its exposed steel frames, metal elements, and clean lines to convey a sense of avant-garde and modernity.”

Located in Shanghai Zhonggeng Wander City Mall, the futuristic infra­ structure is teased at the storefront, where a sprawling semicircular reception desk backed by a shiny wall of cushiony silver pillows draws the attention of unexpecting shoppers while supporting an expeditious check-in for young thrill-seekers. After storing their shoes in the adjacent locker room, XBox guests can then quickly roll through the turnstiles into the awaiting doubleheight playground.

There, they’ll have no shortage of options or directions to pursue. Trampolines, zip lines, foam pits, and obstacle courses rising 33 feet fill the perimeter across the three levels. Anchoring the flurry of play zones in the central atrium is the X. Slide, a 36-foot-tall machinelike amalgamation of eight stainless-steel slides intended to emulate factory pipelines. Users can embark down one of four spiral slides offering a 66-foot-long journey, a steep and straight tunnel slide, or one OCT.24

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Wearing harnesses and helmuts, guests large and small traverse the obstacle course, which rises 33 feet.

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The centerpiece of the project is the custom 36-foot-tall X. Slide, which combines eight slides in varying configurations, the predominant stainless steel and glass contributing to the space’s overall industrial, futuristic aesthetic.

of three wave slides before their orderly deposition at the X. Slide base.

Transparent glass toppers on the spiral and tunnel slides give them panoramic views during their descent.

Zhang says the slide was his favorite project element to conceive because it reflects the “futuristic industrial aesthetic” the firm desired, “but also integrates the functional aspects of sports,” he says. “This area is both a concentrated expression of the concept and the soul of the entire center.

Therefore, it leaves a deep impression on people both visually and functionally.”

Other highlights include a highaltitude adventure challenge, where up to 50 players can help each other navigate obstacles of varying difficulty, including a 33-foot-high, 118-footlong zip line. Below, 12 traditional Chinese plum piles invite players to bound from top to top, to a maximum height exceeding 13 feet. “They evoke nostalgic memories of the simple joy of playing Super Mario on early gaming consoles,” says Zhang, who’s an avid gamer himself.

XBox caters to anyone seeking a personal or group experience. The high-altitude adventure, competitive climbing area, slides, and trampoline areas “are perfect for extroverts to engage with others, enjoy social interactions, and partake in teamwork.”

Introverts can partake in small-group or individual activities, such as the stepping machine or rope course, or people-watch from transparent tunnels and integrated observation platforms in the adventure castle.

Though designing the project might literally seem like all fun and games, Zhang says his firm also addressed the technical requirements of a 160

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“The 36-foot machinelike amalgamation of eight stainless-steel

slides is intended to emulate factory pipelines”

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multifunctional, multilevel sports center, such as ensuring the safety of all structural and play elements. Fun Connection collaborated with Chinese playground equipment designer and manufacturer Qileer to select soft and impact-friendly contact surfaces, situate hard props and infrastructure to noncontact areas, and distinguish collision surfaces from bearing surfaces with soft padding.

And while Zhang identifies Gen Z as a target demographic, he says the project “considers the needs of different age groups, ensuring that everyone, from children to adults, can find suitable activities.” Restaurants, private party rooms, and lounge areas equipped with seating and device chargers are situated behind the X. Slide, away from the noise and commotion of the play zones.

The combination of play, recharging, and gathering areas “ensures that every family member can find enjoyment, increasing the opportunities for shared activities,” Zhang notes.

Not coincidentally, Fun Connection’s choice of an industrial aesthetic for XBox is also ideal for high-traffic, active spaces. For example, the prevailing finishes of concrete and metal are durable and easy to clean and maintain. Bare pipes and exposed metal finishes also maximize clearances and space utilization.

The predominant colors—silver, blue, orange, yellow—also support XBox’s futuristic theme. The metallic hues are reminiscent of machinery, technical instruments, spacecraft, and spacesuits. Blue symbolizes the infinite, profound nature of the Earth’s sky and the universe, and the planet as seen from space.

Finally, the oranges and yellows suggest warmth, vitality, the energy of the sun, and the “dynamism and innovation inherent in space exploration,” Zhang says.

With its profusion of activities and zones, XBox Sports Center makes it easy for people of all ages to achieve something that has become increasingly difficult: put down their devices, leave the comfort of home, and engage in active play and conversations firsthand.

PROJECT TEAM QIAN ZHU; YINGFEI WANG; ZIHAN QIN; KEYI WANG: FUN CONNECTION. QILEER: PLAYGROUND EQUIPMENT MANUFACTURER.

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Top, from left: Contact surfaces are soft, like the PVC flooring in this suspended walkway with a low-flying zipline, to help ensure safety. Seating outside the trampoline zone offers respite for players and family members. Bottom, from left: LED strips in another anchor color, this one symbolizing the sky and universe, surround a stepping machine for individual or group play. Custom graphics enliven the locker room. The trampoline zone also features a bridge over a foam pit.

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legal steps A series of elegant staircases provides both utility and drama in a confidential law firm’s Chicago office by IA Interior Architects text: michael lassell photography: garrett rowland

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When a confidential multinational law firm determined it was time to update its Chicago headquarters, the partners decided to relocate to 26 floors in a gleaming new steel-and-glass tower. To turn the raw space into an efficient, appealing, and forward-thinking work environment for some 1,500 people, the client interviewed several firms before choosing IA Interior Architects, another global practice with 21 studios in the U.S. and abroad, including Chicago. “We were engaged to work on this project in 2021, when construction was just beginning,” says IA principal and design director Neil Grant Schneider, who is based in the Windy City. “So, we were able to work with the building’s architect and developer to make some structural adjustments to the plans.”

To find out exactly what the client had in mind for its new digs, Schneider’s team conducted an elaborate visioning workshop.

“We learned that the partners wanted to curate an empowering environment for their staff,” Schneider continues, “one that would create a commute-worthy experience after working remotely during the pandemic.”

The majority of the floors are dedicated to practice and administrative workspace with a smaller number occupied by amenities and a conference center that incorporates main reception. In addition, there is a floor named the Exchange. “That’s the main dining space,” Schneider explains. “It provides a range of options, from a salad bar to a pizza oven and grill, as well as a low-key IT help center and an adjacent event space.

It’s conceived for the exchange of ideas and provides a place for the attorneys and other employees to interact.”

Maximum interconnectivity, in fact, was a guiding principle of the project, and IA more than delivered. Administrative and practice floors are linked by multiple staircases. These include a showstopping quartet, each spanning six floors, that not only satisfies circulation needs but also provides a vibrant aesthetic experience: All four feature a custom pendant fixture

Previous spread: Overlooked by an Ethan Cook canvas and David Levine’s Elana bench, an open staircase links the three levels of the conference center, part of a confidential law firm’s 26-floor headquarters in Chicago by IA Interior Architects.

Top: In the conference center, an office suite reserved for guests includes Bernhardt Design’s Mills sofas, which are used throughout. Center: An adjacent lounge features Patrick Norguet’s P22 wing chairs and a streetscape mural by Jeremy Long. Bottom: On the same floor, main reception is outfitted with a custom Calacatta gold marble desk and Charlotte Biltgen’s Ebisu armchairs.

Opposite: A wall clad with textured laminated-glass panels backdrops the conference stair, its treads and risers in honed marble.

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“Shared areas have the unhurried ambience of a fine hotel or private club”

comprising an elongated constellation of colorful mouth-blown glass globes, complemented by inventively lighted handrails.

Elegant yet dynamic architectural elements, the stairs offer a counterpoint to the city skyline, lake views, and natural light that pour through the floor-to-ceiling windows, enriching the interior further.

And what an interior. Amenity and shared areas in particular have the unhurried ambiance of a fine hotel or private club.

Pushing the envelope on office design, Schneider brought in IA’s own London-based hospitality group early in the conceptual phase to help ensure that the various spaces engender a sense of quiet well-being even as they provide highly functional settings for work and related tasks. Every administrative and practice floor, for example, has a corner lounge strategically positioned away from elevator lobbies to encourage purposeful interaction.

These common areas serve as ideal spots for mentorship and informal discussions, with great views thrown in gratis. Outfitted with comfortable seating around inviting fireplaces, each commons is furnished differently, customized for the needs of the legal teams working near it.

Workspaces for the approximately 800 lawyers and their support staff “follow a similar aesthetic to a more traditional law firm,” Schneider notes, “with lots of private offices for the attorneys and admin stations for the paralegals.” The litigators also have mock trial spaces and eight multipurpose rooms that can be used for virtual legal proceedings, all boasting state-of-the-art audiovisual technology. In addition, a practice floor may include such diverse amenities as a private wellness room, sound studio, library, or

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Opposite top: Another reception seating area comprises a pair of custom Martin Brattrud sofas joined by four more of Biltgen’s armchairs around Jan te Lintelo’s Malibu coffee tables.

Opposite bottom: The Exchange, an entire floor dedicated to hospitality, food, and beverage services, includes a quiet zone with custom banquettes and Luke Kelly’s customized Tracer Loop tubular-LED fixture.

Top: Also customized, Omer Arbel’s 28 Series mouth-blown glass pendant fixture is encircled by a six-story stair with a wire-mesh balustrade and more honed-marble treads, one of four linking the practice floors. Bottom: A common area’s ethanol fireplace is surrounded by Eero Saarinen’s Executive side chairs, Eoos’s Crosshatch armchairs, and a custom foosball table.

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game room—all of which help make coming to work pleasurable.

The three-level conference center, which is used for both in-house and guest-attended functions, combines formal meeting spaces— two large boardrooms among them—with learning zones and client-entertainment venues. The latter conjoin with the main reception area to form an ensemble rivaling the lobby of a top-tier hotel; it even has a terrace, accessed via retractable glass walls.

To tie it all together, IA held to a tight and timeless material palette. “There is a midwestern simplicity to the design with the use of warm neutrals, textured wood, refined stone, and curated textiles,” Schneider says. Gray-toned marble features prominently, as does white oak. Furnishings are comfortable and modern, ranging from such mid 20th–century classics as Eero Saarinen’s Executive seating to more recent pieces like Patrick Norguet’s P22, a contemporary reinterpretation of a traditional wing chair.

Schneider’s greatest satisfaction with the project may be that IA got the commission at all. “Walking in, we were the underdogs, competing against companies known for their work on law firms,” he reports. “But our clients were extremely open to new ideas and appreciated that we were bringing our hospitality division to the table, because they were committed to improving their employees’ lives.”

PROJECT TEAM CAROLYN TUCKER; CARA FIELDS; GRACE GADOW; LILLIAN MC NEIL; ETHAN BARBOUR; CHRIS PARSLEY; LANE FELTS; RUBEN GONZALEZ; TJ SMOCZYNSKI; KEVIN MIAO: IA INTERIOR ARCHITECTS. LESTER FINE ART: ART CONSULTANT. LIGHTING WORKSHOP: LIGHTING CONSULTANT. SYNERGI: STAIR CONSULTANT. BRIGHTWORKS: SUSTAINABILITY CONSULTANT. FOOD SPACE: FOOD & BEVERAGE CONSULTANT. RLE PROJECT MANAGEMENT: PROJECT MANAGER. CORPORATE CONCEPTS: FURNITURE SUPPLIER. MKA: STRUCTURAL ENGI­ NEER. ESD: MEP. IMPERIAL WOODWORKING COMPANY; PARENTI & RAFFAELLI: WOODWORK. CLUNE CONSTRUC­T ION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT BRIGHT GROUP: BENCH (CONFERENCE STAIR), WHITE LOUNGE CHAIRS (ENTERTAINMENT AREA, ANTEROOM).

IOC: WALL SYSTEM (GUEST SUITE). CLASSICON: COFFEE TABLES (GUEST SUITE), SIDE TABLES (GUEST SUITE, LOUNGE).

TANDUS: CARPET (GUEST SUITE, LOUNGE). CASSINA: WING CHAIRS (LOUNGE). DWR: BLACK SIDE TABLE. HERMAN MILLER: WIRE-BASE COFFEE TABLES (LOUNGE, RECEPTION), SIDE CHAIRS (COMMONS). STUDIOTWENTYSEVEN: ARM­ CHAIRS (RECEPTION). MARTIN BRATTRUD: CUSTOM SOFAS. WENDELBO: BLACK COFFEE TABLE. HOLLY HUNT: GLASS SIDE TABLES. LINTELOO: MARBLE COFFEE TABLES. ARHAUS: TALL SIDE TABLES. POLTRONA FRAU: LEGGED ARMCHAIRS (RECEP­ TION, ENTERTAINMENT AREA). JAMIE STERN DESIGN: CUSTOM RUGS (RECEPTION, ANTEROOM). LUKE LAMP CO.: LED TUBE FIXTURE (QUIET ZONE). INDUSTRY WEST: CUSTOM BAN­ QUETTES. BOCCI: CUSTOM PENDANT FIXTURE (PRACTICE STAIR). ECOSMART FIRE: FIREPLACE (COMMONS). MASLAND CARPETS: CARPET. TOM DIXON: PENDANT FIXTURES. ICON MODERN: CUSTOM FOOSBALL TABLE. ARMSTRONG: CEILING SYSTEM. GEIGER: ARMCHAIRS (COMMONS, GAME ROOM). HBF FURNITURE: PEDESTAL TABLES (COMMONS, ENTERTAINMENT AREA, SIDE BAR). FULL SWING: GOLF SIMULATOR (GAME ROOM). LASVIT: CUSTOM CHANDELIER (ENTERTAINMENT AREA).

VISUAL COMFORT: TABLE LAMPS. HIGHTOWER: BROWN CLUB CHAIRS. BASSAMFELLOWS: BARSTOOLS. MG+BW: COFFEE TABLE. DECCA: ROUND SIDE TABLE. ROCHE BOBOIS: SOFAS (ENTERTAINMENT AREA, ANTEROOM). MINOTTI: CY­L IN­ DRICAL SIDE TABLE (ENTERTAINMENT AREA), COFFEE TABLE (ANTEROOM). SUITE 22: BARSTOOLS (SIDE BAR). TRNK: ARM­ CHAIRS. MODERNFOLD: GLASS WALL SYSTEM (ANTEROOM).

VISIO: CEILING FIXTURES. THROUGH­OUT BERNHARDT: SOFAS. MCGRORY GLASS: LAMINATED GLASS. STONE DESIGN: STONE, MARBLE. MAXFINE: PORCE­L AIN STONE­WARE. ARCHITECTURAL VENEERS INTER­N A­T IONAL: OAK VENEER. BANKER WIRE: WIRE MESH. BENJAMIN MOORE & CO.: PAINT.

Opposite top: Along with displays of sports paraphernalia, a game room includes a golf-swing simulator. Opposite center: A custom Czech chandelier overhangs the conference center entertainment space, which can be turned into an indoor-outdoor venue via a wall of glass doors opening onto a terrace. Opposite Bottom: In another part of the Exchange, Norguet’s Vic stools pull up to the marble-topped beverage counter of what is dubbed the Side Bar. This page: One of six multipurpose anterooms in the conference center has a porcelain stoneware panel surrounded by white oak, marble slab flooring, and Maurizio Manzoni and Roberto Tapinassi’s Profile sofas on a custom rug.

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feelin’ groovier Workshop/APD and Metafor turn a 1960’s motor lodge in the Canadian Rockies into the Moxy Banff, and the age of Aquarius has never looked so good

text: jane margolies photography: younes bounhar/doublespace photography

When the Voyager Inn was built in the Canadian ski town of Banff in 1964, road tripping was all the rage and motor lodges were opening in vacation destinations to cater to the traveling public. By the time Canalta Hotels bought the property in 2016, however, the Voyager—or the Voy, as locals called it—was seriously rundown, best known for its dive bar, liquor store, and budget accommodations for group bus tours. But its handsome, low-slung bones were still very much intact. Now, after a $30 million overhaul helmed by Workshop/APD and Metafor, it has been reinvented as the Moxy Banff, combining the cheeky personality of the Moxy hotel brand and the outdoorsy spirit of Banff with the building’s own mid-century roots.

“You take those three things and put them in a narrative pot and stir,” starts Matt Berman, cofounding principal with Andrew Kotchen of New York-based Workshop/APD, which handled the hotel’s interiors. “As designers, we’re always trying to tell a clear story for a hospitality project.” The story of the Voy’s rebirth began when Canalta, a Canadian hospitality company,

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hired the Calgary-based architecture firm Metafor soon after it purchased the property. Together they assessed the building and explored renovation possibilities.

The Voy had always been something of an outlier, beginning with its location on the eastern edge of the town of Banff, which itself is in Banff National Park. Then there was its architecture, which stood in contrast to the prevailing chalet-style aesthetic of the area. Both Canalta and Metafor thought the very things that had always made the property a little bit different could work to its advantage.

Although Canalta had never operated a Moxy—a Marriott Bonvoy brand introduced a decade ago that now has more than 135 idiosyncratic worldwide properties, each reflecting their locales—it convinced Marriott the Voy would make a good one.

W/APD was on the list of firms that Marriott provided to Canalta, and soon after Berman and associate principal Andrew Kline took off for Banff to meet with the Voy’s new owners and see the property, it was asked to join the renovation team.

Previous spread: In a lower-level corridor at Moxy Banff, a 1964, three-story motel in the Canadian Rockies turned hotel by Workshop/APD and Metafor, custom neon signage backs a ski-lift chair, perfect for selfies, while the palette of the neighboring floor tile and custom wallcovering channels the era of the original property.

Opposite: A vintage floor lamp similar to the 1962 Arco joins a ceiling-mounted gas fireplace in the lobby lounge, where most seating is custom and paintings by local artist Kristen Bollen hang on walnut tambour paneling.

Top, from left: Douglas fir balcony railings replaced the building’s painted-wood ones, but the walls of local Rundle stone are original. In the bar area, where hanging chairs recall Eero Aarnio’s 1968 Bubble, the Brooklyn stools are by Giannis Topizopoulos. Bottom: Painted loops inspired by ’70’s racetrack motifs sandwich the combination bar-reception desk and a Moxy-branded polar bear–shaped ceiling fixture in translucent resin, both custom.

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Left, from top: A vintage Alpha Egg chair backs up to custom wallcovering outside the ski-bike locker room. Another Bollen artwork appoints the public restrooms with custom terrazzo flooring. Right: Custom sconces line the staircase, where the recessed mural was painted on-site by Tanya Klimp, also Canadian.

Opposite top, from left: A 1966 Volkswagen Kombi bus has been repurposed as a food truck for the lobby lounge. A custom powder-coated tubular-steel bench and seat furnish a guest room. Opposite bottom, from left: Another features tartan-patterned wallcovering, furniture, and rug, all custom.

A guest-room corridor retains its original precast-concrete ceiling, the waves echoed in the custom carpet that extends up the walls to protect them from guests carrying skis.

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Moxy advisors weighed in at key points in the design process.

Metafor focused on updating the exterior of the 58,000square-foot building, replacing windows, repointing original Rundle stone walls, and swapping out painted-wood railings for ones made of Douglas fir with a transparent stain. To make the hotel as welcoming to cyclists and pedestrians as it had always been to motorists, the area in front of the building where drivers had parked while checking in was trimmed, freeing up space for a welcoming staircase and terraces that step down to the street, beckoning passersby. “It’s a new opportunity for gathering,” Metafor principal Chris Sparrow says.

The layout of the three-story building—public spaces at the center, guest wings over parking garages on either side—already suited the Moxy brand, which emphasizes communal areas.

But a second-floor ballroom was turned into more guest rooms, increasing the total from 88 to 109.

Interior walls at the center of the ground level were removed, opening space for an expansive lobby lounge with a pill-shaped bar that doubles as a check-in desk, a Moxy trademark. Instead of having liquor bottles on tiered shelves—the usual arrangement—Berman and Kline created bottle racks that resemble ski gondolas and hung them from the ceiling (yet still within a bartender’s easy reach). Entering the lobby, visitors now see clear to and through the back of the building, where a courtyard has been reinvented as an outdoor lounge with a hot tub, pool, firepits, and ample seating.

A retro palette of reds, yellows, browns, and oranges warms the interiors. Some patterns, too, hark to the ’60’s, including nearly hallucinogenic waves in the carpeting for a guest-room corridor. Other patterns evoke outdoorsy pursuits, such as the oversize tartan wallcovering inside the guest rooms,

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suggesting flannel shirts one might wear hiking. As for the striped blankets—another Moxy signature—they “looked so at home in our rooms,” Kline notes.

He, Berman, and their colleagues mixed custom furniture with mid century–inspired pieces and vintage originals. Some of the latter were acquired by Brooke Christianson, a Canalta vice president and a son of the company founders, who got into the thrill of the hunt. W/APD had prepared a wish list of vintage items, and Christianson, working with local dealers, located pieces and texted photos of his finds to Kline—a method that resulted in purchases that were far less expensive and more sustainable than if the team had shopped in New York and shipped to Banff. Christianson found the chrome floor lamp that now arcs over the lounge and the ’70’s Egg chair manufactured by Lee West that sits outside the bike and ski locker room.

Christianson also located the old VW bus parked in the lobby after W/APD came up with the idea of turning one into a food truck. Christianson’s uncle, who does hot-rod restorations, cut a chunk out of the bus’s middle—that’s where the person who takes orders stands—and doctored the roof so it hinges up, revealing a vintage menu board. Groovy for sure.

PROJECT TEAM FRAN FANG; JOEL EDMONDSON: WORKSHOP/APD. CLAUDIA SCHAAF; ILONA CIUN­ KIE­W ICZ; STEVE TURCOTT; JAMES LINDSAY; DIANE SAWA; LISA PANASOVA; CHRIS M C LAUGHLIN: METAFOR. GROUND CUBED: LANDSCAPE ARCHITECT. KEVIN BARRY

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FINE ART: ART CONSULTANT, CUSTOM GUEST-ROOM WALLCOVERING. ILLUMINATION LIGHTING: CUSTOM INTERIOR SIGNAGE, CUSTOM LIGHTING. BANFF SIGN COMPANY: CUSTOM EXTERIOR SIGNAGE. ISL ENGINEERING: STRUCTURAL ENGINEER. REMEDY ENGINEERING: MEP. WSP: CIVIL ENGINEER. SHURWAY CONTRACTING: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SKI LIFT DESIGNS: CUSTOM CHAIR (LOWER HALL). DESIGN & DIRECT SOURCE: FLOOR TILE. FABRICUT: CUSTOM WALLCOVERING (LOWER HALL), BOLSTER UPHOLSTERY (SUITE). MAHARAM: CHAISE LOUNGE FABRIC (LOBBY). WARP & WEFT: CUSTOM RUGS. A PLUS R: COFFEE TABLES. FOCUS FIREPLACES: FIREPLACE. SURFACING SOLUTION: PANELING. VALLEY FORGE: BANQUETTE FABRIC (LOBBY), DRAPERY FABRIC (GUEST ROOM), SECTIONAL VELVET (SCREENING ROOM). TOPOSWORKSHOP: STOOLS (BAR). MODHOLIC: HANGING CHAIRS. CROWN DOORS: GARAGE-STYLE DOORS. WOLFGORDON: CUSTOM WALLCOVERING (LOCKER ROOM). CONCRETE COLLABORATIVE: CUSTOM FLOORING (RESTROOMS). CLAYHAUS CERAMICS: WALL TILE. JC HOSPITALITY: CUSTOM CHAIR LIFT (GUEST ROOM). FAIRMONT DESIGNS: CUSTOM FURNITURE (GUEST ROOMS). WEST ELM CONTRACT: CUSTOM RUG (PLAID GUEST ROOM). PROSPER & PASION: CUSTOM CARPET (HALL). QUALITY & COMPANY: CUSTOM SECTIONAL (SCREENING ROOM). BLU DOT: TABLE, OTTOMAN. WALLPAPER FROM THE 70S: WALL­ COVERING. BEAULIEU CANADA: CARPET. 2MODERN: BENCH (COURTYARD). BEND GOODS: WIRE CHAIR. SOLUS DÉCOR: FIREPIT. SILHOUETTE OUTDOOR FURNITURE: CUSTOM SOFAS. MAHARAM: SOFA FABRIC. UNITED FABRICS: PILLOW FABRIC. KANTA MONTANA: BREEZE BLOCK. TECHO-BLOC: PAVERS. CALI LIGHTING: STRING LIGHTS. EVOLUTION SPAS: HOT TUB. ARTONOMY: MINI TAXIDERMY (SUITE). THROUGHOUT BENJAMIN MOORE & CO.: PAINT. THUNDERSTONE QUARRY: RUNDLE STONE. CUSTOM CEDAR RAILINGS: EXTERIOR RAILINGS. WINSPEC: CURTAIN WALLS.

Opposite: In the screening room, a crushed velvet–upholstered custom sectional is surrounded by textured vinyl wallpaper appropriately sourced from Wallpaper From the 70s.

Top, from left: New mirror art—an installation of custom emoji faces—meets old stone in another corridor. Faye Toogood’s Roly Poly bench stands by a firepit in the hot-tub courtyard with custom sofas. Bottom: In a suite, a custom bunk bed fitted with toe-to-toe twin mattresses creates an alcove for a king bed, all with built-in, vegan leather–covered bolster padding.

“Patterns evoke outdoorsy pursuits, like the tartan wallcovering in guest rooms suggesting flannel shirts one might wear hiking”

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natural wonders A biophilic atmosphere of greenery, waterfalls, and birdsong lands at Terminal 2 in Singapore’s Changi Airport, recently renovated and expanded by Boiffils Architectures OCT.24

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“this is a longer pullquote for annie or kelly to write whatever they want. for our communities” —David Pérez In surveys, frequent global travelers consistently pick Changi Airport in Singapore as their favorite aviation hub. Even those who have never visited the four-terminal complex are often familiar with images of its central multipurpose building, dubbed the Jewel, where a tiered indoor rainforest surrounds a circular waterfall cascading through an oculus in the donut-shaped glass ceiling 130 feet above. It’s a spectacular tribute to the island nation’s “Garden City” nickname.

Other parts of the airport, however, had some catching up to do with the showstopping Jewel.

A competition to renovate and expand Terminal 2, which was built in 1993 and last updated in 2003, sought to bring the aging facility up to par with its iconic neighbor. Paris-based practice Boiffils Architectures won the contest, despite having no experience in airport design. But the firm’s expertise in the hospitality sector led it to approach the project from a customer-experience perspective, which is what sold its scheme to the jury.

Boiffils’s proposal for the 1.3-million-square-foot, three-level interior avoided the common practice of treating an airline terminal like a factory outfitted with utilitarian materials for hightraffic durability and cold, reflective surfaces that can be dazzling and disorienting under bright spotlights. Instead, the firm selected products with warm, textured finishes that soften the spaces, and introduced vegetation and mineral-evoking elements to create a relaxing, enjoyable environment for those embarking on what can often be a stressful process. “The aim was to make a very blurred boundary between architecture and landscape,” says managing partner, creative director, and principal architect Basile Boiffils, who, in 2004, launched the architecture department of the design studio his parents founded 20 years before. “We wanted to bring in sensuality with the materials, so that they really humanize the experience, almost romanticize it.”

Throughout the terminal, walls feature precast stucco panels with striations that suggest “cutting through layers of soil,” Boiffils observes. Bands of lush foliage emerge between these

Previous spread: At Changi Airport in Singapore, striated stucco wall panels and cloud-pattern perforated-aluminum ceiling panels evoke nature in the 1.3-million-square-foot, three-level Terminal 2, recently renovated and expanded by Boiffils Architectures.

Opposite top: Finlike aluminum ceiling battens hide mechanical systems while providing a sense of direction in the departure hall. Opposite bottom: CNC-carved from solid surfacing, automated check-in kiosks and baggage-drop stations are custom, as is the topography-inspired carpeting.

Above: Ichiro Iwasaki’s Kiik modular seating and Pix ottomans join Lievore Altherr Molina’s Colina armchairs in the arrival hall.

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Topped with slabs of quartzite, the path from the terminal’s front entrance to the single portal serving immigration is visually and functionally direct, log­ ically flanked by the automated check-in facilities.

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Top: Terrazzo benches, cast in-situ, encircle a café in the arrival hall’s food and beverage area. Bottom: A cutout in the departure hall floor accommodates a multicolumn vertical garden spangled with custom mouth-blown glass pendant fixtures resembling giant raindrops.

Opposite: The immigration portal is surrounded by the Wonderfall, a 45-foot-tall digital display featuring a continuous cascade of water.

layers as if breaking out of the substrate. Carpet patterns in the check-in area mimic ocean-wave formations and land topography as seen from high in the air, while the beige solid surfacing of the organically shaped service desks is enlivened with metallic flecks. The same material appears in the earth-toned restrooms, where wavy, reeded-glass paneling, backed with illuminated prints of tropical plants, conjure the illusion of verdant depths.

In another passenger stress-reducing tactic, Boiffils has ensured that the step-by-step process of navigating the terminal is as visually clear and straightforward as possible. Travelers entering the departure hall are immediately directed to the automated check-in kiosks and baggage-drop stations, which are arranged like strings of islands in the open space, rather than the typical solid banks of counters that would block the view beyond. The next area, the central immigration hall, is accessed through a portal in the Wonderfall, a 45-foot-tall digital-display wall, conceived by multimedia studio Moment Factory, on which an image of cascading water plays continuously.

Mesmeric and soothing, the LED installation is visible from every angle in the departure hall, drawing passengers toward it with the power of a natural phenomenon.

Nature also permeates several double-height spaces in the form of columnlike vertical gardens.

Devised in collaboration with botanist Patrick Blanc, a pioneer of the green wall concept, these vegetation-covered steel structures either rise from the floor or descend from ceilings clad in digital panels displaying real-time external weather conditions. “There’s not a single fake plant,” says Boiffils, whose team painstakingly created an irrigation system and optimized lighting conditions to ensure the greenery thrives. These areas are equipped with surround-sound systems that play recordings of local bird and wildlife calls, carefully synchronized with the visual displays to further enhance the immersive, naturalistic atmosphere.

While the balance between technology and nature is weighted significantly to disguise the former and highlight the latter, this effect is achieved through the use of advanced materials and fabrication methods. In the departure hall, for example, the ceiling is hung with deep aluminum fins incorporating complex double curvature, necessitating that each be individually designed 186

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“Vertical gardens, in the form of vegetation-covered steel columns, occupy several double-height spaces”

using parametric software. Deployed in sweeping bands, these graceful champagne-color elements not only provide a sense of direction overhead but also conceal mechanical services and access infrastructure. Similarly, the sculpted check-in kiosks below were carved using a five-axis CNC machine. And, of course, the falling water and changing skies are all courtesy of giant vertical and horizontal digital screens.

“Another thing we’re proud of is that we brought craft into the airport,” Boiffils notes. “A lot of the design was only possible through the work of skilled craftspeople.” The human hand is evident in such touches as the stucco wall panels, each unique, or the custom mouth-blown glass pendant fixtures, which hang like giant raindrops amidst a forest of vertical-garden columns near the departure hall entry and elsewhere. They, too, help extend Singapore’s signature lush environment into the airport and, as the architect concludes, “bring back the pleasure of traveling.”

Opposite top: In a restroom, prints of tropical plants behind backlit reeded-glass panels create the illusion of an enveloping jungle. Opposite bottom, from left: A planted garden and water feature in a traveler transit zone is dubbed the Dreamscape. As they do throughout the terminal, biomorphic lines and forms appear in the luggage claim hall, where porcelain-tile flooring mimics quartzite and terrazzo.

Above: Acrylic-lined ponds and an LED ceiling that evokes water define the Dreamscape garden.

PROJECT TEAM HENRI BOIFFILS; JACQUELINE BOIFFILS; SANDRA BLANVILLE; LAETITIA BERNOUIS; ARDA BEYLERYAN; MONIR KARIMI; SUNG JU KWAK; NICOLAS DELESALLE; VICTOIRE BONNIOL; LAURA FOLLIN: BOIFFILS ARCHITECTURES. RSP ARCHITECTS PLANNERS & ENGINEERS: ARCHITECT OF RECORD. PATRICK BLANC: BOTANICAL CONSULTANT. GENESIS NINE ONE: LANDSCAPE CONSULTANT. PH.A CONCEPTEURS LUMIÈRE & DESIGN: LIGHTING CONSULTANT. MOMENT FACTORY: MULTIMEDIA CONSULTANT. J. ROGER PRESTON: MEP. C.C.M. GROUP: MILLWORK. TAKENAKA CORPORATION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT JC DECAUX: LED BILLBOARDS (DEPARTURE HALL). ARPER: MODULAR SEATING (DEPARTURE HALL, ARRIVAL HALL), ARMCHAIRS, OTTOMANS (ARRIVAL HALL). LASVIT: CUSTOM PENDANT FIXTURES (DEPARTURE HALL). THROUGHOUT S.O.E. STUC & STAFF: CUSTOM STUCCO PANELS. SG-BOGEN: ALUMINUM CEILING PANELS, BAFFLES. ERCO; IGUZZINI; LUMENPULSE: DOWN­L IGHTS. ROYAL THAI: CUSTOM CARPET. COSENTINO: STONE FLOORING. KRION: SOLID SURFACING. PORCELANOSA: FLOOR TILE.

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feels like home

From the Greek islands to the Catskills of New York, these seven hotels and resorts offer accommodations perfectly attuned to their strikingly disparate settings text: georgina mcwhirter, peter webster, and annie block

See page 200 for the Explora Uyuni Lodge in Ramaditas, Bolivia, by Chilean firm Max Núñez Arquitectos. Photography: Roland Halbe.

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“Stone, that fundamental element of the Cycladic earth, skillfully forms buildings that follow the natural landscape”

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Block722 project Gundari Resort, Folegandros, Greece. standout Whether you call it organic modernism, warm minimalism, or another denomination entirely, this 80-acre Greek island resort is undeniably design-forward yet it yields effortlessly to the contours of the craggy landscape overlooking the Aegean Sea. The 27 terraced villas and suites with cliffside heated pools and private open-air showers are grounded by rustic stone exteriors while interiors feature beige stone-slab floors, limestone plaster walls, natural timber built-ins, and earth-brown bed linens. In the reception area, the grace note is a marble check-in desk carved with imagery lifted from local myths. photography Clockwise from top left: Martha Vosdou, styling by Sissy Rousaki; Ana Santl, styling by Priszcilla Varga (4).

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“To sip a cocktail poolside is to enjoy the perfect California-meets-Amalfi aperitivo”

Manola Studio project Capri Hotel, Ojai, California. standout Tapped to reimagine the 1963 roadside hotel built in the Amalfi Coast–style, the Los Angeles–based practice leaned into the 30-room property’s mid century–modern roots while preserving its original Italianate glamour. Thus, the dolce vita palette—cream, pink, sage, burnt orange, with pops of indigo and lavender—and furnishings, which include plush velvet sectionals and snazzy leather-and-metal chairs, are juxtaposed with such Rat Pack–era elements as the lobby’s A-frame beamed ceiling and massive exposed-stone fireplace, or the guest rooms’ custom wood wall paneling and graphically tiled bathrooms. photography Yoshihiro Makino.

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“The materials, the aesthetic—it all connects to the Edition brand but also to where we are in a subtle, sophisticated way”

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Edmonds International and Rockwell Group project The Riviera Maya Edition at Kanai, Mexico. standout If not for the signature scent and spiral staircase, visitors may not know they’ve arrived at the 18th property, and first in the Caribbean, of this 11-year-old hotel brand envisioned by Ian Schrager Company and Marriott International as unique, luxury microcosms of their locations. That’s because the architecture (Edmonds) and interiors (Rockwell) firms instilled a tropical yet powerfully minimalist theatricality throughout the 182-key, six-restaurant plus spa project—with nary a poncho, sombrero, nor other decorative cliché in sight—that sits atop nearly 9 acres of preserved mangroves. Particularly dramatic is the lobby’s 50-foot-long custom sofa cocooned by hundreds of native plants; the 35-foot-tall lobby bar, its textile colors derived from Mayan culture; a sculptural host stand carved from a felled local Guamuchil tree; and the bamboo yoga pavilion by Arquitectura Mixta, a Guadalajara-based collective focused on bio-architecture. photography Nikolas Koenig.

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Post Company project The Rounds at Scribner’s, Hunter, New York. standout Scribner’s Catskill Lodge gets its own retreat within a retreat: a group of 11 shingle-clad cabins by the Brooklyn- and Jackson Hole, Wyoming–based firm, which has devised 12-sided rounded structures, each boasting a wraparound porch with an outdoor soaking tub. The airy interiors feature welcoming gas-stove fireplaces, custom conversation pit–style sunken couches, and vaulted ceilings with an oculus for stargazing. A central communal building, the Apex, includes a blue limestone bar and vintage furnishings mixed with contemporary pieces by local talents such as Brian Persico and Michael Robbins. photography Clockwise from bottom left: Moriah Wolfe (4); Chris Mottalini; Moriah Wolfe; Chris Mottalini.

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“The cabins provide a retreat from the world in a space that purposefully allows nature to be the focus”

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Max Núñez Arquitectos project Explora Uyuni Lodge, Ramaditas, Bolivia. standout Intended for a nomadic travel experience, the lodge comprises three separate compounds distributed around the vast Uyuni Salt Flat. Like its companions, this location features a trio of the Santiago, Chile-based architect’s prefabricated modular units, lightweight steel-framed structures that minimize on-site construction and are easily disassembled and relocated. Sitting on minimally invasive concrete footings, the buildings’ weathering-steel cladding blends harmoniously with the rugged landscape, while system components of varying sizes and functions accommodate living areas, bedrooms, bathrooms, and kitchens, all lined with warm-toned tropical mani wood, perfectly framing the stunning views through large windows. photography Roland Halbe.

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“The structures integrate into the landscape not through mimesis but by minimizing their physical impact”

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Palomba Serafini Studio project La Roqqa, Argentario, Italy. standout The 55 guest rooms at this boutique hotel and beach club in coastal Tuscany are themed in three distinct paint palettes: a burnt sienna that echoes the facades in nearby Porto Ercole, sage green to harmonize with the surrounding Mediterranean scrub, and a cloudy blue allusive to the Tyrrhenian Sea. The suites, meanwhile, have a white sand–colored base accented by renowned contemporary and modernist furniture from the likes of Faye Toogood and Achille Castiglioni, respectively. photography Alessandro Moggi.

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“It’s a thorough exploration of the region’s natural resources and artisanal heritage, including the weaving and working of leather, straw, wood, and clay”

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“In its simplicity, there’s a certain feeling of ‘nowhere’ here, perfect for contemplation and reflection”

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Néstor Pérez Batista project Casa Montelongo, Fuerteventura, Spain. standout A 19th-century house and theater on the second largest of the Canary Islands have been converted into a pair of crisp-white, minimalist self-catering units—which can be rented separately or together—divided by a shared courtyard with pool. Rooting the outdoor area in the essence of the local environment is a wall sculpture by Tenerife artist Óscar Latuag that abstracts lichen, prickly pear, and agave leaves—a visual ode to the locale’s unique vegetation. photography Gregor Neschel.

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c o n ta c t s

DESIGNERS IN SPECIAL FEATURE Block722 (“Feels Like Home,” page 190), block722.com.

Edmonds International (“Feels Like Home,” page 190), edmondsinternational.com.

Palomba Serafini Studio (“Feels Like Home,” page 190), palombaserafini.com.

Néstor Pérez Batista (“Feels Like Home,” page 190), perezbatista.com.

Max Núñez Arquitectos (“Feels Like Home,” page 190), maxnunez.cl.

Manola Studio (“Feels Like Home,” page 190), manolastudio.com.

Post Company (“Feels Like Home,” page 190), postcompany.co.

Rockwell Group (“Feels Like Home,” page 190), rockwellgroup.com.

PHOTOGRAPHERS IN FEATURES Younes Bounhar (“Feelin’ Groovier,” page 172), Doublespace Photography, doublespacephoto.com.

Eric Laignel Photography (“Down-Home Hospitality,” page 144), ericlaignel.com.

Fabian Ong (“Natural Wonders,” page 180), fabianong.com.

Garrett Rowland (“Legal Steps,” page 164), garrettrowland.com.

DESIGNER IN CREATIVE VOICES Maison Rhizomes (“Soul Provençale,” page 69), maisonrhizomes.com.

DESIGNERS IN WALK-THROUGH Badie Architects (“Home Cooking,” page 99), badiearchitects.com.

BHDM Design (“Showing Its True Stripes,” page 79), bhdmdesign.com.

PHOTOGRAPHERS IN WALK-THROUGH Nour El Refai (“Home Cooking,” page 99), nourelrefai.com.

Garrett Rowland (“Showing Its True Stripes,” page 79), garrettrowland.com.

DESIGNER IN CENTERFOLD Interior Design (ISSN 0020-5508), October 2024, Vol. 95, No. 9, 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; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2024 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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HAYDEN PATTULLO

Wutopia Lab (“Walk This Way,” page 139), wutopialab.com.

IMAGE COURTESY OF KERRIE KELLY STUDIO X LINDSEY KING PHOTOGRAPHY

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design

annex

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design annex

design annex

Streamlined pieces with all the right angles Opener: Easy bar stool in black walnut by Femo Design. femo-design.com 1. BOB Biz fabric-upholstered one-seater workstation on glides with molded-polyurethane foam over FCS-certified plywood frame by Blå Station through Scandinavian Spaces. scandinavianspaces.com

2. Cristián Mohaded’s Big George armchair in wooden frame, steel springs, and foam by Moooi. moooi.com/us

3. Josef wool rug in Porcelain Tile by Bomat. bomat.eu/en 4. Monolith chair made from a single, bent sheet of laser-cut aluminum by I Am Not David Lee. iamnotdavidlee.com

5. Gaurav Nanda’s Tube lounge chair in powder-coated aluminum with bouclé or vegan leather upholstery by Bend Goods. bendgoods.com 6. Petit Nounour upholstered armchair by Studio Uwe Gaertner. uwegaertner.de 7. Traits d’Union birch and leather Secretaire desk by Éric Benqué for The Mobilier National. benque.org

8. Giuseppe Casarosa’s Galimede nickel-plated steel side tables with wood-, glass-, or leather-inset tabletops and optional leather handle by Ceccotti Collezioni. ceccotticollezioni.it

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editors' picks

editors' picks

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annex partners

Artesano Iron Works Branches & Leaves: Hand-Forged Iron Railing A seamless blend of strength and nature, this hand-forged masterpiece adds movement and artistic elegance to this main staircase, designed by Benjamin C. Morrison in Florida, and produced and installed by Artesano Iron Works. artesanoironworks.com

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Rubelli

Inspired ceilings steal the show. Customize in countless finishes and numerous systems to create the perfect ambiance. From the most realistic woodgrains to brass, bronze and blackened steel, make a statement with a powerful ceiling design. UHPA ceilings are sustainably produced with 20% recycled aluminum, that is 100% recyclable. Source boldly at the intersection of design, function and sustainability. purefreeform.com/ceilings

A graceful miniature design for the all-over jacquard Millefleurs belonging to Gardens, the first collection created by Rubelli under the creative direction of Formafantasma. Millefleurs is woven with a very durable eco-sustainable yarn in the Rubelli mill in Como. rubelli.com

Studio Lilica

Whiting & Davis

The award-winning Halo Mobile is part of our collection of organic, large-scale, suspended mobiles. The easy, flowing lines of these art pieces lend a cool sculptural element to public spaces. Lightweight and easy to install, the Halo is available in a wide range of custom colors and options. Contact us for more information on our sculptural design products for modern interiors. studiolilica.com

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i n t er vention

making it count

Emmanuelle Moureaux is obsessed with numbers. And colors. And using both to “express time, experiences, and emotions,” the architect-artist says. Timeline, her recent installation, and her first permanent one in Paris, goes further to “symbolize the diversity of people and moments of life.”

Fittingly, Timeline occupies the eight-story atrium of Le Lumière, the city’s largest private office building that’s also home to restaurants, shops, Kedge business school, and parking facilities, averaging thousands of visitors a month.

To produce the commission curated by By Art, Moureaux engineered a custom frame, attached to the atrium’s truss beams, from which 3,200 steel numbers are suspended in tidy rows. The bottom-most numerals are the years 2023 and 2024, increasing to beyond 2100 as the rows rise 60 feet, and shift in color from reds to yellows to blues, evoking the passage of time. “The building’s glass roof is an integral part of the artwork, which is an abstract visualization of a ray of sunlight penetrating through,” Moureaux explains.

Timeline is the 47th iteration in Moureaux’s 100 Colors series, the first of which appeared in Tokyo more than a decade ago. (No. 48, composed of thousands of paper butterflies in 100 different shades for a Lancôme exhibition in Shanghai, featured in our pages last March.) “I will continue to exhibit 100 Colors all around the world,” Moureaux says.

She’s currently planning no. 53 to appear this spring, back where it all began, in Tokyo. —Athena Waligore

FROM TOP: RAPHAEL METIVET; THEO BAULIG

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