Interior Design July 2021

JULY 2021

new dimensions

SIMPLE. SMART.

Swoon-worthy.

Make the most of your space. LifeWorkEtc.com

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CONTENTS JULY 2021

VOLUME 92 NUMBER 7

07.21

ON THE COVER At “Cave Dwelling Shall Predict the Future”—a passivehouse exhibition in Gaoxin Real Estate’s office in Xi’an, China, by Towodesign—a visitor stands in a roomsize box with electrochromic-glass walls on which a dazzling light show plays. Photography: Shao Feng.

features 64 CONCRETE COLLABORATION

by Winifred Bird

Sou Fujimoto Architects integrates the work of varied creatives amid restored and new construction at the Shiroiya Hotel in Maebashi, Japan.

72 SOMETHING OLD,

NEW, AND BLUE

by Ted Loos

88 LIGHTS, CAMERA,

SELFIE

by Rebecca Dalzell

Module K Vietnam turns the silver screen millennial pink at Beta Cinema Saigon, an Instagram sensation— and a local architecture lesson—for Gen Y and Z moviegoers.

96 CUSTOMS OF

THE COUNTRY

by Colleen Curry

The pandemic barely At home and abroad, slowed down the crehotels honor local his­ ative output of Harry tory, traditional crafts, Nuriev, who launched and vernacular forms. a home-goods collection virtually, then Crosby Studios Store in Moscow. 108 NOTES FROM 80 NEXT IN LINE

by Dan Rubinstein

For its latest New York flagship, David Yurman reconnects with Gabellini Sheppard to carry out the vision of the son of the jewelry brand’s namesake founder.

UNDERGROUND

by Casey Hall

In Xi’an, China, Towodesign draws on the region’s ancient tradition of cave dwelling for an exhibition promoting the modern passive house movement.

DO SY

88

07.21

CONTENTS JULY 2021

VOLUME 92 NUMBER 7

walkthrough 43 CAPE MOD

by Lindsay Lambert Day

departments 15 HEADLINERS 19 DESIGNWIRE

by Annie Block 24 BLIPS

by Amanda Schneider 26 PINUPS

by Wilson Barlow 39 CREATIVE VOICES Mix It Up

by Eric Mutrie

Michael Ford uses hip-hop culture to introduce underrepresented youth to architecture and design.

49 MARKET

by Rebecca Thienes, Georgina McWhirter,

and Nicholas Tamarin 59 CENTERFOLD A Place for Reflection

by Edie Cohen

With the help of SOM, a site-specific sculpture in Los Angeles by Phillip K. Smith III literally mirrors life.

150 BOOKS

by Stanley Abercrombie

155 INTERVENTION

by Wilson Barlow

39

27

COURTESY OF HIP HOP ARCHITECTURE CAMP

152 CONTACTS

ARTISTIC MOSAICS Imagine infinite design possibilities with TREND mosaics. This custom butterfly flies artfully along the length of the entire pool that is covered with carefully crafted glass tile in a range of brilliant blues. Ideal for residential and commercial projects, inside or out, mosaic glass tiles are made of up to 78% post-consumer recycled glass.

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

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editor in chief chief content officer

Cindy Allen, hon. IIDA Slater™ PANEL ©2015 modularArts, Inc.

Madeleine Design Group - Vancouver, BC

Linen™ PANEL ©2015 modularArts, Inc.

Zephyr™ BLOCK ©2012 modularArts, Inc. U.S. Patent 8,375,665

Burle™ PANEL ©2007 modularArts, Inc.

MANAGING DIRECTOR

ART DIRECTOR

Helene E. Oberman

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EXECUTIVE EDITOR

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Annie Block

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Edie Cohen

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CREATIVE SERVICES

Peter Webster

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Georgina McWhirter Nicholas Tamarin MARKET DIRECTOR

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Amy Torres ASSISTANT EDITORS

Wilson Barlow Colleen Curry BOOKS EDITOR

Stanley Abercrombie EDITOR AT LARGE

Elena Kornbluth CONTRIBUTING EDITORS

Chelsea™ TILE insert: ebonized walnut ©2016 modularArts, Inc.

Dune™ PANEL ©2003 modularArts, Inc.

Crush™ PANEL ©2011 modularArts, Inc. Bizbee™ Panels ©2015 modularArts, Inc. U.S. Photo: DLZ I INTERIORS, Inc.

Raul Barreneche Mairi Beautyman Aric Chen Rebecca Dalzell Laura Fisher Kaiser Craig Kellogg Jane Margolies Mark McMenamin Murray Moss Jen Renzi Larry Weinberg CONTRIBUTING PHOTOGRAPHERS

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

Kevin Fagan SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

interiordesign.net SITE EDITOR

Carlene Olsen WEB PRODUCER

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Quinn Halman VIDEO DIRECTOR

James Eades MULTIMEDIA PRODUCER

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Jesse Dorris CHAIRMAN OF SANDOW

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Michael Shavalier CHIEF DESIGN OFFICER

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AJ Paron EXECUTIVE VICE PRESIDENT, FINANCE AND OPERATIONS

Judy Safir CONTROLLER

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VICE PRESIDENT, CORPORATE SALES Brockman Katie VICE PRESIDENT,

PARTNER AND PROGRAM SUCCESS

Tanya Suber INFORMATION TECHNOLOGY DIRECTOR

Edward Sanborn

feature walls with modular, glass-reinforced gypsum.

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 and materials indus­tries through innovative content, tools, and integrated solu­tions. Its diverse portfolio of holdings includes Material Technologies Corporation, comprised of global consultancy, Material ConneXion, and revolutionary sampling and logistics platform, Material Bank, as well as The SANDOW Design Group, a powerful eco­system of design media and services brands, including Luxe Interiors + Design, Interior Design, Metropolis, DesignTV, research and strategy firm, ThinkLab, and digital and creative consultancy, The Agency. SANDOW is the official operator of NYCxDESIGN, a nonprofit committed to powering the growth and continued success of New York’s design community, per an agreement with the New York City Economic Development Corporation.

A H C

TT O RL

S E AT I N G + TA B L E S

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www.ERGinternational.com/charlotte.php

Learn more at lumicor.com

vice president publisher Carol Cisco business development VICE PRESIDENT

Laura Steele

integrated marketing

advertising

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Kelly Thomas

Greg Kammerer 646-824-4609

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SOUTHEAST SALES DIRECTORS

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operations EXECUTIVE DIRECTOR, FINANCE & OPERATIONS

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e d i t o r ’s welcome Midsummer is here...and things still ain’t yet clear! Yes, friends and design fans, creating strategies successful enough to navigate what lies ahead is no simple task.

We seem to be stuck in Hamlet’s “to be or not to be” routine, and it’s starting to reek of neighborhood com­ edy theater, if you ask me. For us at Interior Design, the intractable conundrums consist of divining which categories we think will require the most investment, which design teams will deliver those innovative pro­ jects, and which manufacturers will issue ground­ breaking new products.

For the record, this is already our stock-in-trade!

However, getting out of the blocks for a fast sprint at the tail end of COVID is proving no easy biz. For any design practitioner with the responsibility of skip­pering her or his firm to tomorrow, the task is even harder (strike that: much harder). I’ll hazard a guess that we may be victims of our success, because the entire in­ dustry adapted to the pandemic reality phe­nom­enally well (three cheers to all!). Alas, those small residential commissions that saved the bacon yesterday are as demanding as designing a commercial city block, and these past-year wins might now put the brakes on new hires, new partners, new ideas—the ingredients needed to build a future.

Or perhaps not. It may well be too early for new bets.

It’s not yet apparent how quickly we’ll settle into the same old patterns and known ways of conducting business—our well-tried methods. See what I mean?

But you know, one foot in front of the other is just fine for today. Design continues to deliver. Our industry is burgeoning and ever more important to society, so fret not. Just sticking to the present might be what’s best for now. It’s summer, after all, and we have more than earned the time to enjoy and experience a dimension in which we’re distinctly aware of our domain, our family, our surroundings—the singular pleasures of the here and now.

one step at a time

Surf’s up,

Follow me on Instagram thecindygram

PAUL GODWIN

JULY.21

INTERIOR DESIGN

13

INTRODUCING: THE ARC PENDANT 866.398.1530 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs and Images ©1989 - 2021 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

headliners

Crosby Studios “Something Old, New, and Blue,” page 72 founder, principal designer: Harry Nuriev. firm sites: Moscow and New York. firm size: 30 architects and designers. current projects: Crosby Studio Store pop-ups in London and Paris; Wandering Barman and fashion boutiques in New York; residences in Europe and the U.S. fashionable seat: Nuriev designed a sofa for Balenciaga for Design Miami 2019. fashionable feet: He has also col­ laborated with Nike and Valentino on sneakers and boots. crosbystudios.com

“Our spaces aim to capture the essence of what’s truly craved: comfort and stimulation, clarity and calm—and a sexy personal story” JULY.21

INTERIOR DESIGN

15

Sou Fujimoto Architects

Gabellini Sheppard Associates “Next in Line,” page 78 founding principal: Michael Gabellini, FAIA. senior associate: Silvia Maffei. firm site: New York. firm size: 30 architects and designers. current projects: 611 West 56th Street residential building and Rocke­ feller Center master plan in New York; Berkeley Hotel in London. honors: Interior Design Best of Year Awards; AIA Institute Honor Awards for Interior Architecture; Chicago Athenaeum Museum of Architecture and Design, American Architecture Award.

“Concrete Collaboration,” page 64 architect, ceo: Sou Fujimoto. firm sites: Tokyo and Paris. firm size: 50 architects and designers. current projects: The 2025 Japan Inter­na­tion­al Exposition master plan in Osaka; House of Hungarian Music in Budapest.

legs: Gabellini rides his bike to the office and client meetings. fingers: A hobby of Maffei’s is hand-building clay into sculptures or functional objects. gabellinisheppard.com

work: Fujimoto claims archi­ tecture is his only hobby. play: He does admit to relax­ing by building LEGOs and drawing with his 6-year-old son. sou-fujimoto.net

h e a d l i n e rs

Towodesign “Notes From Underground,” page 108 co-founder, art director: Mu He. co-founder, coo: Qian Zhang. firm site: Shanghai. firm size: 10 architects and designers. current projects: CiCi Beauty & Slimming and Yuan Space spas and ZhongAn Insurance office in Shanghai. honors: iF Design Award; A’ Design Award. war games: He collects military figurines. word play: Zhang is an avid reader. towodesign.com

Module K Vietnam

origins: In addition to deriving from Nguyen’s middle name, Module K also refers to the indispensable unit that makes up matter. adventures: When traveling, she likes to research local heritage architecture. modulek.com.vn

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INTERIOR DESIGN

JULY.21

TOP: DAVID VINTINER

“Lights, Camera, Selfie,” page 88 co-founder, ceo: Jade Nguyen. firm site: Ho Chi Minh City, Vietnam. firm size: 15 architects and designers. current projects: Leyna spa and Hoang Hai showroom in Ho Chi Minh City; Beta Cinema Phú Quôc in Vietnam. honors: Kohler Bold Design Awards.

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PHOTOGRAPHY TREPAL PHOTOGRAPHY/CLEVELAND CAVALIERS

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design wire edited by Annie Block

Richard Mosse is not a typical war photographer. Rather than document a crisis—the battle, the crossing of the border—as it’s hap­ pening, he instead captures the aftermath, the destruction the conflict has left behind in such areas as Kosovo, the Democratic Republic of Congo, Lebanon, and the South American rainforest, the latter his most recent series, which focuses on nature rather than humans. It’s a body of work that has earned him an honorary fellowship with the Royal Photographic Society as well as his first retrospective exhibition, “Displaced,” at Fondazione MAST in Bologna, Italy. Some of the 77 largeformat photographs reveal the techniques for which the 41-year-old Irishman is known, particularly visible in his Infra series. It depicts his trip to Africa’s North Kivu, a region rich in mineral resources (such as coltan, from which tantalum, present in all smartphones, is extracted) and marked by continuous wars and humanitarian disasters. For those photographs, Mosse chose Kodak Aerochrome, a discontinued infraredsensitive military reconnaissance film developed to locate camouflaged subjects, which recorded the chlorophyll in vegetation, resulting in the Congolese pastureland being transformed into a surreal pink and red landscape. The images, Mosse says, “makes the invisible visible.”

The 6-by-8-foot Platon, a 2012 image of land in the Democratic Republic of Congo that’s fought over by indigenous Congolese tribes and rebel militias, is part of Richard Mosse’s solo photography and video exhibition at Fondazione MAST in Bologna, Italy, through September 19.

COURTESY OF RICHARD MOSSE AND COLLECTION JACK SHAINMAN

after the storm JULY.21

INTERIOR DESIGN

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Photographer Matthew Rolston’s client roster is impressive. Mary J. Blige, L’Oreal, Vogue, Virgin Hotels—the list goes on. For the past decade, however, he has trained his lens on creating fine art. One series in particular is from 2016, although it originated from when Rolston was a child. Raised in postwar Los Angeles, Rolston was exposed to both classical art and Hollywood imagery, around the city and at area cultural institutions and festivals, including the Pageant of the Masters in Laguna Beach. The 88-year-old annual event brings famous paintings to life—think Leonardo da Vinci’s The Last Supper and Edward Hopper’s Nighthawks—in a live musical production otherwise known as tableau vivants, or living pictures. Five years ago, Rolston was granted unprecedented backstage access to the pageant, setting up a makeshift studio to shoot the fully costumed performers during dress rehearsals and intermissions. The result is “Matthew Rolston, Art People: The Pageant Portraits,” an 18-image exhibition at Laguna Art Museum that captures tableaus from that year’s theme, “Partners,” drawn from such artworks as Antoine-Louis Barye’s Roger and Angelica and Harriet Whitney Frishmuth’s The Dancers, all of which Rolston rendered in monumental format (Angelica is 8 feet tall).

He says the project is “art about art about art.”

beauty pageant

d e s i g n w ire

COURTESY OF MATTHEW ROLSTON AND FAHEY/KLEIN, LOS ANGELES

Clockwise from top: Barye, Roger and Angelica (Angelica) is among Matthew Rolston’s solo photography exhibit shot during the 2016 Pageant of the Masters, at Laguna Art Museum in California, from June 27 to September 19. His Hittorff, La Fontaine des Mers (Paredrae of Neptune); Da Vinci, The Last Supper (Jesus Christ) Pageant Makeup Template; and Frishmuth, The Dancers (#1).

After missing last summer’s performance due to COVID-19, the Pageant of the Masters returns to Laguna Beach July 7 to September 3, themed “Made in America.”

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bl ips thinklab 2021 fee projection compared to 2020 performance

+4%

Giants predicted a late-2021 hospitality rebound. It’s happening…

When ThinkLab surveyed Interior Design’s Top 100 Giants firms last November, assessing both their 2021 projections and 2020 actuals, the results were less than rosy. But there’s one bright spot looking ahead: hospitality. Respondents projected a 4% increase in those fees for 2021, with the boom focused on the back half of the year. That optimism reflected the promise of mass vaccination and pent-up demand that was, at the time, hypothetical but has since become reality. For instance, the number of passengers traveling daily through U.S. airports just surpassed 2 million, per Transportation Security Administration screening data, up from early last summer’s tally of 300,000 and approaching the pre-COVID average of 2.6 million.

That’s great news, but closer scrutiny reveals some complexity. Lodging construction, for one, is still way down, and as of last October, 68% of hotel projects in the pipeline were for three of the largest hospitality brands; smaller, boutique companies have been much harder hit and will thus take longer to rebound. The A&D community can help accelerate that recovery by not only rethinking spaces for a post-pandemic era but also by doing what it does best: amplifying experiences.

—Amanda Schneider

“Clients will be motivated to opportunistically invest in hospitality, including more outdoor spaces programmed intentionally for guest experiences” —Wimberly Interiors

-37%

2020 actual performance compared to projections 24

INTERIOR DESIGN

JULY.21

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Barbora Žilinskaitė sculpts scrap material into limited-edition stonelike seating with personality Roommates stool in pigmented wood dust, through Adorno. adorno.design

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COURTESY OF BARBORA ŽILINSKAITĖ

a big step forward

LAPLAND

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seeing the light Tamara Efrat and Yuval Dishon give discarded polypropylene plant pots a second life Blue Marble, Black and White Terrazzo, and Brown and Black Marble Lamps in recycled plastic, glass, and a 5W warm white LED by Mon Terra.

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INTERIOR DESIGN

JULY.21

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Michael Ford uses hip-hop culture to introduce underrepresented youth to architecture and design

mix it up

After earning a master’s in architecture from the University of Detroit Mercy in 2006, Michael Ford’s first job offer came from Hamilton Anderson Associates, an esteemed, Black-owned local studio. “I had the blessing of Rainy Hamilton, someone from the community looking to make sure that African Americans have a real chance to work at a firm,” Ford says. “So, my obligation is to use my leverage to give back to those coming behind me.”

Having founded his multidisciplinary studio BrandNu Design in 2016, Ford, now based in Madison, Wisconsin, went on to establish the Hip Hop Architecture Camp, a national program that lays the foundation for Black and Brown youth to pursue careers in design. In week-long sessions, the structural thinking involved in song composition is unpacked, highlighting the many connections between rap lyrics and the built environment—all to inspire campers to develop ideas for new buildings. “It’s using cultural relevancy as a catalyst,” Ford says. Top participants go on to paid internships at such firms as NBBJ and Bora Architecture.

Ford has further expanded the program’s reach by teaming up with Lupe Fiasco to supply water to Kenya’s Samburu Girls Foundation and by hosting virtual events with speakers like radio host Angela Yee. Herman Miller has become another strong collaborator: This spring, 57 incoming students at the University of Madison were each invited to remix a pair of the company’s Eames molded plastic side chairs, developing one for themselves and one to send to an organization where they’d like “A Seat at the Table,” either in the form of a job or through public policies that better serve a diverse population. When it comes to supporting the next generation, Ford isn’t sitting still. He tells us more.

c r e at i v e voices The BrandNu Design and Hip Hop Architecture Camp founder sits in his remixed version of an Eames lounge chair and ottoman outside the State Capitol in Madison, Wisconsin.

HEDI LAMAR PHOTOGRAPHY

JULY.21

INTERIOR DESIGN

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For “A Seat at the Table,” students added visual treatments to the Eames plastic chair. What is that design’s significance for you?

MF: I’m constantly exploring the relationships between popular culture and design. To be able to say,

using an Eames lounge chair to talk to people about taking a stand. I wrote the names of victims of racial violence in the U.S. on it and shipped it around as a seat for changemakers and activists to have conversations and raise money for building safe spaces. Charles and Ray Eames called the chair a “refuge

“That’s the chair Beyoncé had in her music video,” is an easy pitch to get young people excited. I also appreciate being able to use these pieces as another avenue for discussions about equity, justice, and inclusion. Partnering with Herman Miller allows me to put those conversations in front of those trying

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INTERIOR DESIGN

JULY.21

to avoid them, because the brand has gravitas.

How did students go about reimagining the chairs?

MF: Some opted to write literal messages on them, while others chose to create more abstract, artistic pieces. We had speakers like rapper Royce da 5’9” offer inspiration. Artist Renda Writer, who created Detroit’s Black Lives Matter

mural, gave tips on how to use the different markers and tools to cover space in an impactful way.

What do you hope those receiving these chairs see in the final products?

MF: That young people are paying attention. For some, the chair might

serve as a thank you for what they’re doing, and they’ll feel good.

For others, it’s a nudge saying, “I want to come help you fix these issues.” Or even, “I might come take the seat you’re sitting in.”

How do you see this program evolving?

MF: We’re talking about making it annual and holding editions at other schools. One of the activists

who spoke at the start, poet Muhibb Dyer, told the students, “Yes, get your seat at the table.

But don’t stop there. Be prepared to make your own damn table.”

That’s phase two. —Eric Mutrie

COURTESY OF HIP HOP ARCHITECTURE CAMP

from the strains of modern living.”

We were asking: In 2021, what is that refuge for Black folks?

How did the partnership with Herman Miller develop?

Michael Ford: It started with a mural I created for Madison last year during the uprisings—526 white strikes on a Black body, indicating the time in seconds, as then understood, that Derek Chauvin had his knee on George Floyd’s neck. A Herman Miller rep saw an interview I did and contacted me about how to help. I had the idea of

Clockwise from opposite top left: A 2019 Bronx Hip Hop Architecture Camp participant recording a freestyle about architecture. University of Madison student S. Momon’s remixed Eames plastic chair, sent to Anthony Cooper, who helps released prison inmates reacclimate to society. Ford’s one-off lounge chair, covered in the names of victims of police brutality and racial violence. A “Seat at the Table” chair by student T. Love. Translating rap rhyme schemes into structural models via Autodesk. The back of Ford’s chair. A 2018 Chicago Hip Hop Architecture Camp, filmed for Oprah Winfrey’s Super Soul Sunday.

c r e at i v e voices

COURTESY OF HIP HOP ARCHITECTURE CAMP

JULY.21

INTERIOR DESIGN

41

FONTANA SERIES

ISA

45

INTERNATIONAL 1976 - 2021

W W W. H AVA S E AT. C O M | 1 . 8 0 0 . 8 81 . 3 9 2 8

walk through

MATT KISIDAY

cape mod

firm: workshop/apd site: falmouth, massachusetts

In the clubhouse at the hospitality complex AutoCamp Cape Cod, a custom glassand-steel fire pit is surrounded by Geremia Design’s custom chairs and backed by a blackened-steel staircase with concrete seating.

JULY.21

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From top: Custom shelving outfits a clubhouse restroom. A custom sofa joins Chris Earl armchairs and Hannah Kemp’s Forest Fog in the clubhouse’s second-floor meeting area. In reception, Windy Chien’s Circuit Board and Brendan Ravenhill pendant fixtures hang behind and above the check-in desk, which is naturally weathered hemlock, the same wood used for all the clubhouse’s interior millwork.

Opposite, from top: Near the fire pit is a lounge area, the Sentient armchair and Croft House sofa anchored by a Pfiefer Studio cocktail table. Each of the property’s 88 Airstreams is equipped with a fire pit for cooking.

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Just opened on a wooded hillside in the Massachusetts town of Falmouth, AutoCamp Cape Cod is the East Coast debut of the California-based hospitality brand known for its upscale yet outdoorsy retreats near such national parks as Yosemite and Joshua Tree, each outfitted with customized Airstreams and luxury canvas tents. When it came to conceiving a sense of place for the coastal New England property, rather than going the obvious route—shake shingles, blue-and-white everything—Workshop/ APD founding principal Andrew Kotchen and AutoCamp design director Will Spurzem went in a different, though no less locally inspired, direction.

“What many people don’t understand is that the Cape was an early laboratory for mid-century architecture,” says Kotchen, whose firm oversaw the 14-acre property’s master plan and 8,100-square-foot clubhouse. With that historical context guiding him, Kotchen and team dreamed up a two-story clubhouse imbued with subtle nods to its surroundings, past and present.

In reference to the wood that’s commonly used for the region’s homes, the building’s clean-lined exterior is wrapped in natural cedar planks. Inside, soaring ceilings and poured concrete floors are a calming, contemporary canvas for abundant hemlock millwork, charred dark gray in some areas, pale in others, such as at the check-in desk, where guests stop before heading to their Airstream, tent, or X cabin.

Like at other Autocamp properties, the clubhouse functions not only as reception but also a gathering place. WAPD ensured that by installing a 360-degree glass-and-steel hanging fire pit, essentially the beating heart of the clubhouse. Its glow can be enjoyed from Donald Judd-esque chairs by Lauren Geremia (who, incidentally, was part of the AutoCamp Yosemite team) as well as a neighboring lounge area populated with wooden furniture sporting mid century–reminiscent profiles. On the other side of the fire pit is WAPD’s switchback staircase. Leading to the second-floor flex space and terrace, used for meetings and events, the blackened-steel construction echoes the fire pit and is anchored by concrete stadium seating. The industrial vibe is tempered by a built-in trough fitted with live plants and cushions upholstered in warm amber leather. “For the interior to be welcoming all seasons, we looked to the property’s distant sunset views,” Spurzem says of the color scheme. “That led to a thread of burnt-orange tones throughout.”

Although there are no whale-shape wall clocks or framed beach watercolors, Kotchen and Spurzem were careful to

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acknowledge the Cape’s nautical heritage through art.

Windy Chien’s large rope knot–inspired piece, for example, is rendered minimalist and modern in black Sunbrella cordage.

Those descriptors also apply to the interiors of the property’s 88 Airstreams, which Spurzem’s team appointed with simple but luxe furnishings in a white and sand palette. After guests finish cooking dinner on their provided outdoor fire pit, they can amble over to the clubhouse lawn to catch the sunset over Buzzards Bay. “The way we sited the structures,” notes Kotchen, “was very much about reaching out and grabbing the landscape.” —Lindsay Lambert Day

FROM FRONT THE CITIZENRY: STOOL (FIRE PIT). GEREMIA DESIGN: CUSTOM CHAIRS. STEELE CANVAS BASKET CORP.: LAUNDRY CART (RESTROOM). CB2: HAMPER. REJUVENATION: SCONCES. THROUGH 1ST DIBS: CHAIRS (MEETING AREA). COMMUNITY MANUFACTURING: BENCH. ARTERIORS: BLACK OBJETS (RECEPTION). WARMLY: SCONCE. BRENDAN RAVENHILL STUDIO: PENDANT FIX­ TURES. WARP & WEFT: CUSTOM RUG (LOUNGE). SENTIENT: ARMCHAIR. CROFT HOUSE: SOFA. VALLEY FORGE: SOFA FABRIC. CRATE & BARREL: TRAYS. BLOOMIST: PITCHER, CHAIN. WEST ELM: LAMP (LOUNGE); PILLOWS. COMPOSITION HOSP­ ITALITY: CUSTOM LOUNGE CHAIRS (OUTDOOR COOKING AREA). PREMIER DE­S IGNS: FIRE PIT. LOLL DESIGNS: TABLE, BENCHES (OUTDOOR DINING AREA).

COYUCHI: BLANKET (BEDROOM). WELSPUN: BED LINENS. SABIRA TEXTILES: CUSTOM PILLOWS (AIRSTREAM). GLOSTER: BENCHES, TABLES (TERRACE). INNO­ VATION LIVING: FUTON (AIRSTREAM). THROUGHOUT MIROSLAVA AHERN: LANDSCAPING CONSULTANT. RESAWN TIMBER: WOODWORK. BLUE FLAG CON­ STRUCTION: GENERAL CONTRACTOR.

w a l k through Clockwise from top left: Guests can borrow bikes to ride on the Shining Sea Bikeway, accessible directly from AutoCamp Cape Cod. Under a custom pendant fixture, the bed is made up with Welspun linens, a Coyuchi throw, and a custom Sabira Textiles pillow. On the clubhouse’s second floor,

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retractable glass doors open to a terrace with teak tables and benches.

Solid-surfacing countertops join an Unfurl futon by Andreas Lund, Flemming Højfeldt, and Per Weiss.

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HONORING INDUSTRY PEOPLE & P R O D U C T

enter by july 30 idhipawards.com Winners will be honored during an in-person ceremony at NeoCon and a virtual ceremony on DesignTV

by SANDOW. #idhipawards

LI M I TE D ED ITION A RT PRINTS, SOURC E D FROM INDE PE ND ENT A RTISTS.

“Hidden Beach Diptych I & II“

by Caryn Owen, Santa Cruz, CA, an artist in Minted’s global community. ©Minted, 2021

Complimentary art proposals and a range of premium framing options for interior design professionals.

MINTE D.COM/ TR AD E

special lighting section

market

edited by Rebecca Thienes text by Georgina McWhirter, Nicholas Tamarin, and Rebecca Thienes

shape shifter Clara Campo and Arán Lozano met in their fathers’ hometown in the Pyrenees mountains.

Today, the two run Amarist Studio out of Barcelona, Spain, making functional sculptures that invite reflection on the world. Their Aqua Fossil series introduces Iberian alabaster as a moldable element, returning it to its watery origins where the stone was formed under the sea. For each piece, the technique varies. To generate Aqua Fossil Light I’s fluid shape with a hollow interior for LEDs, the designers worked freehand, deconstructing and reconstruct­ ing a section of the alabaster using resin. The one-of-a-kind shade is bolted to its concrete plinth, the entire lamp standing approximately 32 inches tall. amarist.com

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devil is in the details MARIO CUCINELLA

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The Italian lighting manufacturer Lucifero’s teams up with Mario Cucinella Design for Iride, a tiny spotlight modeled after a lens, both in the human eye and in a camera. “It’s the result of and named after our study on the eye, our natural camera,” Mario Cucinella explains, “in which the iris, like a camera diaphragm, has the function of regulating the amount of in­going light.”

Iride’s die-cast aluminum body, its profile reminiscent of a camera’s focus ring and adjustment dial, is available in a range of bright colors.

“We liked the idea that the spotlight didn’t have to be just a gray or white object,” Cucinella continues. Suited for indoors or out, the fixture is available with its circular base surface-mounted, allowing it to rotate any which way, or on tracks (the latter in black or white only). Anti-glare filters and chrome, black, or bronze snoots enrich and enhance the engineering. luciferos.it

PORTRAIT: GIOVANNI DE SANDRE

IRIDE

“It’s a metaphor for our eyes and the sensitivity we have toward light”

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Nika Zupanc for Natuzzi Italia

Doug Johnston of Doug Johnston Studio

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product Recast. standout The Dutch designers’ exper­ iments into no-waste manu­facturing resulted in pendant fixtures made from polymer-concrete production offcuts that yield the colorful, fragmented ap­ pearance of super-scaled terrazzo.

product Lunair. standout In the hands of the Belgian furniture designer, reclaimed travertine and marble from supplier Van den Weghe and planed lengths of discarded ash are transformed into floor lamps lit

by LED strips. Through Scène Ouverte.

product Joy. standout As part of a multi-designer collection inspired by the sea, the Slovenian product designer’s floor lamp dangles an iridescent blownglass orb from a twisted finial and wavelike metal stem on a ceramic base.

product Carousel. standout The artist uses a process of coiling and machine-stitching cordage based on ancient vessel-building tech­ niques for his cavelike pendant fixtures, each a meditation on shelter and sanctuary. Through R & Company.

waarmakers.nl

galerie-sceneouverte.com

natuzzi.com

r-and-company.com

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PRODUCT, PORTRAIT 4: MICHAEL POPP; PORTRAIT 1: IRIS DUVEKOT

Simon Akkaya and Maarten Heijltjes Filip Janssens of Waarmakers Studio of Filip Janssens

Nao Tamura for Ambientec PRODUCT 5: HIROSHI IWASAKI; PORTRAITS 5, 7, 8: LAUREL GOLIO; ANDREA FERRARI; ANDERS SCHONNEMANN

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product Turn+. standout The Japanese-American founder of Nao employs a feather-delicate touch sensor on her aluminum, brass, or stainless-steel lantern, creating “a strong sensory and emotional bond with its user.” ambientec.co.jp

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Arianna Lelli Mami and Chiara Di Pinto for Petite Friture

Raymond Barberousse of Studio PGRB

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product Pop. standout For his sconce, the cofounder with Priti Gandhi of the Miami-based lighting studio paired twin frosted-glass globe shades with echoing spheres in solid machined brass. studiopgrb.com

Peter Bundgaard Rützou and Signe Bindslev Henriksen for Stellar Works

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product Unseen. standout The Studiopepe duo sought to replicate the appearance of neon by employing LED tubes shaped into a collection that includes a chandelier, pendant fixture, sconce, and table lamp. petitefriture.com

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product Haro. standout The Space Copenhagen founders’ elevated take on industrial metal lighting includes a sconce, pendant fixture, and table and floor lamps, each with an opal glass shade that hovers like a UFO. stellarworks.com JULY.21

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primary source Your go-to for shapely, colorful fixtures with joie de vivre

1. Gigi table lamp in ombré blown glass in Red

by D’Armes. darmes.ca 2. Zanellato/Bortotto’s 20- or 28-inch Lanterne

in blown glass and woven leather in Pistachio or Red Berry by Louis Vuitton Objets Nomades.

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louisvuitton.com 3. Coil Naturals pendant fixture in 3-D printed

recycled plastic waste in Red Clay by Lightart. lightart.com 4. Gianluca Peluffo & Partners’s Lady Galala tri-

color pendant fixture in painted aluminum and methacrylate by Martinelli Luce. martinelliluce.com 5. Brutos’s Papilio pendant fixture in Murano glass and iron powder-coated Forest Green by Masiero. masierogroup.com 6. Pierre Cabrera’s Tulip pendant fixtures in acrylic and leather by Hi-Macs. himacs.eu 7. David Kitts’s Libra 10-light pendant fixture

in steel and glass by Hubbardton Forge. hubbardtonforge.com 8. Palm task lamp in 3-D printed plant polymer in Sunrise by Gantri. gantri.com 9. Intervals recessed fixed downlights in cold7 54

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forged aluminum by Sonneman—A Way of Light. sonnemanawayoflight.com

“It has a sculptural character”

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The band’s back together: Barber Osgerby and Flos have collaborated again. The result is a continuation of Edward Barber and Jay Osgerby’s Bellhop col­ lection in the form of a super-slender, nearly 6-foot floor lamp.

The duo took the domed blown-glass diffuser of the line’s existing table lamp and inverted it to create an LED up-light, then attached it to an aluminum pipe stem—painted Green, Chocolate Brown, White, or Brick Red—and finished it off with a round concrete base and a foot dimmer switch.

BELLHOP

totally tubular In addition to the lamps, the grouping also includes sconces suited for indoor/outdoor use. usa.flos.com

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solar gains Aptly named Sunseeker, the solar-powered outdoor lantern by Esther Jongsma and Sam van Gurp of Vantot glides along cables and rotates like a sunflower to find and soak up maximum rays during the day. At night, that stored energy powers integral LEDs. Each 39inch-diameter fixture—in anodized aluminum

“The fixture harvests daylight to provide energy-neutral illumination at night”

lighting ESTHER JONGSMA, SAM VAN GURP

SUNSEEKER

market

and acrylic—is also interactive: It changes color and brightness as people walk by. Part of a collaboration with the Dutch municipality of Eindhoven that’s been four years in the making, the first installation is in the city’s Victoriapark, proving public-space lighting doesn’t need to connect to the grid.

CLOCKWISE FROM TOP: ROEL DEDEN & VANTOT STUDIO (2); MAX KNEEFEL (2); VANTOT STUDIO

vantot.com

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Teknion Future Smart

At Teknion, we believe history offers narratives that apply to our own 21st century. Swept along by the pace of change, we can draw from a shared past to shape our collective future.

As a Future Smart society or business, we need to understand where we’ve been, as well as to imagine where we might go.

History speaks if we are willing to listen. The resolve of women who campaigned for the right to vote set a milestone in the cause of equal human rights— inspiration to all who seek a path to equity and inclusion.

teknion.com

connecting & engaging the A+D community

tune in facebook.com/interiordesignmagazine

With the help of SOM, a site-specific sculpture in Los Angeles by Phillip K. Smith III literally mirrors life

a place for reflection

30 20 30 THREE architects, designers, and engineers led by SOM’s director of engineering Eric Long

INCHES HIGH

FEET LONG

PIECES OF MIRRORED GLASS

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1. A CAD drawing reveals how Skidmore, Owings and Merrill anchored Phillip K. Smith III’s Santa Monica Linear into the California property of art collector Dallas Price and her husband, sculptor Bob Van Breda, with three 5-inch-thick steel posts embedded 6 feet into the ground.

2. Folded aluminum, super-light and rigid, creates the structure’s form, which appears like a monolithic rectangle from one perspective but is actually triangular.

3. A 42-degree slope obviated the use of trucks and cranes, there­by requiring hand installation on the residence’s grounds, which also include Skyspace, a viewing chamber by James Turrell.

“Light is the common language among all human beings—it’s at the core of memory.”

—Phillip K. Smith III

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1. By day, Santa Monica Linear, nestled amid a 110-foot-tall expanse of green, captures the sky and surrounding foliage in a single continuous band, free from internal structural elements. 2. The sculp­ ture joins Price and Van Breda’s residence, built in 1967 by SCI-Arc founder Ray Kappe, and overlooks their hardcourt tennis court.

3. At night, integral LEDs and electronic components create a unique color chore­o­g­ raphy. 4. The computer-generated loop lasts 2 hours. 5. The gradient swaths emulate L.A. sunsets.

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a tin Pa er pp Co 24 94 M

DECOMETAL

View the entire collection at www.formica.com

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6/10/21 2:51 PM

Sit back and enjoy

july 21

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concrete collaboration

Sou Fujimoto Architects integrates the work of varied creatives amid renovation and new construction at the Shiroiya Hotel in Maebashi, Japan

text: winifred bird photography: jimmy cohrssen

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The first time Argentine conceptual artist Leandro Erlich stepped into the Shiroiya Hotel, during the early stages of its renovation, he was awestruck. Erlich was in Japan to install an exhibition when a friend introduced him to the hotel’s owner, Jins Eyewear president and founder Hitoshi Tanaka, who promptly invited the artist to visit the project in Maebashi, the businessman’s hometown, about two hours from Tokyo.

From outside, the four-story, 1970’sera concrete box—the final iteration of an inn that had occupied the site for 300 years—was entirely un­ remarkable. Inside, however, Sou Fujimoto Architects had already ripped out about one third of the 18,800-square-foot structure’s floors, creating a soaring atrium crisscrossed by rough concrete beams.

“The typical approach of architecture is to optimize space, but here Fujimoto had demolished what existed not to rebuild but to create a great volume of air,” Erlich recalls.

The missing floors and walls reminded him of Italo Calvino’s fictional city of Armilla, where the buildings comprise nothing more

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than towering networks of water pipes and plumbing fixtures. So when Tanaka asked Erlich to join the project, the artist decided to recreate Armilla after a fashion by interlacing the atrium with a web of translucent PVC tubes aglow with internal LEDs, an installation he calls Lighting Pipes. Erlich found the Shiroiya Hotel especially appealing because his site-specific work frequently engages directly with architecture. “I’m always building fictions, but with this I was allowed to do the same in a place conceived by others,” he says.

Collaboration was integral to the project. “Creating space for diversity is my style,” Fujimoto says. For six years, he met monthly with Tanaka and a host of other participants, fluidly integrating their ideas into his plan. This included “special” guest rooms, each a unique installation by one of four international talents: British designer Jasper Morrison lined his entirely in meranti paneling, so, as he puts it, “the room becomes a kind of packing case like the ones made to transport art”; veteran Italian architect Michele de Lucchi covered the walls and ceiling of his room

Previous spread: In the Heritage Tower, a 1970’s-era building that’s part of the Shiroiya Hotel in Maebashi, Japan, Sou Fujimoto Architects ripped out several of the structure’s floors, creating a four-story atrium crisscrossed by rough concrete beams and painted steel walkways.

Opposite top: Skylights brighten a passage connecting the 17-room Heritage Tower to the new eight-room Green Tower, also by Sou Fujimoto. Opposite bottom: Hanging textiles by Yoko Ando and a Teppei Takeda painting join Jasper Morrison sofas, tables by Eero Saarinen and Koichi Futatsumata, and a Vico Magistretti pendant fixture in the atrium lounge.

Top, from left: The Green Tower, a grass-covered concrete structure that resembles a hillock dotted with angular modernist sheds, also contains retail spaces and a patisserie; photography: Shinya Kigure. Another firm, Esquisse, designed the Shiroiya Hotel’s main restaurant, with EOOS chairs. Bottom: A 1992 painting by Yoshio Shirakawa hangs on an atrium wall above the lounge.

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Top: Leandro Erlich’s Lighting Pipes comprises PVC tubes enclosing dimmable LEDs. Center: Works from Tatsuo Miyajima’s Life (le corps sans organes) series are installed in the topmost shed on the Green Tower. Bottom: Liam Glick artwork appoints a ground-level corridor, its brick flooring paying homage to the warehouses of Maebashi’s once-thriving silk industry.

Opposite top: In Erlich’s room, one of four commissioned guest suites, the artist recreated his atrium installation with bronze pipes.

Opposite bottom: Fujimoto designed the 21 standard guest rooms, including this one with a Kengo Kito installation.

with 2,725 dark-stained pine shingles that, he notes, “make rigid surfaces seem soft”; Erlich used a labyrinth of bronze pipes to recreate a smaller version of his atrium installation; and, along with designing the 21 other guest rooms, Fujimoto created a calm, monochromatic environment in which the furniture appears to be sprouting green leaves.

It all began in 2014, when Tanaka called Fujimoto to say he had bought a defunct but much-loved historical inn and ask if he’d like to help revive it. The two men had known each other for decades; Fujimoto’s first residential project was for Tanaka’s brother, and later he contributed to a line of Jins eyewear by well-known architects and designers, including de Lucchi and Morrison. What Tanaka had in mind was not simply the renovation of a hotel but also the renewal of Maebashi itself. Once a thriving center of silk production known for its lush greenery, pristine waterways, and modernist poetry, the midsize city was now a textbook example of urban decline. The Shiroiya seemed 68

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fated to join the ranks of shuttered businesses until a public outcry prompted Tanaka to intervene. He wanted the hotel to function as a kind of public living room where culturally minded locals and visitors could meet, fueling further urban renewal— a goal the city government was also pursuing. Creativity thus took priority over immediate profitability or speedy completion.

The ground-level atrium lounge does indeed feel like a comfortable living room, with plush sofas, hanging textiles, and a forest of potted plants. A glance upward, however, reveals an industrial vista of angular concrete and glowing pipework. Like much of Fujimoto’s work, it is a liminal space—both an extension of the cityscape and an escape from it. Reception and a restaurant by Shinsuke Kai of Esquisse occupy the remainder of the floor that, like the guest rooms, is filled with artwork by local and international talents—much of it specially commissioned, like the colorful banners by American conceptualist Lawrence Weiner that adorn the

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hotel’s street facade. The art, which was curated by Tanaka himself, was a late addition to the project. “Initially, I figured we’d just have lithographs or something in the guest rooms,” he acknowledges. “But as the architecture progressed, I realized the power and authenticity of the hotel demanded real art.”

Adjoining the Heritage Tower, as the renovated structure has been dubbed, is the Green Tower, a new five-level building containing retail spaces, tearooms, and the balance of the Shiroiya’s guest rooms. But the concrete edifice is almost entirely covered with soil, so it looks like a grassy hillock dotted with trees and Hobbitlike windows set in the greensward. Perched on the mound are an art gallery, a Finnish sauna, and other amenities, each housed in its own brilliant-white modernist shed. A network of stairs and paths allows guests to wander over the knoll and access the angular cabins.

The Green Tower is among Fujimoto’s bolder experiments in blurring the boundary between nature and architecture. “It’s like a memory of the

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city’s ancient topography,” he says.

“It brings something new, but in harmony with the existing situation.” It’s also a witty realization of Maebashi’s newfound civic vision: to become, as a promotional slogan puts it, the place “where good things grow.”

PROJECT TEAM MASAKI IWATA; TOSHIYUKI NAKAGAWA; HARUKA TOMOEDA; MINAKO SUZUKI; HITOSHI FUJIITA; HARUNORI FUJII; LI QUN; SHIRO TAKAHASHI; TAI FURUZAWA; GIORGIO CASTELLANO; OUHIBI NADIR; TOMONORI KITAMURA; NATASYA HANDAJUWANA; TAKAHIRO NISHIKAWA; GIULIA CURTI; SAORI MIKADA; MEGUMI SATO; FRANCESCO ZONCA; KIM SEUNGTAEK: SOU FUJIMOTO ARCHITECTS. OHBAYASHI ENVIRONMENTAL TECHNOLOGY INSTITUTE; SOLSO: LANDSCAPE CONSULTANTS. NANILANI: GRAPHICS CONSULTANT. LIGHT­ DESIGN: LIGHTING CONSULTANT. ISHII SEKKEI: STRUCTURAL ENGINEER, MEP. FUYUKI KOGYO: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT KNOLL: ROUND TABLE (LOUNGE).

E&Y: RECTANGULAR TABLE. OLUCE: PENDANT FIXTURE. VITRA: SOFAS (LOUNGE), DESK CHAIR (JASPER MORRISON ROOM). CARL HANSEN & SØN: CHAIRS (RESTAURANT). TLC ASSOCIATES: BRICK FLOORING (HALL). MARUNI: ARMCHAIRS, BED, DESK (JASPER MORRISON ROOM). FREDERICIA: ROUND TABLE. AKARI-OZEKI: PENDANT FIXTURE. FLOS: FLOOR LAMP.

Opposite top: The cleaning staff wears jumpsuits that echo the Lawrence Weiner art on the hotel’s facade. Opposite bottom: All the furniture and lighting in the meranti-paneled Jasper Morrison Room is by the designer, except for the Isamu Noguchi pendant lantern.

Top, from left: Another Miyajima work, Time Neon-02, glows in the top shed window. The words, shapes, and colors of Weiner’s works were inspired by Maebashi’s characteristic river and weather; photography: Shinya Kigure. Bottom: Kei Takamura’s oversize playing cards enliven another standard guest room.

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The pandemic barely slowed down the creative output of Harry Nuriev, who launched a home-goods collection virtually, then Crosby Studios Store in Moscow

something old, new, and blue text: ted loos photography: mikhail loskutov

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Previous spread: At Crosby Studios Store, the Moscow showroom adjoining the offices of design firm Crosby Studios, founder Harry Nuriev chose an envelope of unfinished concrete to backdrop his 40-piece home-goods and loungewear collection, which first launched in December on home.crosbystudios.com.

Below: The custom ceiling fixture has a 16-foot diameter, the same as the sunken seating area.

Opposite top: Blue Folding Screen is a room divider with Velcro pockets that provide storage. Opposite center: Powder-coated metal Pencil Shelves stand beside one of the collection’s distinctly Russian items, the Crosby Blue Metal Samovar. Opposite bottom: The Neon Green Fur Little Man pillow is made of foam covered in faux fur and 6 feet long; photography: Julia Tatarchenko.

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Russian design whiz and Instagram star Harry Nuriev began his career as an architect and interior specialist. But that was not enough for him. “I found it hard to have a dialogue with the world,” says the globally minded Nuriev, speaking from Paris, where he is to be found when he’s not in Moscow, Los Angeles, or New York, the city that inspired his firm’s name and where he has an office. “My language was maybe too innovative or crazy for some.”

So the Moscow Architectural Institute grad founded Crosby Studios in 2014 to encompass his genre-blending projects.

Along the way, he gained attention for his collaborations with visionaries like Rem Koolhaas and Liam Gillick and even had a solo museum show of his work at Dallas Contemporary.

“I love to explore the connections between art, design, and architecture,” he continues. The next logical step was to create Crosby Studios Home, his 40-piece homegoods and loungewear collection for the masses, allowing anyone to get a taste of his super-specific, colordrenched aesthetic, which blends mid-century mod­ ernism with a pop-y, KAWS-esque sensibility.

The pieces in Crosby Studios Home are very, very blue—when they are not chartreuse. Those seem to be Nuriev’s default colors, just as other designers stick to charcoal gray and off-white. The collection was a “quarantine project,” Nuriev says, developed when he was living in California last year. “I had been used to living in a space that I designed myself, but, in L.A., I was surrounded by unfamiliar things.” Just painting the walls his signature royal blue wasn’t going to cut it. “I needed something that would bring my DNA into the place,” he says. “I came up

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This page: Loungewear and the Blue Hand Pillow, both in fleece, are part of the collection.

Opposite top, from left: Velvet upholsters the seating area. The MDF Checkers Petal table and stool join the Green Short Furry ottoman.

Opposite bottom, from left: The line includes glass bowls, candles, and a honey spoon because Nuriev uses one himself; photography: Julia Tatarchenko. The collection’s pillows derived from the lack of human touch during the pandemic.

with an idea to make a home collection for people who don’t necessarily want to change their interior overnight, but still want to have some little details that create a feeling. Sometimes just a blanket or a pillow can do that.”

Or maybe a big pillow, as in the life-size, human-shape one Nuriev created and calls the Neon Green Fur Little Man. “You can put it on your TV sofa and lay on it or hug it,” he notes. “It’s fun.” His hand-shape pillows are also intended to reference human contact.

“It’s about handshakes and networking,” Nuriev says. “When we’re first born, we’re touched by our mother.” But there’s also a fair dose of ambition sewn into the pillows: “We’re bringing the Crosby touch all over the world,” he adds. Speaking of touch, the collection includes plush fleece loungewear sets, one in blue, of course.

The line has just a hint of Russian flavor, too, such as the samovar, a decorative kettle specific to his home country that Nuriev oversized to 3 feet tall.

Several black-and-white checkerboard pieces, in­ cluding a blanket, table, pillow, and stools, bring to mind the game of chess, a Russian passion.

“Heritage is important to me,” Nuriev says, but his personality is the type that would rather be breaking new ground rather than looking backward. “I think design is pretty new—it’s like a baby,” he says. “It’s not yet as big as art and architecture, but it has the same potential.” In his mind, the field is just getting started, and so is Nuriev.

Despite the fact that many of the pieces are specifically designed to be soothingly tactile, Nuriev seems to have conceived each to pop on a screen. And that’s just what he did last December. Partnering with Hypebeast’s retail platform HBX, he created a virtual showroom, home.crosbystudios.com, which uses gaming software and AR technology to give viewers a peek at how the Crosby Studios Home items

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Below: The palette of concrete and velvet carries over to Crosby Studio’s office, where Nuriev’s own work space is furnished with his Cubic chairs, available for purchase in the store.

Opposite top: Stainless steel forms the bar in the showroom’s café. Opposite center: Reupholstered task chairs and custom micro cement–covered worktables appoint the design studio. Opposite bottom: The jacket, pants, and Checkers blanket, all in fleece, are engineered for maximum comfort; photography: Julia Tatarchenko.

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look in an interior, plus a link to purchase to them. They can navigate around a virtual apartment, seeing the collection in 3D and even measuring dimensions as you go. (The line is available at the bricks-and-mortar HBX Hong Kong, where it sold out soon after debuting, and hbx.com.)

This spring, Nuriev went bricks and mortar, too, opening Crosby Studios Store, a 2,300-square-foot showroom in the same Moscow building the Crosby Studios office is located.

Since the two spaces are adjacent, Nuriev installed interior windows, so shoppers can catch glimpses of the Crosby Studios design team working away.

The store also picks up on the aesthetic of the office, where unfinished concrete backdrops swaths of upholstery in Nuriev blue.

This is perhaps best seen in the showroom’s sunken living area—a trend that had long ended by the time the architect was born (he’s 36), but still clearly made an impression on him. “You see this in California homes by John Lautner,” Nuriev says. Visitors step down into an enormous round blue-velvet sofa clocking in at 16 feet in diameter, like a huge embrace. “For me, it’s about reuniting people. The circular shape is so strong. I love roundness—I even have a tattoo of a circle.”

The intense color of the Crosby Studios Home furnishings is set off by walls in the same concrete as the office or checkered in gray-and-white wallpaper. The latter backs a long stainless-steel bar in the shop’s café area, which serves blue-themed food and beverages dyed using organic powders. “Now,” Nuriev says, “you can taste Crosby, too.”

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text: dan rubinstein photography: paul warchol

next in line For its latest New York flagship, David Yurman reconnects with Gabellini Sheppard to carry out the vision of the son of the jewelry brand’s namesake founder

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The most sensitive time in any medieval court was the passing of a crown and all its authority to the next generation. Will the former prince retain his father’s privy council? Abandon old campaigns? Start new ones? In the case of the jewelry dynasty of David Yurman, the heir to the throne is striking out in a new direction while honoring his house’s legacy, as illustrated by the brand’s New York flagship, recently completed by Gabellini Sheppard Associates.

Previous spread: A second-floor view of David Yurman in New York by Gabellini Sheppard Associates reveals the flagship’s subtle yet luxurious patterning and palettes, such as the custom floor in dark Pietra Cardosa stone and paler Bardiglio Trambi marble and the wool shearling Clam chair by Philip Arctander in the women’s VIP lounge.

Left, from top: Artisanal plaster structural columns flank a velvet panel meant to draw a customer’s gaze downward to the merchandise displayed in the custom oak-and-travertine vitrine. Modular LED screens on the mezzanine exhibit art and objects reflecting the heritage of the brand, including early examples of artwork and jewelry by brand co-founders and co-CEOs David and Sybil Yurman. Right: Danish oak and granite treads compose the staircase connecting the store’s three levels.

Opposite: The same Danish oak planks with recessed LEDs appoint the ceiling.

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“The Yurmans have always been identified by the ideas of elevated craftsmanship and American modernity,” says principal and Interior Design Hall of Fame member Michael Gabellini, who previously designed the now-closed David Yurman Townhouse store, a few blocks north, just over a decade ago. At the time, Evan Yurman, the son of co-founders David and Sybil Yurman who joined the company in 2003, was rising through the ranks. He became chief creative officer in 2018 (his parents are now co-CEOs), with the new 57th Street flagship acting as a kind of herald of the scion’s vision for the company. Evan Yurman is known for injecting rare materials into the company’s pieces while inheriting his parent’s love of mid-century modernism—both as inspiration and as a design ethos. Gabellini describes the Yurmans as “voracious collectors who actually live with what they collect.”

Set at the base of a 1926 Emery Roth building with a terra-cotta facade, the 4,000-square-foot, three-level store follows Evan Yurman’s brief to create a kind of “theatrical framework,” Gabellini notes, for a company with an array of women’s and men’s product categories and flexible programs. Visitors are greeted by a rose gold and limestone– faced entrance and a fumed oak door with a cablelike bronze door handle—rich elements that embody the brand’s aesthetic. “The space has both masculine and feminine qualities at the same time,” Gabellini Sheppard senior associate Silvia Maffei explains. And with the

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company especially rooted in New York, Evan Yurman made it a point to the Gabellini Sheppard team that he “didn’t want the space to feel European,” Maffei adds. Maintaining a link to the Yurmans’s American sense of modernity was key.

To draw customers into the narrow site and up to the higher floors— where the bridal collection and VIP lounges are—the client requested a scheme that created “a sense of meandering,” Gabellini says. Left: The flagship occupies 4,000 square feet of a 22-story 1926 build­ Curved displays on the ground ing on 57th Street by Emery Roth. floor encourage movement, aided Opposite: Panels printed with the by a dramatic floor of dark stone Great Wave by Japanese Ukiyo-e and paler marble slabs that swirls artist Katsushika Hokusai overlook “like a river running through the the women’s and bridal collections space.” That sense of flow is mir- on the mezzanine, which offers a rored by a ceiling of Danish oak private client consultation desk be­ planks that was fabricated in Italy hind the sliding etched-glass doors. and shipped in panels. “It’s warm and accessible, with a kind of beating rhythm,” the architect continues.

Both the floor and ceiling patterns are concentric to gently echo the brand’s iconic Cable jewelry collection.

After a trip up the central staircase, past the mezzanine containing the bridal and additional women’s collections, the ultimate destinations for the meandering visitor are the two client lounges, one for men and one for women. This is where the flagship’s residential feel is most apparent, as well as the Yurmans’s love for American and Scandinavian modernism. The men’s lounge, for example, pairs a Hans Wegner armchair with pieces by Charles and Ray Eames.

Key to the plan, says the Gabellini Sheppard team, are choices that allow the store to be transformed multiple times per year to accommodate private events and changing product presentations. Rich-toned fabric panels—velvet for the ground floor, wool above—along with artisanal plaster walls act as a luxe backdrop for rotating artworks, video screens, and vitrines. “The cases are basically plug-and-play,” Gabellini states. Similar fine details throughout the project subconsciously delineate space. In the women’s areas, the silver travertine surfaces of tables and casegoods—displaying necklaces, bracelets, rings, and earrings in 14 and 18K white, yellow, and rose gold, a palette similar

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“Fine details throughout the flagship subconsciously delineate space”

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to that of the store’s entryway—have a rolled edge, while in men’s, they have a reversed profile. “Like many of our pieces, all the jewelry is hand-crafted,” Maffei says, admitting to being surprised by the brand’s level of materiality. “The quality is quite striking.”

For Gabellini, the shared goal with David Yurman’s internal teams was a modular system ideal for presenting small, precious objects at risk of disappearing in such a grand space. “This was not a project where we started with an onion, and peeled back layers. Instead, we were growing the onion from the inside-out,” he says, describing his process. “That’s how the space created the right framing device for this micro world.”

Aided by all the modularity, the flagship is being used as a template for the next generation of David Yurman locations around the world.

Up to 75 percent of the design is able to be prefabricated, so it can be repeated easily, a ratio that’s high for comparable projects, Gabellini says, and especially impressive when taking into account the materials and craftsmanship involved. “It’s a concept,” he says fittingly, “that should last a generation.”

PROJECT TEAM KIMBERLY SHEPPARD; OZLEM AKCAY; KENTARO ISHIHARA; GULAY DUKKANCI; CHRISTINE KIM: GABELLINI SHEPPARD ASSOCIATES. CALLISONRTKL: ARCHITECT OF RECORD. DOT DASH: LIGHTING CONSULTANT. EFFEARREDI: WOODWORK. L’ARTIGIANO: PLASTERWORK. ROSINI ENGINEERING: MEP. SWEET CONSTRUCTION GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT THROUGH 1STDIBS: LOUNGE CHAIR (WOMEN’S VIP). ERIK JØRGENSEN THROUGH DANISH DESIGN STORE: ARMCHAIR (MEN’S VIP). MODERN CLASSICS FURNITURE: SOFA. HERMAN MILLER: SIDE CHAIRS. MINOTTI: GUEST CHAIRS (WOMEN’S VIP). THROUGHOUT DINESEN: WOOD SUPPLIER. CONTINENTAL MARBLE: STONE SUPPLIER. TAILOR-MADE TEXTILES: CUSTOM RUGS.

Left, from top: On the ground floor, a silicon bronze sculpture by David Yurman stands beside Nanna and Jørgen Ditzel’s Pot chair. The men’s VIP lounge contains a Hans Wegner armchair, Heinz Lilienthal coffee table, and Charles and Ray Eames Soft Pad side chairs. Right: Dimmable LED strips on the walls of the women’s VIP lounge join a custom wool-silk rug.

Opposite: The pattern of the floor and ceiling, which rises to 28 feet, nods to the brand’s Cable jewelry collection.

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lights, camera, selfie Module K Vietnam turns the silver screen millennial pink at Beta Cinema Saigon, an Instagram sensation—and a local architecture lesson—for Gen Y and Z moviegoers text: rebecca dalzell photography: do sy

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In Vietnam, people still love to go to the movies. While cinema chains in the U.S. struggled even before the pandemic, Vietnamese theaters have thrived—in part because they offer a social experience. “Mil­ lennials and Gen Z don’t go to watch the movie,” explains Jade Nguyen, CEO of Module K Vietnam, the design firm she co-founded with Nguyen Anh Huy. “They want to go together, talk, and hang out.” And, of course, take photos for posting on social media. So, when Beta Group, a chain with cinemas in nor­ thern Vietnam, expanded southward to open Beta Cinema Saigon, in Ho Chi Minh City, the company aimed to produce an Instagrammable destination that would generate buzz. Module K obliged, orche­ strating a 1,000-seat cineplex that honors local landmarks, casting candy colors as the lead characters.

Nguyen has a knack for attracting snap-happy crowds. After studying interior design at Van Lang University, she opened a small coffee shop and gallery filled with bright ceramics and mismatched furniture. The eclectic vibe made it popular for photo shoots, bringing in a new source of revenue.

When the café closed in 2015, Nguyen turned her attention to Module K—the K refers to her middle name, Kim—and designing other eye-catching interiors. One of the firm’s early projects was Serene House, a mixed-use café, furniture showroom, and workplace in HCMC where Module K had its first office. A modern take on French colonial architecture, the industrial, plant-filled setting reflects Nguyen’s love of her home­town’s historic buildings— and gave her a reputation as a stylish interpreter of Indo­ chinese design.

This background made Nguyen, a millennial herself, a good fit for the Beta project.

“Since this was its flagship in the south, Beta wanted to give a gift to the Saigonese and make them proud of their iconic buildings,” she says. “It was easy for me to fall in love with that idea.” Given the target demographic, this would not be a dutiful homage to the 19th-century city of MarieAlfred Foulhoux, the beaux

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Previous spread: In a theater at Beta Cinema Saigon by Module K Vietnam, arched reliefs nod to those found in local landmarks while the color of the polyester upholstering the 190 seats references Ho Chi Minh City’s vibrant street life.

Opposite top: The pigeons in Paris Commune Square inspired the auditorium’s custom LED pendant fixtures. Opposite bottom, from left: Most of the project is in the same color of the exterior and interior of Tan Dinh Church. Asymmetrical arches evoke the church’s neo-Gothic arcades.

Below: A painted plaster-gypsum canopy over the ticket counter mimics the vaulted ceiling of HCMC’s Central Post Office.

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arts–trained chief architect of French-occupied Saigon. Instead, Nguyen pitched pared-down references to attractions like Paris Commune Square and the Central Post Office. Though there’s an old city map above the entry, the theme is otherwise oblique, with landmarks rendered in simplified lines and solid colors. “Gen Z doesn’t know much about these sites,” Nguyen admits. But she hopes young visitors ling­ ering in the mezzanine lounge will take the time to identify them—and engage with their city’s heritage.

For locals, the most recognizable element is the color: The theater is almost entirely painted the same pale rose as Tan Dinh Church, known as the “pink church.” Other locations are harder to spot, like the asymmetrical arches in a side waiting area that nod to the church’s neo-Gothic arcades. The columned ticket and refreshment counter, in deep teal, curves slightly overhead to recall the post office’s mag­ nificent vaulted ceiling. Opposite, a circular steel platform with navy stadium seating echoes the arched entrance of the Municipal Opera House, while white bird-shape pendant fixtures allude to the pigeons in public squares nearby. A rainbow-painted hallway leading to the seven theaters gestures to the colorful street life in HCMC’s alleyways.

From these disparate inspirations, Module K formed a cohesive look using graphic design principles.

Taking cues from Beta’s simple, geometric logo, Nguyen and her team reduced 40 potential landmarks to their basic shapes, like the circle of the opera and the rectangles of the church. Then the designers moved

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“It was new for us not to think in terms of wood or brick, just the colors in Photoshop” Custom canvas wall covering brings a vintage vibe to each of the seven theaters.

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them around like Legos in digital and physical models, experimenting with different layouts and rearranging buildings until they settled on five iconic locations that sat well together. “Next, we applied a solid color treatment, because we wanted it to look 2D—more like graphic design than interior design,” Nguyen explains. “It was new for us not to think in terms of wood or brick, but just the colors in Photoshop.”

Plaster-gypsum walls, ceilings, and columns are painted in saturated hues, incorporating little texture into the envelope, except for shiny porcelain or encaustic-cement floor tiles. Spare, modern lounge furnishings include bright-red café tables and round or square ottomans upholstered in pink, green, or yellow vinyl. The effect is that most areas appear almost flat, looking more like a perky photo-booth backdrop than a 21,500-square-foot cineplex. Only the individual theaters are multidimensional, with arched LED-lit recesses, turquoise seating, and custom canvas wall covering. “We printed a photo onto the canvas to give it a vintage-looking texture,” Nguyen notes of the latter. In earthy tones of orange and green, the theaters are a moodier take on old Saigon.

When Beta Cinema Saigon opened in January, tweens and teens didn’t hesitate to get tickets. Nguyen reports that they arrive well before showtime to pose on the jagged mezzanine staircase, pink balcony, or even in the graphic checkered restrooms.

She guesses that most of them don’t care what film is playing.

At Beta, there’s plenty to look at off­screen. As for Nguyen and her cast, they’re already onto the sequel: Beta Cinema Phú Quo^ć.

PROJECT TEAM NGUYEN ANH HUY; NGAN GIANG; DIEP BINH QUYEN; PHUONG DUNG; PHU BINH; THUY VI; NGUYEN HIEP: MODULE K VIETNAM. RPB: CUSTOM FURNITURE WORKSHOP. VINH TUONG: PLASTERWORK. PRODUCT SOURCES FROM FRONT GACH BONG VIET: FLOOR TILE (AUDITORIUM, HALL). VIGLACERA: FLOOR TILE (LOUNGE). THROUGHOUT DULHAN; KINGLED: LIGHTING. DULUX: PAINT. SAMSUNG: DIGITAL DISPLAYS.

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Opposite top: In the mezzanine, custom ottomans are shaped after the Beta logo’s geometric forms. Opposite bottom, from left: Archways in the corridor leading to the theaters allude to the city’s colorful alleyways. Porcelain floor tile and painted-steel tables furnish a lounge area.

Below: The architecture of the city’s Municipal Opera House informed the vinyl-covered stadium seating in the auditorium, where the floor tile is encaustic cement.

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At home and abroad, hotels honor local history, traditional crafts, and vernacular forms

customs of the country text: colleen curry See page 104 for the Kálesma Mykonos in Greece, a collaboration between K-Studio and Studio Bonarchi.

Photography: courtesy of Kálesma Mykonos.

Giuliano Andrea dell’Uva Architetti project Primo Piano Posillipo, Naples, Italy. standout Occupying a 19th-century palazzo on the coast, the four-suite inn balances original libertyera elements—stained-glass windows, checkered floor tile—with vintage and contemporary furniture, including Francesco Binfaré’s Damier daybeds, handmade ceramics, and artful references to such Neapolitan landmarks as the Reggia di Portici. photography Nathalie Krag/Living Inside. styling Chiara dal Canto.

“The narrative is soft and harmonious, without contrasts between past and present”

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box: arquitectos associados project Azoris Royal Garden, Ponta Delgada, Portugal. standout The inspiration for the renovation of the 193-room hotel, located on São Miguel island, centered on the property’s existing Japanese garden, the interiors incorporating visual references to rush-grass tatami mats and a palette that features generous expanses of wood and stone. photography Ivo Tavares.

“Employing natural materials made sense because of the surrounding garden environment”

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Elkus Manfredi Architects project White Elephant Palm Beach, Florida. standout Landmark status meant the gut renovation of the former Bradley Park Hotel had to maintain its 1924 Mediterranean revival architecture, so little more was done to the exterior than adding a radiant stucco finish and a four-tone terra-cotta tile roof, but the 32 rooms and suites have been reconfigured and outfitted with custom furniture and museum-quality art. photography Chi-Thien Nguyen/Elkus Manfredi Architects.

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“It’s a contemporary interpretation that honors the history of its setting while introducing a new design voice to Palm Beach”

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K-Studio and Studio Bonarchi project Kálesma Mykonos, Greece. standout Built in the tradition of the island’s Cycladic villages—simple volcanic stone forms, whitewashed with lime—the hillside hotel sports local interior details like ceiling beams of burnt wood, normally used to make fishing boats, and is oriented to give its 25 suites and two villas stunning sunrise and sunset views over the Aegean Sea. photography courtesy of Kálesma Mykonos.

“The cottages are placed among the trees, facing away from each other into the undisturbed scenes of the forest or the ski slope”

“Public and private spaces are characterized by Mykonian sculptural forms, with modern pieces introduced in an organic way”

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Lake | Flato and Bunkhouse Group project Hotel Magdalena, Austin, Texas. standout Willie Nelson once built a music venue on the site of the 89room, five-structure complex—the first boutique hotel in North America constructed entirely of mass timber— so care was taken to evoke that hip country provenance while installing an underground rainwater-collection system to irrigate the property’s many heritage oaks. photography Nick Simonite.

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“Rooms are accessed via wooden porches, encouraging guests to spend time outdoors and engage with other visitors”

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notes from underground

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In Xi’an, China, Towodesign draws on the region’s ancient tradition of cave dwelling for an exhibition promoting the modern passive house movement text: casey hall photography: shao feng

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Asked to turn the second floor of developer Gaoxin Real Estate’s Xi’an sales office into a 15,000-square-foot exhibition space extolling the virtues of the passive house, Towodesign looked to the past for inspiration about how we might live in the future. The city, one of the Four Great Ancient Capitals of China, is most famous for the Terracotta Army of Emperor Qin Shi Huang, a muchvisited site. Among the northern region’s other claims to fame, however, is its 4,000year-old culture of cave houses—yaodongs in Chinese—in which an estimated 40 million people still lived as recently as 15 years ago, though that number continues to shrink as the younger generation is lured to urban centers in search of better jobs and prospects.

Built into the earth, which serves as an effective thermal insulator, keeping the interior warm in winter and cool in summer, the yaodong is an exemplar of the passive house—a sustainably built residential structure that drastically lowers energy consumption without sacrificing modern comforts—though without that last characteristic, perhaps. Nevertheless, this link with local history and culture, and the lessons it offers the ongoing passive house movement, is central to the concept that Towodesign co-founders, art director Mu He and COO Qian Zhang, explore in the exhibi-

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tion space or, as they dub it, “experience hall.” As spelled out in the multiroom installation’s title, “Cave Dwelling Shall Predict the Future” says the idea of the yaodong doesn’t have to die out in the face of contemporary life but could be adapted and updated to become the ultra-low-energy residence of tomorrow, even in cities.

“The soil used to construct cave dwellings is the core element throughout the pavilion,” He explains. “The shape and atmosphere changes with the protagonist material’s transformation, from unconstrained and free to a convergent and

“The soil used to construct cave dwellings is the core element throughout”

Previous spread: A light show plays on the walls of a glass box in the first room of “Cave Dwelling Shall Predict the Future,” a multiyear exhibition promoting passive housing at a Gaoxin Real Estate sales office in Xi’an, China, by Towodesign.

Opposite top: One of the rooms features artificial turf and plants reflected in a mirror-clad ceiling and steel flooring for a surrounded-by-nature effect. Opposite bottom, from left: Rammed earth on a restroom wall recalls the interiors of the region’s traditional cave dwellings. Another room displays samples of materials used in passive house construction.

Above: Made from 3-D printed layers of diatomaceous earth, biomorphic forms in another gallery space evoke cave dwellings and wind-eroded desertscapes.

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Top: Miniature models of modern passive houses stand on a pedestal beneath a suspended light box, both custom. Bottom: Dubbed the “emotion converter,” an electrochromic-glass box initially appears to be a paean to the wonders of today’s technology.

Opposite top: The biomorphic forms are joined by screenlike walls of lightweight clay bricks, a nod to one of the ancient capital’s most ubiquitous historical materials. Opposite bottom: The plans and elevations of a passive house are projected on a gallery wall, while the materials required to build it appear opposite.

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regular form.” Dividing the hall into six distinct zones, the designers take visitors on a conceptual and sensory journey in which earth undergoes a rebirth as the traditional cave dwelling metamorphoses into its modern urban counterpart.

He and Zhang call the first room an “emotion converter,” a kind of transition between the outside world and the interior information-rich environment within. Ar­ riving visitors stand inside a large box with electrochromic-glass walls on which a dazzling light show is projected, vivid images that evoke the technology-driven marvels of today’s world. As the virtual vision fades and the box becomes transparent, surrounding piles of disused household heating and cooling appliances are revealed: We may live in shiny, fast-moving times, it seems to say, but behind that facade is a heap of worthless junk. One of the glass walls then slides open and visitors embark on an experiential journey into the realm of cave dwelling.

The galleries are defined by 3-D printed representations of cave dwellings—biomorphic structures made from packed layers

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of diatomaceous earth arranged in flowing curves that mimic patterns of wind erosion on desert landscapes. These undulating forms guide the way through a series of interactive and static exhibition areas including a curved-screen cinema outfitted with sinuous bench-style seating that mirrors the larger sculptural envelope.

“In the first half of the pavilion, soil highlights nature, telling the history and policies of passive houses at home and abroad,” Zhang says, describing how the progression from room to room was determined. “In the second half, soil is reborn as the material of science and technology for constructing passive houses.” The biggest challenge, He notes, was to design a “mixture of space and information” in which words, videos, or models might make up the content of the

exhibition. “Materials, shapes, and light all have their own ways of getting at the emotions behind the information, and thus become part of it,” Zhang adds.

In stark contrast to the pulsing lights and dystopian machinery encountered in the first room, the journey ends with a plant-filled, grass-turfed installation, a utopian haven where a cobblestone path leads beneath a tree canopy toward the exit. A mirrored ceiling further enhances the feeling of being surrounded by the natural environment. “This reflects the original intention of returning to nature,” Zhang says, homing in on the goal shared by both the 114

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exhibition and the passive-house movement it celebrates. The effect across the six separate rooms is of a self-contained universe, separate from the one outside.

“The exhibition hall is a place where all kinds of complex information is gathered together,” He concludes. “We needed to condense as much as possible, to make it more focused and, by giving it a narrative, ensure it is more deeply rooted in the hearts of the people.” The final stop, a starkly lit white corridor, serves as another transitional zone, a place for reflection before visitors return to the realities of modern life.

PROJECT TEAM JIE CHEN; LEI SHI; BEIXIANG HE; YUE HUI; WANG LI; YUFENG LIN; WEIWEI SHI; FENG YANG; FEI YANG: TOWODESIGN. SHANGHAI YUNJIAN NETWORK TECHNOLOGY CO.: 3-D PRINTING. SHANGHAI TALENT CONSTRUCTION ENGINEERING CO.: GENERAL CONTRACTOR. PRODUCT SOURCES THROUGHOUT GUOJIA OPTOELECTRONICS CO.: ELECTROCHROMIC GLASS. SHANGHAI FLOORING ENGINEERING CO.;

Opposite top: As the light show fades in the glass box, piles of junked household appliances are revealed on the other side of the now-transparent walls. Opposite bottom, from left: Dimmable LEDs spotlight models of traditional cave dwellings, called yaodongs in Chinese.

The custom passive house models are rendered in acrylic and brushed aluminum.

Above: The floor of the glass box is a type of terrazzo.

PUTIE; SHENZHEN DINGSHI STONE INDUSTRY CO.: FLOORING. HENGXIANG ARTIFICIAL PLANTS: PLANTS, TURF. SHENZHEN FUYONG LIXINLONG ORGANIC GLASS FACTORY: PASSIVE HOUSE MODEL MATERIALS. FOSHAN LINGHAO FURNITURE CO.; SHANGHAI HUISI NEON LIGHTING CO.: CUSTOM OVAL DISPLAY. HEBEI JIUJIU SEAM BIRD MODEL DESIGN CO.: YAODONG MODELS. ZHENGZHOU ZHONGQI REFRACTORY MATERIAL CO.: CLAY BRICKS. PAK CORPORATION CO.: LIGHTING. VE-SONBON: PAINT.

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Illustrations by Patra Jongjitirat Pictured: Studio Zung. Photography by Jenna Bascom

Join NYCxDESIGN in a design-filled journey across New York City’s five boroughs.

Explore more at nycxdesign.org Presenting Partners

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SHAW CONTRACT Canopy available as broadloom or 9” x 36” or 24” x 24” carpet tile designed for the circular economy nature - mimicking design all styles and colors are quick ship

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LAUNCH EDITORS' NOTE

LAUNCH

™

looking ahead, thinking ahead It’s finally summer, the world is opening back up, and the future is looking sunny. And, hooray, we’re finally getting to do some of what we’ve missed so much over the last year and a half: connecting in person, visiting showrooms, experiencing design firsthand, IRL. Yet many practices we’ve adopted during WFH will persist—and not just for safety reasons but because they work, helping boost productivity and creativity. For instance, many members of the A&D community are staying hybrid long-term, which is completely changing the design process, or rather has accelerated a paradigm shift already in the making. Enabling seamless, frictionless, and easy-breezy searching via your smartphone, LAUNCH both anticipated and has been a crucial tool in supporting that shift to more virtual—yet still experiential—specification.

Hopefully you’ve also had a chance to enjoy some of our newest features, too, including a refreshed website, openlaunch.com, and improved filter-and-save functionality for curating and saving products in your personal A&D library. Keep your eye out for two more issues of LAUNCH in 2021—and for even more innovative technologies to help you do your job.

Lastly, don’t forget: If a LAUNCH product is available through Material Bank, and you’re a member, you can order a sample up until midnight and get it by 10AM the following day. In fact, you can order as many samples from as many different LAUNCH partners as you like and get them all in the same box!

Cheers to our bright future! xoxo, Cindy Allen and the Interior Design editors

P.S. Hey, designers: How do you LAUNCH? Share your thoughts, opinions, and ideas!

Drop me a line at hellocindy@interiordesign.net.

Learn more about LAUNCH:

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EDITORS’PICKS LAUNCH EDITORS' PICKS

JACOBSROOM Alhena

Thin blush-colored metal sheets overlap to form an extendable side table evocative of stars in a winding constellation. jacobsroomdesign.com

STANDOUTS DESIGNED BY KATHRIN CHARLOTTE BOHR LIMITED EDITION EXTENDABLE FROM

PORTRAIT: ANTONIO RANESI

47" TO 63" LONG

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LAUNCH EDITORS' PICKS

STANDOUTS FRAME OF EPOXY PAINTED STEEL AND WOOD SIMPLE ATTACHMENT SYSTEM DESIGNED BY LÉA PADOVANI AND SÉBASTIEN KIEFFER

PETITE FRITURE Grid

The graphic juxtaposition of square and semicircular cushions is the simple yet effective conceit of Pool Studio’s newly expanded modular seating range. petitefriture.com/en

JULY.21

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LAUNCH EDITORS' PICKS

STANDOUTS ELASTIC POLYURETHANE PADDING TUBULAR METAL STRUCTURE UPHOLSTERY INCORPORATES RECYCLED POLYESTER

5 COLORS

NATUZZI ITALIA Infinito

The infinity symbol becomes slinky seating in the hands of monomonikered designer Marcantonio, with surface texture courtesy of Byborre’s nubby Water wool-poly knit upholstery. natuzzi.com 122

INTERIORDESIGN LAUNCH

JULY.21

LAUNCH EDITORS' PICKS

ROYAL STRANGER Charles

Bolsters protrude through the lacquered sides of a personalitydriven armchair that channels the louche 1970s. royalstranger.com

STANDOUTS COM AVAILABLE

34.6” WIDE NCS / RAL LACQUER COLORS ALSO AVAILABLE WITH GOLD -, COPPER -, OR SILVER - LEAF ARMS

JULY.21

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123

LAUNCH EDITORS' PICKS

GRAF LANTZ Ravi

Merino wool–felt pillows with wide, fluttering trim sport leather handles so you can carry them wherever needed or hang them on the wall to dampen sound. graf-lantz.com

standouts insert included

25” square designed by holger graf and daniel lantz

PORTRAIT: COURTESY OF GRAF LANTZ

made in los angeles

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LAUNCH EDITORS' PICKS

standouts co - created with signe bindslev henriksen and peter bundgaard rützou of space copenhagen ideal for hospitality

12 earthy colors tvoc certified

JONAS BJERRE-POULSEN

SØRENSEN LEATHER Nuance

The manufacturer’s new leather with an undetectable protective coating wraps Space Copenhagen’s lounge-y egglike sculptures, eminently suited to stretching, sprawling, or just admiring. sorensenleather.com JULY.21

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125

LAUNCH EDITORS' PICKS

NOW CARPETS The Sea and the Sand

Acclaimed architect and painter Rafael Alvarez conjures a collection of exuberantly colored rugs structured by formal blocks and lines. nowcarpets.com

standouts

3 designs hand - knotted new zealand wool customization available

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LAUNCH EDITORS' PICKS

standouts blend of cotton , silk , linen , and technical fibers portion of proceeds donated to the peggy guggenheim collection

RUBELLI Beyond

The family-run Venetian company introduces a fractal silk lampas—shown here on its Pila 47 armchair—that was inspired by a gate artist Claire Falkenstein designed in 1961 for Peggy Guggenheim’s Italian palazzo. rubelli.com

JULY.21

INTERIORDESIGN LAUNCH

127

LAUNCH EDITORS' PICKS

WIGGLE ROOM Coffee Table

Brooklynites Levi Shaw-Faber and Zoe Cohen make squiggly, neotenic Baltic birch coffee tables with durable laminate tops ideal for snacking and cocktails—no coasters needed.

STANDOUTS

6 LAMINATE COLORS ALSO AVAILABLE WITH WOOD TOP DINING TABLE AND SIDE TABLE OPTIONS

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INTERIORDESIGN LAUNCH

wiggleroom.nyc

JULY.21

LAUNCH EDITORS' PICKS

standouts hot glass processing

6 pastel colors , lavender shown

6” high made in the czech republic

LUCIE KAAS Tube

A 1980s-leaning opal-glass sculpture from Orçum Erdem’s Plastic Crush collection is rooted in Pop Art, cartoons, and memories from his Istanbul childhood. luciekaas.com JULY.21

INTERIORDESIGN LAUNCH

129

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts low voc leed compliant declare label lbc red list approved and red list free

CHEMETAL Surface Mode

From the family-owned, U.S.-based company comes a new portfolio of designs CNC carved into thicker, black-finished aluminum panels, along with powder-coated options and other metal designs. chemetal.com 130

INTERIORDESIGN LAUNCH

JULY.21

FABRIC & WALL COVERING

// LAUNCH PARTNERS

ULTRAFABRICS Brisa Spectra

This breathable and bleach-cleanable highperformance fabric has a texture resembling woven cloth and comes in bold shades inspired by Bauhaus and Art Deco. ultrafabricsinc.com

standouts

300,000 wyzenbeek double rubs polycarbonate polyurethane surface

8 colors reach compliant and scs indoor advantage certified

JULY.21

INTERIORDESIGN LAUNCH

131

LAUNCH PARTNERS // FURNITURE

standouts

16 benjamin moore colors multiple sizes customizable

PFEIFER STUDIO Handpainted Art Tables

Abstract Expressionism and other 20th-century movements sparked a collection of handpainted wood-log tables that are works of art in their own right. pfeiferstudio.com 132

INTERIORDESIGN LAUNCH

JULY.21

FLOORING

// LAUNCH PARTNERS

STANDOUTS V 2 SHADE VARIATION OFFERS MONOLITHIC APPEARANCE

4 COLORS , 7 FORMATS FOR RESIDENTIAL AND COMMERCIAL USE

CANCOS TILE & STONE Olympus

Subtle beauty, soft movement, and exceptional durability distinguish this porcelain tile series, with straight-cut rectified edges and a smooth surface that boasts heavy commercial slip-resistance grading. cancostileandstone.com

JULY.21

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133

LAUNCH PARTNERS // KITCHEN & BATH

DURAVIT USA, INC. D-Neo

A clean-lined geometric design that works well with any style and in any space, the wall-mounted vanity—shown here in all white—is paired with a sleek ceramic washbasin and matching mirrored and tall cabinets. duravit.us

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standout designed by bertrand lejoly

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts boards are easy to mount and remove flexible sizing

2 or 3 rails mobile board / transport cart

CORONA GROUP Merge Rail

This presentation system comprises lightweight, transportable markerboard/tackboard components—available in numerous materials, from magnetic porcelain steel to acoustic PET—that can slot into or hook onto a sliding rail system. coronagroupinc.com JULY.21

INTERIORDESIGN LAUNCH

135

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts

87% less green than standard glass cradle to cradle and living product challenge certified up to 19 mm thick

VITRO ARCHITECTURAL GLASS Starphire Glass

Express colors and patterns at their purest with ultraclear glass that can be back-painted, digitally printed, and acid-etched—or go for the pure clarity of no hue at all. starphireglass.com

136

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FURNITURE

// LAUNCH PARTNERS

standouts

30+ powder - coats plus custom made to order by the inch custom sizes and configurations available u . s . made

SHELFOLOGY Tromso

A display piece in its own right, this sleek floating shelf—whose superthin, superstrong profile (in four styles) supports 90 pounds per linear foot—is lasercut and hand-fabricated from premium-milled ¼-inch-thick steel. shelfology.com

JULY.21

INTERIORDESIGN LAUNCH

137

LAUNCH PARTNERS // FLOORING

standouts for workplace , healthcare , and education spaces

1 m wide , 3.5 mm thick 8 colors

NORA BY INTERFACE Norament Castello

The ease of maintenance and high performance of rubber flooring pairs with the timeless look of lightly marbled limestone in a dense, nonporous surface. nora.com

138

INTERIORDESIGN LAUNCH

JULY.21

OUTDOOR

// LAUNCH PARTNERS

standouts exclusive to dwr contract by loll designs sunbrella upholstery cradle to cradle certified

DESIGN WITHIN REACH CONTRACT Platform One

Celebrate the outdoors with maintenance-free all-weather furniture suitable for yearround use, with bases crafted from sustainably sourced recycled polyethylene and available in multiple configurations. dwrcontract.com JULY.21

INTERIORDESIGN LAUNCH

139

LAUNCH PARTNERS // FLOORING

standouts

3 styles , 5 colorways each 9” x 48” tiles 20-mil wear layer fsc and floorscore certified

BENTLEY MILLS Modern Revival

The luxury vinyl tile series channels the look of wood flooring, from oak and walnut to bamboo and eucalyptus—all staples of various period styles. bentleymills.com

140

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts free of antimicrobial additives various gauges and panel sizes greenguard certified select color , pattern , texture , and finish

3FORM Classic Textiles

Available in 16 earth tones and three woven-textile interlayer patterns, the company’s latest collection of Varia resin panels strikes the perfect balance between translucency and connectivity. 3-form.com

JULY.21

INTERIORDESIGN LAUNCH

141

LAUNCH PARTNERS // FLOORING

TILEBAR Chips

A collection of terrazzo-inspired matte porcelain includes four classic designs plus coordinating decors and large-format wall tiles to offer a complete look—a modern take on traditional styling. tilebar.com

142

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standouts

8” square earthy , elegant palette

2 decors , 8 coordinating 3” x 16” wall tiles

ACCESSORIES

// LAUNCH PARTNERS

CRAFTMADE Captivate

Designed to be noticed, the indoor/outdoor damp-rated ceiling fan pairs contemporary design and advanced engineering, featuring custom blades and an energy-saving sixspeed reversible DC motor. craftmade.com

standouts

52” wide 2 controls for wall or handheld use brushed polished nickel or flat - black finish

JULY.21

INTERIORDESIGN LAUNCH

143

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

GARDEN ON THE WALL Garden on the Wall

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

standouts class a per flame spread & smoke index seamlessly installed by gotw team published hpd & cphd voc compliance highest visual & longevity standards

144

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JULY.21

LIGHTING

// LAUNCH PARTNERS

VIBIA Sticks

The UL-listed system by Arik Levy encompasses minimalist aluminum rods that can be combined, arranged, and rotated on axis as desired to form unique lighting installations. vibia.com

standouts

3 sticks (59”, 78.75”, and 118”) per toolkit combine in custom arrangements connect to walls , floor , or ceiling

JULY.21

INTERIORDESIGN LAUNCH

145

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts leed compliant recycled content

18+ color finishes adaptable to any project

FEENEY DesignRail

This durable and affordable railing system, made from high-strength 6000-series aluminum extrusions, can be cut and assembled on site using pre-engineered components that snap and screw together. feeneyinc.com 146

INTERIORDESIGN LAUNCH

JULY.21

MIX

// LAUNCH PARTNERS

VIAGGIO HARDWARE Quadrato

DURASEIN Light Haze

Pair the square rosette with any of five knob or seven lever styles—including Contempo, with its smooth, round grip and contrasting angular stem— all in precision-polished solid forged brass with no visible fasteners. viaggiohardware.com

A Greenguard-certified thermoformable solid surface composed of natural minerals, highperformance acrylic resin, and pigments offers the look of classic Calacatta but can be shaped with standard woodworking tools. durasein.com/us

HOW TO LAUNCH

™

ONE

pick your product

TWO

scan (or tap) the LAUNCH™ CODE

THREE

take action

CALL THE REPRESENTATIVE / EMAIL / TEXT / GET QUOTE / ASK THEM TO CALL YOU / GO TO THEIR WEBSITE / GO TO THEIR INSTAGRAM / GET SAMPLE / GET PDF

BOTTOM RIGHT: DAVID PAPAZIAN PHOTOGRAPHY

FERMOB USA Luxembourg Designed by Frédéric Sofia for optimal comfort, the stackable lounge chair and armchair—both available in 24 colors—boast curved steel slats that echo the shape of the sitter. fermobusa.com JULY.21

INTERIORDESIGN LAUNCH

147

CAESARSTONE 405 Midday outdoor collection quartz countertop with recycled content flecked sandy - white surface greenguard and scs indoor advantage certified

148

INTERIORDESIGN LAUNCH

JULY.21

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books

The Business of Design: Balancing Creativity and Profitability

by Keith Granet Hudson, NY: Princeton Architectural Press, $40 224 pages, 43 color images

When this pioneering book was first published in 2011, with a foreword by Arthur Gensler, whom we recently lost, it was heartily welcomed in these pages. Here it is again, brought abreast of changing times and with a new foreword by Holly Hunt, who, like Gensler, is a wizard alchemist at combining fine design and agree­ able profit. Hunt considers Grant’s revision “the graduate school edition,” focusing on “the rapid acceleration of technology and attendant trends reshaping the worlds of design and business.”

It is indeed astonishing to compare both the oppor­tunities and the restrictions of the design world today with that of only 10 years ago. As our canny editor in chief Cindy Allen puts it: “A decade ago, The Business of Design proved to be a revelation for most, and something of a sensation for folks in-the-know in our craft. Cut to today, with its landscape of lightning-quick changes, this compre­ hensive work has become essential for anyone endeavoring to build their practice. With its masterful argument for a solid foun­ dation, effective marketing and PR, and savvy project manage­ment and product development, the book should reside next to you at all times. Either that, or you may not have one—a business, that is!”

150

INTERIOR DESIGN

JULY.21

No Compromise: The Work of Florence Knoll

by Ana Araujo Hudson, NY: Princeton Architectural Press, $29 204 pages, 93 illustrations (13 color)

It is wonderful to have a book on Florence Knoll (1917-2019), who was an influential force at Knoll Associates as business partner with its founder (and her husband) Hans Knoll, with her leadership of the Knoll Planning Unit (adding interior design to the company’s furniture design), and then, after Hans’s death, as its president and design director. This welcome edition, how­ ever, is disappointing in two ways. First, it uses little color to rep­ resent subjects in which color is of major importance. Second, its author is not an enthusiastic admirer of her subject.

We would not, of course, want the hagiography of a saint, but— considering the mid-century years in which most of Knoll’s work was done—it seems naïve of Araujo to complain that her corporate design was “not always to the benefit of promoting equality. . .or providing environments that would effectively improve working conditions.”

The author also re­ minds us that Knoll’s interest in modern architecture was instilled at Cranbrook and Columbia, and at internships with Walter Gropius and Marcel Breuer, and that working with interiors was not her first choice, but that she responded to “the limited op­por­tunities she had as a woman trying to operate in a male-dominated field.”

Still, Knoll responded with brilliance. But Araujo suggests shortcomings even in that. “Examining her career,” she writes, “one gets but a fleeting glance of how her design language might have evolved had she taken a stronger stance and done things in her own way.” This leads us to the book’s summation: “Florence Knoll made some reluctant moves. Her steps, if timid, may still provide valuable guidance and inspiration.” I’ll say!

DUMBO: The Making of a New York Neighborhood and the Rebirth of Brooklyn

What They’re Reading...

by Paul Goldberger New York: Rizzoli International Publications, $65 242 pages, 270 photographs (200 color)

Girl, Woman, Other

by Bernardine Evaristo New York: Grove Press, $12 464 pages

TOP RIGHT: COURTESY OF PAGE & TURNBULL

Nothing to do with elephants or ignoramuses, this book is a thor­ough study by the prominent (and Pulitzer Prize–winning) architecture critic of an area in Brooklyn, New York, its name an acronym for its riverside location: Down Under the Man­ hattan Bridge Overpass. It’s a lively place of work, commerce, play, and art, with sensational views of bridges, New York Harbor, and the towers of the Financial District.

Yet 30 years ago it was a ghost town of abandoned ware­ houses and empty streets. Then artists, always eager for large spaces and low rents, began leaving Manhattan's newly expensive SoHo and crossing the river to DUMBO. The book shows some of the colorful studios and galleries that resulted, as well as later and more elegant lofts and apartments. The heroes of the story are developer and Two Trees Management founder David Walentas, who contributes a foreword, and his wife Jane, to whom the book is dedicated. (In earlier days, the Walentas restored the Alwyn Court apartments on West 58 Street and converted Helme & Corbett’s art deco hotel at One Fifth Avenue into co-ops.) DUMBO’s quirkiness and charm are symbolized in an amusement-park merry-go-round from 1922, now meticulously restored and whirling tunefully along the East River in a crisp steel-and-glass pavilion by Ateliers Jean Nouvel. It’s fittingly called Jane’s Carousel.

“My book club selected this in part because Evaristo is the first Black female recipient of the Booker Prize. We also thought that, in light of the tumultuous events of 2020, reading a book written from a Black woman’s per­spec­ tive would be valuable.

And I loved the charac­ Elisa Hernández Skaggs, AIA ters: strong, modern Associate principal at Page & Turnbull Black women trying to make their way. Each has her unique personality and approach to survival—all of them are so vibrant. The book celebrates the their singularity and simultaneously reminds the reader of our inter­connectedness. For me, it reinforces that each of our designs forms a distinct piece of a city while contributing to the fabric of the greater streetscape and urban landscape. It also reminds me that projects—such as our Cheech Marin Center for Chicano Art, Culture & Industry, currently under con­struction in Riverside, California—are greater and stronger when they're inclusive and welcoming of the broader community.

Great design should cele­brate our differences.”

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DESIGNERS IN SPECIAL FEATURE box: arquitectos associados (“Customs of the Country,” page 96), boxarquitectos.com.

Bunkhouse Group (“Customs of the Country,” page 96), bunkhousegroup.com.

Elkus Manfredi Architects (“Customs of the Country,” page 96), elkus-manfredi.com.

Giuliano Andrea dell’Uva Architetti (“Customs of the Country,” page 96), giulianoandreadelluva.it.

K-Studio (“Customs of the Country,” page 96), k-studio.gr.

Lake | Flato (“Customs of the Country,” page 96), lakeflato.com.

Studio Bonarchi (“Customs of the Country,” page 96), studiobonarchi.com.

c o n ta c t s

PHOTOGRAPHERS IN FEATURES Jimmy Cohrssen (“Concrete Collaboration,” page 64), jimmycohrssen.com.

Shao Feng Architectural Photography (“Notes From Underground,” page 108), sfap.com.cn.

Mikhail Loskutov (“Something Old, New, and Blue,” page 72), @loskutoff.

Do Sy (“Lights, Camera, Selfie,” page 88), dosycontact@gmail.com.

Julia Tatarchenko (“Something Old, New, and Blue,” page 72), jultat.com.

Paul Warchol Photography (“Next in Line,” page 80), warcholphotography.com.

DESIGNER IN CREATIVE VOICES Michael Ford (“Mix It Up,” page 39), brandnudesign.com.

DESIGNER IN WALK-THROUGH Workshop/APD (“Cape Mod,” page 43), workshopapd.com.

PHOTOGRAPHER IN WALK-THROUGH Matt Kisiday (“Cape Mod,” page 43), mattkisiday.com.

DESIGNERS IN CENTERFOLD Skidmore, Owings and Merrill (“A Place for Reflection,” page 59), som.com.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi­monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group is a division of SANDOW, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds.

Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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SHAO FENG

Phillip K. Smith III (“A Place for Reflection,” page 59), pks3.com.

TELL THEM I MADE IT If you met 16-year-old Gulafsa as she appears in this picture – wearing a dress she made herself – you would encounter a bubbly high school student with a dream to be a fashion designer or a doctor. But Gulafsa almost missed her chance to go to school. When she was just 11 years old, GoodWeave found her working in a carpet factory in India. GoodWeave helped transition Gulafsa back to school and is providing support to continue her education.

Gulafsa can now make her dreams come true. You can help other children make it in life too. Look for the GoodWeave® label on carpet and home textile products – your best assurance no child labor was used.

Design: tabakdesign.com Photo: The Studio_M – thestudiom.com

THE FUTURE OF WORK IN THE AGE OF COVID-19 In the future, we will neither need nor want designers and architects to work as they did in the 20th century.

Join Dr. Daniel Susskind—TED speaker, Economics fellow at Oxford University, and best-selling author—as he explores the future of work and outlines how we can all prepare to flourish in the decades to come.

AUGUST 16, 2021 | 12PM ET REGISTER INTERIORDESIGN.NET / DESIGNHACKATHON

SPONSORED BY

sea of ideas Founded by Jordi Iranzo and Àngela Montagud, Clap Studio operates globally but is headquartered in Valencia, Spain. So the firm was excited when the World Design Organization named the port city the World Design Capital for the year 2022. To prepare for that honor, the organization tapped Clap to create an installation that would provide flexible space to host televised informational programs, debates, and celebrations.

The 2,150-square-foot venue is in the America’s Cup Building—poetically dubbed Vele e Vents—a four-level harborside pavilion by David Chipperfield Architect from which offshore yacht races can be viewed. That setting in­ spired the concept, and name, of the installation, The Sea, which comprises a system of easily assembled modules that, like an ocean, can be formed into “waves” for seating. “It arose from the context,” Iranzo says of the vision.

The modules—simple boxes made from electro-welded wire mesh painted a gentle seafoam—can be clipped together into any configuration. They’re topped with fire-retardant foam cushions made from repurposed materials cast off from construction work and attach to the boxes via polypro­pylene straps. “The installation itself can perform and transform,” Montagud adds. “It can adapt to the needs of the moment.” Com­pleting the marine effect are integrated spherical lights that float inside or on top of the modules like glowing jellyfish.

—Wilson Barlow

DAVID ZARZOSO

i n t e r vention JULY.21

INTERIOR DESIGN

155

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