Interior Design May 2021

MAY 2021

united by design

Ready For What’s Next Crafting adaptable spaces to support today’s evolving environments.

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CONTENTS MAY 2021

VOLUME 92 NUMBER 5

05.21

ON THE COVER On Iran’s Hormuz Island, Majara is a 17-suite guest residence by Zav Architects built by training locals in Superadobe construction technology and painted colors derived from the region’s soil. Photography: Amir Tehrani and Mohammadreza Ghodousi.

features 82 TREASURE ISLAND

by Vera Sacchetti

On Hormuz, off southern Iran, Zav Architects is creating an environmentally sensitive complex that benefits community and visitors alike.

90 LOOKING GOOD,

FEELING GOOD

by Monica Khemsurov

With the Bonn, Germany, headquarters of Aktion Mensch, Ippolito Fleitz Group proves that an inclusive and accessible workplace can be attractive and inviting.

98

A WORLD OF TALENT

by Mairi Beautyman, Edie Cohen, and Georgina McWhirter

Outstanding projects in locations as diverse as India, Argentina, Dubai, Canada, and Mexico confirm great design knows no national borders.

110 ALL SHAPES AND SIZES

by Rebecca Lo

In China, a Hangzhou showroom by Pig Design celebrates—and puts a local spin on— the legacy and aesthetic of Italy’s Memphis Group.

118 BRIDGING THE DIVIDE

by Lauren Gallow

LMN Architects anchors Washington’s Mukilteo Multimodal Ferry Terminal in local Native American cultures and green building practices.

126 COMMUNITY SPIRIT

by Colleen Curry and

Peter Webster

Around the globe, civic-minded projects anticipate the day we can put social distancing behind us.

SHAO FENG

110

05.21

CONTENTS MAY 2021

VOLUME 92 NUMBER 5

special section 41 CREATIVE VOICES Lingua Franca

by Mairi Beautyman, Annie Block, Craig Kellogg, Peter Webster, and Joshua Zukas

For six international talents, design is a global language where nothing is lost in translation.

departments 19 HEADLINERS 27 DESIGNWIRE

by Nicholas Tamarin and Peter Webster 32 BLIPS

by Amanda Schneider 34 PINUPS

by Wilson Barlow 59 MARKET

by Rebecca Thienes, Annie Block,

Wilson Barlow, Colleen Curry, and

Georgina McWhirter 73 DESIGN INSIDER Celebrating Difference

by Jen Renzi

The conversation about how to build and sustain diversity is ongoing and continues here.

77 CENTERFOLD Rhapsody in Blue

by Colleen Curry

A sea-inspired pavilion by Various Associates for Shenzhen Design Week represents the Chinese city’s ocean of cultural exchanges and creativity.

174 BOOKS

by Stanley Abercrombie 176 CONTACTS 179 INTERVENTION

by Wilson Barlow

MARK COCKSEDGE

41

RESIDENTIAL ST YLE .

C O M M E R C I A L C A PA B I L I T I E S .

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e d i t o r ’s welcome No one could accuse this writer of being skimpy on cheering, but even I was taken aback by the views from the summit we reached with our May edition. Simply put, we went all-out celebrating everything that is beautiful in, among, and about us. With some due modesty, of course—we are just storytellers, after all—but with the steely determination one could expect from anyone in our industry, we set out to blanket-cover this issue with living and breathing design testimonials of diversity, equity, and inclusion. Here’s the incredible thing about that last bit: When these three are your engines, change truly can happen, and reaching new heights is no longer mere hyperbole. With such agents for good as fellow travelers, design horizons visibly expand by huge multipliers, and reaching farther targets becomes ever so possible. With the humility that I don’t otherwise possess, I offer this very issue as living proof. See for yourself how immediately possible lofty goals are.

Ippolito Fleitz Group skillfully designs a universal workplace that’s not only wheelchair friendly but also accommodates the learning disabled and the sight and hearing impaired. Washington’s Mukilteo Multimodal Ferry Terminal was built in close collaboration with 11 local Coast Salish tribes, incorporating their glorious Native American art as well as green building practices.

We also rally for community engagement with civicminded projects and traverse the globe showcasing projects as diverse as their makers.

Yep. We did work hard for our keep this month.

We followed through with our marching order of leaving absolutely no one behind; all told, included are perspectives from 22 countries, ethnicities, and backgrounds. We even devised new features, such as the (hopefully permanent) Creative Voices, and Design Insider spells out the industry’s commitment to racial justice, including highlights from Gensler’s first-ever Diversity Research Report.

united by design Yes, we were richly rewarded. We had the great privilege of seeing, one more time, design proving to be a language of genuine unity that bridges all of us. Let’s all work more on this brand of future...there’s plenty to do. Consider this issue our promise. xoxo

Follow me on Instagram thecindygram

MAY.21

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BU I LT TO OU TCOMFORT & OVE R L AST

WOODAR D-FUR N IT U R E.COM

“Our approach is 50 percent scientific, evidence-based research and 50 percent wild—the artistic flair we bring to every project”

headliners

Roar “A World of Talent,” page 98 founder, creative director: Pallavi Dean. firm site: Dubai, United Arab Emirates. firm size: 16 architects and designers. current projects: A community hub at ICD Brookfield Place and 20 restaurants for Expo 2020 in Dubai; Ramada Plaza Islamabad in Pakistan. designbyroar.com

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INTERIOR DESIGN

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Ippolito Fleitz Group “Looking Good, Feeling Good,” page 90 managing partner: Peter Ippolito. managing partner: Gunter Fleitz. firm sites: Stuttgart, Germany; Berlin; Shanghai. firm size: 115 designers and architects. current projects: IBM technology campus in Ehningen, Germany; MixC One mall in Dalian, China; Beiersdorf offices worldwide. ifgroup.org

LMN Architects “Bridging the Divide,” page 118 principal:

Howard Fitzpatrick, AIA. associate:

Mette Greenshields, AIA. firm site: Seattle. firm size: 125 architects and designers. current projects: Seattle Aquarium Ocean Pavilion; Microsoft East Campus in Redmond, Washington; University of California Santa Barbara classroom building. lmnarchitects.com

h e a d l i n e rs Zav Architects “Treasure Island,” page 82 founder, senior architect:

Mohammadreza Ghodousi. project architect:

Soroush Majidi. firm site: Tehran, Iran. firm size: 10 architects and

designers. current projects: ChahrKhouneh

coworking space in Tehran; Badban Center on Hormuz Island and a villa in Damavand in Iran. zavarchitects.com 20

INTERIOR DESIGN

MAY.21

Pig Design “All Shapes and Sizes,” page 110 founder, chief designer:

Wenqiang Li. firm site:

Hangzhou, China. firm size: 13 architects

and designers. current projects: The

Cooked Duck Are Flying Home restaurant in Hangzhou; Neobio headquarters in Shanghai; Xu bar in Suzhou, China.

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Denizens of Design “A World of Talent,” page 98 principal: Dyonne Fashina. firm site: Toronto. current projects: Greentank Technologies vape lab and a luxury bodega in Toronto; Fives Downtown Hotel & Residences penthouse in Playa Del Carmen, Mexico. denizens.ca

h e a d l i n e rs

Cadena + Asociados Concept Design “A World of Talent,” page 98 founder, president: Ignacio Cadena. firm sites: Monterrey, Mexico, and Mexico City. firm size: 35 architects and designers. current projects: Olah Morelia hotel, Uno Zero Uno ecological

development in Tulum, and Reserva Navidad in Barra de Navidad, all in Mexico. cadena-asociados.com

Abin Design Studio Efeeme Arquitectos

“A World of Talent,” page 98

“A World of Talent,” page 98

principal, design director:

partner, designer:

Marina Alves Carneiro. partner, designer:

Flavio Díaz. firm site: Villa María, Argentina. firm size: Three architects

and designers. current projects: Isabel de la Cruz restaurant, Panificadora San Cayetano bakery, and Óptica Montalbetti opticians, all in Villa María. instagram.com/efeemearquitectos

Abin Chaudhuri. firm site:

Kolkata, India. firm size: 25 architects and designers. current projects:

Bandhan Bank headquarters, Sanctuary mixed-use urban development, and the Partition Museum, all in Kolkata. abindesignstudio.com

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TIMOTHY TIEBOUT/COURTESY OF THE PHILADELPHIA MUSEUM OF ART, 2021, ODILI DONALD ODITA, AND JACK SHAINMAN GALLERY, NEW YORK

color code

Walls of Change, a 128-footlong acrylic-latex mural by Nigerian-American painter Odili Donald Odita, was com­ missioned by the Philadelphia Museum of Art for “New Grit: Art & Philly Now,” running May 7 to August 22.

Emerging from a major, Frank Gehry–led renovation, the Philadelphia Museum of Art recommits in a big way to the artists and culture of its hometown with “New Grit: Art & Philly Now,” an exhibition featuring 25 of the city’s key creators in all media, from painting, sculpture, and photography to ceramics, fiber, and video. The spring/summer show inaugurates a new set of galleries for modern and contemporary works, none more up-to-the-minute than the pieces in “New Grit,” some of which were produced during the pandemic. Among them are five commissioned works, including Walls of Change, a mural by Nigeria-born Odili Donald Odita. Currently a professor of painting at the Tyler School of Art and Architecture, Odita is a subtle colorist who explores how palette can impart meaning and induce powerful social and political associations. Flanking an airy, light-filled hallway, the vivid geometric composition is a response to seeing the museum’s famous steps be­ come a site for Black Lives Matter protests last sum­ mer, when the demonstrators, as Odita puts it, “activated their ideas with the building, using it as a backdrop to speak to the world.”

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d e s i g n w ire Shifting Totems by the Urban Conga is a permanent interactive Cleveland installation of three aluminum structures that incorporate seating at their bases, range from 6 to 9 feet tall, and have segments laser-cut with letters that can be manually rotated by visitors to spell out inspiring words.

word association

COURTESY OF THE URBAN CONGA

Plato once said, “You can discover more about a person in an hour of play than a year of conversation.” That was the inspiration for Shifting Totems, an interactive installation in Cleveland by the Urban Conga, a multidisciplinary studio that works to promote com­ munity interaction through social activity. Designed through a series of workshops with residents of the Glenville neighborhood, where the project’s located, the three totems are formed from stacked aluminum segments, painted green to represent growth and nature, that can be manually rotated. Each segment has panels that have been laser-cut with different letters of the alphabet, so visitors can turn them to manipulate a totem’s appearance and create such words of empowerment as vote, knowledge, power, and strong. “Glenville has dealt with a lot of adversity,” Urban Conga founder Ryan Swanson says. “These provide an opportunity for people to engage not just with the work but also each other.”

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INTERIOR DESIGN

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Bespoke Bodies: The Design & Craft of Prosthetics by Sam Aquillano and Amanda Hawkins features personal accounts by amputee professional athletes, veterans, and kids; interviews with prosthetists, designers, and doctors; a cover photo of Ebewelleda and her prosthetic Ebe Arm; and model Kelly Knox, who worked the Alternative Limb Project on developing stylish prosthetics, and will accompany an exhibition of the same name by the nonprofit Design Museum Everywhere when it travels from Boston and Portland, Oregon, to the University of Hartford in Connecticut in the fall.

d e s i g n w ire

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Approximately 2.1 million people in the U.S. live with limb loss. A new book from Design Museum Press, Bespoke Bodies: The Design & Craft of Prosthetics, tackles the subject. Its 200 pages explore the farreaching impact of accessible design and the advancements in medicine, robotics, and 3-D printing that have transformed the intersection between the human body and technology, from sculpting ocular prostheses to mind-controlled bionic limbs, and includes a foreword by Paralympian track medalist John Register. “We started connecting with different people in the community—children, veterans, athletes— and it was clear that there was a collective story to tell,” Design Museum Everywhere founder and co-author Sam Aquillano says of the book’s 45 case studies. “Now we have a catalog of what’s possible when design meets a uniquely human need, and the results are incredible.”

FROM LEFT: COURTESY OF OMKAAR KOTEDIA/ALTERNATIVE LIMB PROJECT; COURTESY OF DESIGN MUSEUM EVERYWHERE (4)

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6.7% of the design profession

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Black/African American

10.6% of the design profession Asian

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5.9% of the U.S. population

Our industry does not reflect the diversity of the communities we serve. Percentages are only part of the story...

In its most recent employment data update, the U.S. Bureau of Labor Statistics got granular, breaking down the parent category of “designer” into more disciplines than it had previously—and including, for the first time, interior design. Of note, 10.6% of practitioners identify as Asian, 7.6% as Hispanic or Latinx, and 6.7% as Black or African American. Those percentages drop even lower when we consider only those designers who are licensed or members of a professional association. Although it’s sobering to note the disparity between these tallies and the latest population data, the industry now has specific benchmarks to reflect on—and improve upon. Of course, numbers are only half the story. “It’s not enough to just say we have X number of Black and Brown employees,” IIDA executive VP and CEO and Interior Design Hall of Famer Cheryl S. Durst says. “Are those minority employees being given opportunities to have a voice and be visible? A seat at the table is a start, but you have to be seen and heard. You need a spotlight and a megaphone.”

—Amanda Schneider

bl ips thinklab

Hispanic/Latinx

7.6% of the design profession Hispanic/Latinx

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INTERIOR DESIGN

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p i n ups text by Wilson Barlow

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INTERIOR DESIGN

MAY.21

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creative voices

lingua franca For six international talents, design is a global language where nothing is lost in translation

See page 42 for the Anhelo rugs

by Mexican textile designer Marisol Centeno.

MAURICIO ALEJO

MAY.21

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By her own admission, textile designer Marisol Centeno is a Romantic, committed to the idea of design as an agent of change—a source of aesthetic, social, and cultural innovation. Equipped with a degree from Mexico City’s Universidad Iberoamericana, Centeno began working for a commercial textile manufacturer but soon discovered that in her homeland there was not much of a relationship between design and the industry. “I felt the need to implement responsible creative and production processes for the types of textiles I wanted to bring to life,” she reports.

So in 2012, she founded Bi Yuu, a rug and textile company where the products are designed and made in close col­ laboration with an art­ isanal workshop in Teotitlán del Valle in Oaxaca, fulfilling her vision that “multiculturalism, craftsmanship, and industry can have a dialogue.” After almost a decade producing colorful flatweaves in Mexico, Centeno has globalized her outlook by teaming up with GoodWeave International—an organization dedicated to ending illegal child labor in the textile industry—to establish a relationship with a workshop in Bhadohi, India, for the production of hand-knotted and hand-tufted rugs. The result is Anhelo, a capsule collection comprising two hand-tufted wool and bamboo-silk rugs, which have now been joined by a handknotted rug—Bi Yuu’s first. The geometric designs are inspired by late-1960’s Mexican art, which combined vernacular and Indigenous forms with op art from Europe and North America to create a unique graphic language that, Centeno notes, “would ensure our place in global aesthetics and renovate traditional Mexican art and cultural forms.” She explains further.

Marisol Centeno

CLOCKWISE FROM TOP LEFT: RAFAEL GAMO; COURTESY OF ESTUDIO MARISOL CENTENO (4); CAMILO CHRISTEN

c r e at i v e voices

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How did you go about finding the right artisanal workshop for Bi Yuu in India?

Marisol Centeno: Our goal was to establish a long-term, collaborative relationship with the tufters and knotters there just like the one we have with the weavers in Oaxaca, where we’ve created an environment that celebrates the exchange of expertise and ideas. I worked hand-in-hand with GoodWeave, traveling to India and Nepal to visit about 20 workshops and really get to understand the education programs that GoodWeave has developed there. In Bhadohi, I met the artisans’ families—for me it’s important to really know the people I work with. Because of COVID, the collaboration has developed slowly, but Anhelo, the first collection of hand-tufted rugs, has been a good start.

In 2016, you set up Estudio Marisol Centeno. How is it different from Bi Yuu? MC: My career is about experimenting and finding ways to expand my knowledge as a designer and a weaver. So I established the studio, which is like a laboratory where I can explore different industrial and handmade processes. I’m also interested in analyzing the narratives behind everyday products like textiles to learn how they relate to our daily lives or effect our understanding of a person’s environment and identity. That’s why I started doing collab­ora­tions with different global brands— Nike, Cartier, Adidas, and others— working very closely with them to develop customized projects.

me. Cartier has had a strong relation­ship with Mexico since the 1950’s, when the brand designed several important custom pieces for the glamorous Mexican film star María Félix.

For the installation, the idea was to create a new, less traditional look of luxury. I was inspired by pre-Hispanic dance and its sumptuous headdresses, which I find super-luxurious. They’re evoked in sculptural wall panels woven with vegetable fibers, cotton ribbons, and metallic thread.

“The studio is the base of all my projects, a lab to create and explore and play and enjoy design”

—Peter Webster Clockwise from right: Textile de­ signer Marisol Centono is wrapped in a flat-weave wool rug from the Bacaanda collection, the first pro­ duced by Bi Yuu, the company she founded in 2012. Cartier’s Mexico City flagship, its steel-framed panels woven with fibers, cotton ribbons, and metallic thread inspired by the headdresses of pre-Hispanic dancers.

The circular Pitaya rug, a custom design for the Hotel Esencia in Quintana Roo, created in collab­ oration with Juan Carlos Chávez, the property’s creative director.

Centeno and a colleague working on the hotel rug. Para Espacio, an experimental project developed with a grant from the National Fund for Culture and the Arts, fusing high and low techno­ logies to generate threedimensional textiles. One of the mobile structures comprising Dechado, an outdoor installation for Adidas in Mexico City.

A detail of the Cartier installation, which aims to give luxury a new look and feel.

RODRIGO CHAPA

Tell us about the installation for Cartier’s new Mexico City flagship.

MC: Companies like Cartier are becoming more interested in understanding and respecting the cultures, traditions, and stories of the localities they serve—and in how those values can be reflected through design, which is why they called

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c r e at i v e voices

Futura From left: The artist Futura, aka Leonard McGurr, holds an Akari 35N pendant fixture, designed by Isamu Noguchi in 1969, that he painted for a recent exhibition at the Noguchi Museum in New York.

Additional pieces in that show.

Back in the heyday of urban graffiti, New York artist Leonard McGurr signed his out­ door murals with the tag Futura2000. He painted scenery live onstage for 1981 con­ certs by punk-rock band the Clash and showed in the same East Village gallery as his friend Jean-Michel Basquiat. In 1997, McGurr’s Futura Laboratories began selling clothes in Japan. Abstract fine-art canvases

by Futura, as he’s now known, score bluechip prices from collectors today. Recently, curators asked him to paint several of Isamu Noguchi’s Akari light sculptures, designed between 1952 and 1986, for a stunning solo exhibition that ran this winter at the Noguchi Museum in Queens. He tells us more.

FROM LEFT: SHILEI WANG; COURTESY OF THE NOGUCHI MUSEUM

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c r e at i v e voices

Decades ago, you started painting illegally outdoors, and now you’re in the Noguchi Museum. Why? Futura: I didn’t go to art school, and I used to paint subway trains. But I can’t have the “graffiti” ball-and-chain around my leg forever, so I am encouraged by a potential new audience wherever I find it. Let me evolve into something more interesting, without being pigeonholed.

How did social media react?

F: I’ve gotten lots of Instagram hits from the Noguchi show. Direct messages ask, “Hey, are any Futura Akari for sale?” The museum is keeping them in its collection, although one piece might travel this year for a group exhibition in Japan. There’s also talk about doing a limited edition of my painted Akari for collectors.

What inspired you to introduce a Futura aerosol paint?

F: During the pandemic I tried to buy black paint. It’s always required for drop shadows and outlines, but it was sold out. A Michigan company called Plutonium will offer six-packs of my new satin acrylic paint in black, the introductory color. Many graffiti artists have designed spray cans. And I’ll tell you something funny: I get off more on the packaging than the paint itself.

Your most recent Comme des Garçons fashion collaboration drops soon, and your latest Uniqlo clothing collection debuts for summer.

Is the creative process similar for luxury and affordable brands?

F: Comme des Garçons is prestige and serves as legacy-building for me. We send artwork that designer Rei Kawakubo reinterprets into garments. But in a world of triple-digit T-shirts, it’s also really nice to get something for $15. We designed moderately priced pieces for the Uniqlo collection ourselves, like new womens wear in an aerosol abstract print.

—Craig Kellogg

FROM TOP: COURTESY OF THE NOGUCHI MUSEUM; COURTESY OF COMME DES GARÇONS; SHILEI WANG

What do you think about recent calls for diversity in design?

F: I’m the child of a Black mother and a white father. As a mixed kid from a family right above the poverty line, I feel like I’m the epitome of diversity. I also have so much history working in Japan, where I’m an outsider. But who cares? I can’t determine what people think of me. I’m just opening doors and trying to help.

“I can’t have the ‘graffiti’ ball-and-chain around my leg forever—let me evolve into something more interesting, without being pigeonholed” FROM TOP: COURTESY OF THE NOGUCHI MUSEUM (2); COURTESY OF COMME DES GARÇONS

Clockwise from top left: A painted Akari BB2-V1 table lamp from 1977 atop concrete blocks.

Two painted Akari table lamps, 1A and 7A, both from 1952, and a pair of floor lamps, 25N and 10A, from 1971 and 1952, respec­tively. Akari UF4-L6, a 1986 floor lamp, trans­ formed into a towering painted totem. Pieces from Futura’s CdG Shirt collection at Comme des Garçons, New York. The artist in front of Inception, his 2020 spraypaint on canvas, at Eric Firestone Gallery in New York. Futura’s mural outside Comme des Garçon.

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* p a t en t p en d in g

c r e at i v e voices COVID-19 has turned the mask into a must-have accessory in the West. But face coverings have long been a form of expression in Africa. Freedom to Move, a collection of conceptual headpieces launched in December as a Lexus-sponsored digital experience co­ordinated with Design Miami/, taps into that rich tradition while protecting the wearer’s eyes, nose, and mouth. It’s a collab­or­ation between Tosin Oshinowo and Chrissa Amuah, who met a few years ago through a mutual friend, Nigerian designer Damola Rufai, and both head design practices that celebrate their African heritages.

After receiving architecture and urban design degrees from London’s Kingston University and Bartlett School of Architecture, Oshinowo returned to her native Nigeria and is now based in Lagos, where

Tosin Oshinowo and Chrissa Amuah

Architect Tosin Oshinowo and textile designer Chrissa Amuah collaborated on Freedom to Move, a collection of conceptual anti-COVID headpieces sponsored by Lexus and launched at Design Miami/.

MARK COCKSEDGE

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she founded cmDesign Atelier, an architecture consultancy, and Ilé-Ilà, a furni­ture brand. Born in the U.K. to a family with roots in Ghana, Amuah earned a textile degree at the Chelsea College of Arts and Design in London before founding her studio, AMWA Designs, there. Their Freedom to Move collection comprises three styles—Egaro, Pioneer Futures, and Ògún—in various iterations that blend 3-D printing; traditional metal casting; materials like bronze, leather, and acrylic; and hand-beading, laser-etching, and West African–style embroidery.

The women, who worked both virtually and in-person in Lagos, where some pieces were fabricated, tell us about the process.

What drew you to the idea of face shields?

Tosin Oshinowo: The brief was to create an object of our times. From the very beginning the idea of the African mask was strong in our minds. So many diverse cultures and languages exist in Africa, but what’s very uniform across all is the of symbolism of the face. With that—and the need to protect the eyes, nose, and mouth to help stop the spread of the virus—our approach was clear.

Two of the masks have African names, Egaro and Ògún. What do they mean?

Chrissa Amuah: Egaro is an ancient site in what is now Niger that was recently shown to have created its own metal technology some 5,000 years ago. Formerly, the technique was believed to have come from Asia and the Middle East, so it was great to reference that African innovation.

TO: Ògún is a Yorùbá god of war and iron. Chrissa’s dream was to visit Benin City in Nigeria where they do traditional bronze casting utilizing the lost-wax method. Carbon dating revealed that some old sculptures went back to the 12th and 13th centuries—such advanced technology for its day. We had a fifth-generation bronze caster use this ancient technique for the rims of the Ògún mask.

MARK COCKSEDGE

One of the headpieces appears to conceal the wearer’s face.

CA: It’s an acrylic visor finished with a reflective bronze film, the same techno­ logy as sunglasses. There’s a fractal— a geometric pattern that repeats infi­ nitely on ever-diminishing scales— laser-etched onto the shield. We looked at African fractals, from braided hairstyles and kente cloth to counting systems and settlement design. They are also found in nature—the network of veins in our lungs, for example. Since we were exploring air and breathing, adding a fractal pattern made a lot of sense. —Mairi Beautyman

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Clockwise from far left: A version of the Ògún headpiece, a 3-D-printed, vacuum-formed acrylic face shield supported on a cast-brass collar. Pioneer Futures’s 11-inch-diameter acrylic helmet with pleated-suede and plasticbead collar employing tinko, a West African embroidery technique. Rivet point magnets securing an Ògún mask’s brass collar around the wearer’s neck. The Egaro headpiece with a clear visor and one that’s etched with a fractal pattern inspired by pulmonary veins. Another Ògún, with reflective bronze film covering the visor to conceal the face yet allow the wearer to see clearly.

c r e at i v e voices

“From the beginning, the idea of African masks was in our minds”

MARK COCKSEDGE

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During 2020, Ho Chi Minh City– based green architect Vo Trong Nghia saw his environmentally friendly bamboo structures propagate throughout his native Vietnam. Vo, who studied architecture at Japan’s Nagoya Institute of Technology and the University of Tokyo before opening his eponymous firm in 2006, added to his “House for Trees” collection—residential projects that are home to both plants and people—including the award-winning Bat Trang House in Hanoi. He embarked on the Dong Na Villas, a residential master plan replete with roads and restaurants outside Hoi An. But perhaps most arresting are three ambitious new bamboo buildings: the Vedana Resort Restaurant in Ninh Binh, the Huong An Vien Visiting House in Hue, and the Grand World Phu Quoc Welcome Center on Phu Quoc island. He expands upon those projects and more.

Vo Trong Nghia c r e at i v e voices

CLOCKWISE FROM TOP LEFT: DOC LAP; COURTESY OF VO TRONG NGHIA ARCHITECTS; HIROYUKI OKI

Clockwise from top left: The namesake principal of Vo Trong Nghia Architects, who puts bamboo to modern use, stands in his Ho Chi Minh City, Vietnam, studio. Grand World Phu Quoc Welcome Center’s bamboo framework lashed together with ropes. The multipurpose events space still under construction on Phu Quoc Island. Ninh Binh’s Vedana Resort Restaurant, which is almost 52 feet high, Vo’s tallest completed bamboo structure. The undulating forms of the Huong An Vien Visiting House—a place for quiet meditation in a Hue cemetery—inspired by the nearby river.

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Your bamboo structures have attracted international attention since your Vietnam Pavilion at Expo 2015 in Milan. Why bamboo?

Vo Trong Nghia: I’m drawn to it for many reasons. First, it’s endemic and abundant in Vietnam, two key elements for any sustainable building material. Second, bamboo grows quickly; I’m able to harvest it after just five years. Compare that to a tree, which needs decades before we can cut it down and use it for construction.

Third, bamboo’s pliancy makes it easy to shape and mold, which means that I can be really creative with it. Finally, bamboo still retains a very natural appearance, even after it’s been treated, which is very important to me.

Crafting a natural aesthetic seems to be a recurring theme in your designs.

VTN: That’s right, I want all my buildings to connect humans with nature. I believe in biophilia, that people have an innate fondness for the natural world, and I want to exploit this in my designs. This is crucial for sustainability; if people form an emotional attachment to a space, then it’s less likely to be torn down. This is especially important in a fast-developing country like Vietnam where we are in

this untenable cycle of destruction and construction.

How have you harnessed biophilic design concepts in your bamboo buildings?

VTN: I like to think that my bamboo

the interiors. It also has no windows, walls, or doors, allowing for the wind to ventilate the space. I think that harnessing natural light and ventilation is crucial for successful biophilic design.

I also believe that biophilic design ideas can build calm and mindful envi-

buildings are biophilic not just because they are built using a naturallooking material. The Vedana Resort Restaurant has a large skylight at its apex so that sunshine can illuminate

ronments. The Huong An Vien Visiting House sits within a cemetery, and is conceived to be a place of quiet reflection before and after paying respects to the dead.

Can you describe how you treat the bamboo for construction purposes?

VTN: In Vietnam, we’ve been using bamboo for generations, and my treatment process is adapted from the traditional techniques used by my ancestors. First of all, I immerse the bamboo fully in water, which speeds up the aging process.

This is a kind of expedited rotting, which changes the chemical composition of the material, making it inedible for insects that would otherwise devour and destroy it.

After soaking it for many months, the bamboo is smoked for two weeks using rice husks. This dries it out and replaces the oils lost during submersion. Then I polish it, giving the bamboo its earthy yet shimmering appearance, a simultaneously traditional and modern aesthetic. —Joshua Zukas

FROM TOP: COURTESY OF VO TRONG NGHIA ARCHITECTS; HIROYUKI OKI

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Her dream as a 7-year-old girl growing up in Clinton Hill was to be an astronaut. But after majoring in industrial design at Brooklyn Technical High School, then interior design at FIT, Kamille Glenn landed at Rockwell Group, conceiving high-end restaurants and resorts in the U.S., Canada, and Mexico. Ever since her college days, however, an idea had been percolating, one that centered on community.

Today, the 29-year-old Jamaican-Guyanese designer has turned that idea into a reality with dsgnrswrkshp (pronounced designers workshop), a collective empowering Black makers from all dis­ ciplines. Armed with her tattoo of the moon’s phases and a new sense of purpose, she’s still reaching for the stars.

Kamille Glenn

How does it engage the community?

KG: On Instagram, Slack, and Clubhouse and through events. Because of the pan­demic, our last event, VISIBILITY x DSGN in February, was virtual and ended up being our global kickoff. Using 3-D VR platform MootUp, we had over 100 attendees, from countries like Switzerland, sponsors such as IDSA and Maya Romanoff, and two hours of conversations led by experiential designer Marlon Davis, industrial designer Tracy Llewellyn, accessories designer Timothy Campbell of Ember Niche, and others that really blurred the lines between disciplines and encouraged a cross-pollination of expertises.

Will dsgnrswrkshp function as a tool for hiring designers and sourcing products?

KG: Yes, that’s on my radar. People are already coming to me for recommendations. In the meantime, I’m helping amplify lesser-known designers I’ve found with a series of digital campaigns I first used to promote VISIBILITY x DSGN. Will you still design interiors?

KG: I don’t think design can stay away from me too long. I’d love to work with Black clients, to take my knowledge of high-scale hospitality into our communities—we don’t have a Nobu equivalent or boutique hotels. My five-year plan is to create programming for children, to get design curriculum into schools. There’s a lack of accessibility to and knowledge of professions in the creative space in the Black community. But if we can see it, we can know it’s possible.

—Annie Block

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CLOCKWISE FROM TOP LEFT: JJWINCHESTER; COURTESY OF UNCOMMON GOODS; KARL BLANCHARD; JADA SIMONË; LEVI ROBINSON; COURTESY OF DE-YAN; JOSHUA SCOTT

How did dsgnrswrkshp originate?

Kamille Glenn: During my college senior year, in 2013, I started keeping a journal of ideas. One was to start a community within design, because at FIT, all the disciplines— interiors, textiles, graphics— were so disjointed. Three years later, when I was at Rockwell, I realized I wasn’t seeing a lot of Black people in design. I went back to that journal, found what I’d written, and amended it to creating a collective specifically for underrepresented Black makers within all scales of the built environment—exhibition, lighting, furniture, fashion. I wanted to be able to connect with people who looked like me in a space that related to what I was doing professionally, for there to be a platform for us to discuss likeminded issues, a kinship through design, which is our tagline. In 2019, I founded dsgnrswrkshp while still working full-time at Rockwell. In March, I took the leap to focus entirely on dsgnrswrkshp.

Clockwise from right: Interior designer Kamille Glenn is the founder of dsgnrswrkshp. Harlem Nights Owen shirt by fashion/ graphic designer Greg Betty.

Grandeur satin dramatic flare pant and tulle overlay by fashion designer Monay. Virginia’s Martin Luther King Jr. and Hampton Heroes Memorial Plaza by archi­tect/urban planner Zachary Robinson of Work Program Architects. Fenty Skin virtual house party by architect/ experiential designer Marlon Davis of DE-YAN. Digital Army Western vest by fashion designer/tailor Ketch. Letter vessels by industrial designer Tracy Llewellyn for Uncommon Goods. Coral Sun Izzy frames by eyewear brand Ember Niche.

“I figured out a way to marry my love for design with community” LAMAR ROBILLARD

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Aerie

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INTERIORS

market edited by Rebecca Thienes text by Annie Block, Wilson Barlow, Colleen Curry, and Georgina McWhirter

outstanding in the field “When creating, I consider my Blackness, my Nigerian-ness, my queerness, my femininity,” Nifemi Ogunro states. “And what it means to take up space in an environment that tradi­tion­ ally uses people that look like me for labor, rather than as people whose stories are worth sharing.” The Lyon-born, North Carolina– raised Ogunro certainly has a story worth sharing. Recently, she worked for sculptor Michael Beitz and grew her own furniture portfolio during downtime at his Colorado studio. She then moved to New York for gra­ duate school and last September, debuted select pieces at Superhouse and Open Studio.

Mrs. Sola and Tob(i) are bent-plywood stools, while Tope is a log-topped table carved by chainsaw. Her Untitled plant stand started in wood, too, before she rubbed on a gritty concrete coating by hand. “Textures are an interesting way to play with this dystopian time,” she says. For the photo shoot, Ogunro placed her “functional sculptures” askew in the landscape, with herself as the model.

“There’s disparity between the people who get credited for a product and the people whose hands actually built the product,” she adds. “I use my skin to assert my presence, that Black and Brown people do exist in this world.” nifemiogunro.com

TOPE

UNTITLED

TOB(I)

DION LAMAR MILLS

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centering diaspora For Brooklyn-based artist and entrepreneur Malene Barnett, 2018 was a big year. It was when she founded the Black Artists + Designers Guild, a community of independent artists, designers, and makers combating the lack of representation of Black talent and culture in the design industry. It was also the year that she connected with Jodi Finer, chief brand officer of S. Harris, to collaborate on a fabric, trimming, and wall-covering line that would celebrate the craft traditions of oft-overlooked parts of the world, from Bhutan and Zanzibar to New Zealand and Papua New Guinea. BADG issued a call for submissions and four BADG members—Shakoor Interiors principal Erin Shakoor, Apartment 48 founder Rayman Boozer, and interior designers Beth Diana Smith and Linda Hayslett—joined Barnett in cultivating Orejen (derived from the phonetic spelling of origin). The 77-piece collection includes Maji (Proto-Bantu for water), a cut velvet on a metallic ground; Bahari (Swahili for sea), a screen-printed and embroidered linen-cotton; and Utu (the Māori concept of reciprocation), a cut sheer. Also of note: embroideries Tiger Nest and Pele La, digitally printed Ukili, and jacquard woven Fernroot. “It repre­sents a new foundation in storytelling through colors, textures, and materials,” Barnett says, “by attributing the multiplicity of inspirations to all its sources.” fabricut.com/sharris

MALENE BARNETT BETH DIANA SMITH

ERIN SHAKOOR

“Each BADG designer gave long-overdue credence to the works of Black artists, Indigenous makers, and creatives of color alike” m a r k e t collection LINDA HAYSLETT

RAYMAN BOOZER

OREJEN

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UKILI

BHAVANA

PRODUCT: COURTESY OF S. HARRIS; PORTRAITS: COURTESY OF THE DESIGNERS

BAHARI

FERNROOT

BHAVANA

MAJI

PELE LA

UTU

TIGER NEST

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“I love working with natural materials— their defects are so beautiful”

MERVE KAHRAMAN

ZAZIKO

N-GENE

ZIRON

m a r k e t collection

Unique, daring, nostalgic. That’s how the namesake founder of Merve Kahraman Products & Interiors characterizes her work. Global, Memphis, and Fornasetti-esque could be other de­scrip­tors. After studying interior design at Milan’s Istituto Europeo di Design and product design at London’s Central Saint Martins, then cutting her teeth at Tom Dixon’s and Tord Boontje’s studios, Kahraman moved back to her native Istanbul to launch her own firm. Ensuing residential projects there and in New York, where she now lives, kickstarted her line of furnishings. “Inspiration can come from mythology or outer space,” she says. For her 2021 collection, the latter is evident in Starboy, a velvet-upholstered ottoman on a polished-chrome base, and Ziron, a 45-inchdiameter chandelier with a constellation of glass globes. Natural, sustainable materials are another through line: Yellow, pink, and blue marble frame the 84-inch-tall Zaziko mirror, while ayous, caning, and leather compose the N-Gene armchair. All pieces are handcrafted in Istanbul by local artisans and can be customized. mervekahraman.com

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STARBOY

BEYZA CORUHLU

stellar array

LIFE OUTSIDE IS A LIFE WELL LIVED.

T U U C I E Q U I N O X W I T H A U T O M AT E D L O U V E R E D R O O F, L I G H T I N G A N D H E AT I N G

TUUCI.COM

IHAYA

“Our goal is to aid in the economic livelihoods of refugee artisans” OUDE

BELLA

AKOSUA AFRIYIE-KUMI

m a r k e t collection

Ghanaian fashion designer Akosua Afriyie-Kumi is the founder of covetable woven handbag brand AAKS. Now, she introduces a new weaving project—part of the UNHCR Made51 initiative—to protect and support refugee artisans in neighboring Burkina Faso. Her pendant fixtures seek to preserve the basketry techniques of Northern Mali's Tuareg community, of whom some live as refugees in Burkina Faso. The basket lids Tuareg and Fulani/Peulh women make to cover food platters are re­ imagined as pendant shades with diameters ranging between 10 and 21 inches. There’s Oude, Bella, and Ihaya, all of which combine colorful organically dyed cotton yarn and natural straw.

Ihaya’s large, flat planetary shape suggests boundlessness, a symbolic projection of the Tuareg life and travels through the Sahara. It’s finished off with a bronze cup, hammered by hand in a pattern that is the trademark of the individual artisan. “We want to create well-designed objects,” Afriyie-Kumi says, “that embody original ideas.” aaksonline.com 64

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COURTESY OF AAKS

weaving change

m a r k e t collection

“The pieces examine the context and origins of alabaster”

TAZON ALTO FLORERO TUBO FLORERO BOLA

TAZON ANCHO

TAZON PORTAVELAS

pearly white One of the world’s best alabaster deposits can be found in Galeana, a city in the Mexican state of Nuevo León, at an altitude of over a mile above sea level. Here, it’s extracted directly from the earth, preserving its luminous milky white color and velvety texture. It is those qualities that led Jorge Diego Etienne to the stone for his latest collection, Galeana, named after its source of origin. Etienne designed six deconstructed vases, bowls, and stools using digital modeling and 3-D printing techniques, then passed them on to master craftsman Francisco Charles for interpretation. Charles, who has been sculpting in alabaster for over five decades, brought the pieces to life by hand using little more than a pencil, chisel, and sandpaper, and the objects are now named: Florero Tubo, Tazon Ancho, Florero Bola, Tazon Portavelas, Tazon Alto, and Banquito (not shown). jorgediegoetienne.com

ALEJANDRO CARTAGENA

FRANCISCO CHARLES, JORGE DIEGO ETIENNE

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PRODUCT: 1: STUDIO PERIPHERY; 3: RICHARD WALLWORK; PORTRAIT 1: FABIAN ONG

Tiffany Loy of Tiffany Loy

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Erin Turkoglu of Studio Erin Turkoglu

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product Expanding Rectangle. standout In experimenting with said geometry, the Singaporean weaver and Royal College of Art graduate produced a collection of alpaca silk textiles that can be worn and are most certainly anything but square.

product Puru. standout The lamp’s ceramic base is hand-crafted in the designer’s Helsinki studio, while the bulb reminiscent of a bubblegum bubble is mouth-blown nearby in Riihimäki glass workshop Mafka & Alakosi. Through Adorno.

tiffanyloy.com

adorno.design, erinturkoglu.com

Thiago Antonelli and Thélvyo Veiga of Jabuticasa

Evan Jerry of Studio Anansi

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product Lulu. standout Like all the London-based studio founder’s hand-turned objects, the shape of this white oak stool is rooted in forms of African art and undergoes a specialized charring process that lends it, in Jerry’s words, “vulnerable beauty.” studioanansi.net

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product Banco Feltro. standout Rest awhile on the Brazilian designers’ 12½-inch diameter, 16-inchhigh hardwood stool, which is available in three finishes, or remove the woolfelt topper to yield a side table and rest your beverage or books there instead. jabuticasa.com MAY.21

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“It’s a globalized notion, capable of crossing geographic and individual boundaries, sharing exquisite Latin American design with everyone”

MULLUNU

Although the name of digital gallery Unno derives from the Spanish word for one, it was launched by two: Maria Dolores Uribe and Laura Abe Vettoretti, Mexican women with backgrounds in art and architecture. “After long conversations, we came up with the idea to share the contem­porary vision of young Latin American designers with the world,” they explain. The resulting platform bridges the artisan and the handmade with the virtual, featuring pieces that defy the status quo, rekindle ancient materials, such as Mexican lava stone, and pay homage to Latinx culture, some by the founders themselves. Vettoretti’s angular Polvere sculpture, for instance, evokes layers of history, while Ian Felton’s crystalline-glazed Mullunu side table looks like coral rescued from a shimmering sea. Also rescued was the site of the gallery’s shoot, an early 20th–century Mexico City residence recently restored by architect Alberto Kalach in a manner that celebrates history, culture, and art, just like Unno.

market

unnogallery.com POLVERE

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LAURA ABE VETTORETTI, MARIA DOLORES URIBE

CLOCKWISE FROM BOTTOM RIGHT: MARIANA VALDOVI; ANA HOP (4)

numero uno

“Our process helps preserve a vital tradition for future generations”

NO. 9 ARATI RAO

ADAM SIPE

NO. 5

Three centuries ago, weavers in northern India began making flatweave rugs for nomadic communities to use as durable tent flooring on their travels. Fast forward to 2010, when Tantuvi founder Arati Rao met one such family of seventh-generation weavers and saw the potential for the same rugs to be used in the modern home. She and her partner, artist Adam Sipe, design geometric flatweave rugs in rich colorways such as Rose, Aqua, and Obsidian, in Tantuvi’s Brooklyn, New York, studio. Then, master artisans from 26 families in Rajasthan, bring the designs, which are simply named by their number, to life on panja looms using hand-spun cotton—a process that takes between two weeks and two months for a single rug. The result is an ultra-tight weave that uses 30 percent more cotton than other methods, so the rugs are durable enough to last decades.

Water-absorbent and machine-washable, the collection is ideally suited to the contemporary kitchen and bath. tantuvistudio.com

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NO. 7

m a r k e t collection

PORTRAITS LEFT TO RIGHT: ORI HARPAZ; ARATI RAO

heirloom textiles

LAPLAND

Lapland 531-64 Fjord

me m osamp les . c o m

Before we create any flooring, we consider the goals and safety of those who choose, install, use and maintain it—as well as the health of our planet, now and for generations to come. Learn more about Tarkett Human-Conscious Design™ and our broad portfolio of surfaces at commercial.tarkett.com/en_US Education • Healthcare • Retail • Workplace

© 2021, Tarkett North America

Surfaces shaped around you.

d e s i g n insider

celebrating difference DAVID LAUER

Last December, Interior Design and the IIDA cohosted a panel discussion to inaugurate DesignUnity, a partnership championing racial equity, diversity, and inclusion in our industry. The conversation about how to build and sustain diversity is ongoing and continues here, with a closer look at top firms’ efforts and initiatives

Constructive critique, self-examination, problem-solving, and constant assessment and reevaluation are inherent to the interior design process, a sort of operating system for interfacing with clients. Increasingly, though, firms are using those same tools on themselves—in an effort to dismantle systemic racism both within the industry and beyond.

To wit: HOK, which founded its diversity and inclusion initiative in 2008, conducts a biannual survey of its staff to temperature-check its handling of DEI issues. Huntsman Architectural Group and CannonDesign have educated their employees on topics such as unconscious bias and microaggressions. Perkins&Will has unrolled tools such as a firm-wide pay-equity analysis to track progress. And numerous firms have solicited outside guidance for a clearer-eyed perspective on their approaches. Studios Architecture, for instance, partnered with Coach Diversity Institute to monitor and evaluate the impact of its commitment to equity and inclusion as well as to craft a bespoke training program for its staff. ZGF Architects has committed to the International Living Future Institute Just label, which helps create more social and equitable policies to improve demographics, equity, and employee engagement.

Many have focused energy on scholarships, mentorship, and breaking down barriers to entry in the profession that bedevil minority groups.

“Creating a diverse pipeline of talent is our industry’s greatest challenge,” says James Woolum, a partner at ZGF, which has teamed with historically

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27% of ZGF staff identify as coming from an underrepresented racial group

cally Black colleges and universities to fill internships. “Getting individuals interested in design at an early age and creating longlasting pathways are keys to diversifying the industry in a meaningful and enduring way—issues that aren’t easy to solve.” Leveraging design thinking can help. “We don’t need to stray too far from design’s core competency to figure a lot of this out,” IIDA executive vice president and CEO and Interior Design Hall of Fame member Cheryl S. Durst affirms.

Even firms with longstanding diversity initiatives have been taking a harder look at what they could continue to improve, and many have recently fine-tuned or expanded existing efforts. Perkins&Will recently renamed its in-house program Justice, Equity, Engagement, Diversity, and Inclusion—adding the first two words “to ensure those concepts were unequivocally addressed,” director of global diversity Gabrielle Bullock explains. In 2019, HKS built on its three-year-old equity initiative, Better Together, by onboarding a dedicated global director of JEDI, Yiselle Santos Rivera, to help formulate a strategic plan focused on “creating structures of accountability and being transparent about areas of improvement,” she says.

Increasing transparency has been a crit­ ical factor in the effort to make the industry more welcoming to all. Firms are scrutinizing their demographic data to pinpoint where there’s room for progress, to track the impact of specific diversification efforts, to hold themselves accountable, and to ensure their minority employees and communities feel included, recognized, supported, and psychologically safe. Some data: Since 2014, the makeup of nonwhite staff at Perkins&Will has increased from 23 to over 30 percent. Some 27 percent of ZGF’s staff identify as coming from an underrepresented racial group; at Studios, 62 percent of the staffers are members of an underrepresented populace. Gensler just unveiled its first-annual Diversity Report, sharing metrics on its 6,000 global employees. “Recognizing a need to address systemic issues around diversity and racism, we asked, ‘What do we need to do to make an impact?’” co-CEO Diane Hoskins says. Ascertaining a benchmark was key.

“If we measure where are we today—for better or worse—we can improve upon it.”

The methodology of data-gathering had to be reconsidered through a more nuanced lens. “We embraced a very contemporary understanding of individuality, allowing people to self-define from the perspective of gender, orientation, ethnicity, and more,” Hoskins continues. There were some surprises in the results: 7 percent of the U.S. workforce identified as LGTBQ+ and 161 people as having (or having had) a disability. “And although we have Black employees at all levels of our company,” she says, “we discovered that our Black community is only 1 percent above the industry average”—around 2 percent, per the 2019 AIA Membership Demographics Report that Gensler used as a point of comparison—whereas 18 percent of the firm’s staff identifies as Asian, which is three times the industry average. “Although diversity exists within our firm, we’re not yet where we want to be; we have to improve in terms of our Black community,” Hoskins says. To do so, Gensler is focusing on recruitment; a firm that, pre-pandemic, was hiring an average of 100 people per month and anticipates returning to that pace early next year can go a long way to helping diversify the field. (Apparently even hiring freezes haven’t stopped companies from agitating to move the needle: Stonehill Taylor, while not in a position to staff up this year, has had success partnering with organizations including the ACE Mentor Program and the Opportunity Network.)

Improving numbers is, of course, just one piece of a highly complex puzzle. “That the industry is composed of many different types of professionals doesn’t mean that this industry is inclusive,” Durst says.

BIPOC designers must be given more opportunities to achieve and shine in the workplace. “Dismantling the systems that have not traditionally allowed people to succeed means looking at HR manuals, performance reviews, firm culture, and even how your company defines success,” she continues. For this reason, many firms are reevaluating how work is being distributed among teams. “Contributing to marquee projects is what moves you to the next level,” Durst adds. “If you’ve been toiling away in the background, you’re not being seen—literally and figuratively—by the folks who can most amplify or advance your career.” Hoskins acknowledges that

younger talent in particular needs to be more forward-facing.

“Too often, only the name on the door gets recognition,” she continues. “For diversity to really take hold, we have to get out of this star system, and move toward more of a ‘constellation of stars’ mentality.”

The industry as a whole is coming to a better understanding of its blind spots, including an underacknowledged history of exclusivity. “We pride ourselves on being good, kind, caring, altruistic people,” Durst says. “But the reality is, for a very long while, design was for certain people, not for all people. We can’t use our intrinsic openness as an excuse for not doing the work that needs to be done and not seeing the inequities and disparities that exist.” The past year has been a wake-up call for many. Denton House rolled out its diversity program after one of its Black designers expressed concern about attending an install in an area known to have a population of white supremacists— something her colleagues hadn’t initially considered, and were appalled to hear is a too-common occurrence. “Our firm is based in Salt Lake City, which is 72.8 percent white and 48 percent Mormon,” says firm vice president Amy Winn. “With this demographic, there is not a lot of exposure to race and race-related issues.” Denton House embarked on a series of thoughtful discussions and trainings, started a book club, and invited guest speakers, such as Julia Yoo, president of the National Police Accountability Project, and Diana Brown, an active Mormon and assistant director for Interreligious Engagement at Georgetown University, who addressed religion’s role in conversations about race. “Through our program, we have been able to open eyes and hearts to injustices that many never knew they benefitted from or contributed to,” Winn says.

Although the industry has made strides, there is still much work to be done. When it comes to diversity, there’s no “finish line,” as Durst puts it. But there is strength in numbers. “The only way to really effect change,” Bullock concludes, “is if we do it together.” Count us in.

—Jen Renzi

d e s i g n insider

“The biggest challenge has been reminding ourselves that this is a marathon, not a sprint, toward the end goal of supporting the change we need in the industry to become truly diverse, equitable, and inclusive” —Ted Hyman, ZGF

70% of ZGF staff have positive perceptions of belonging and inclusion

Since 2014, the percentage of nonwhite staff at Perkins&Will has increased from

62% of Studios employees identify as members of an underrepresented group

to over

“There’s as much significance in the journey as there is in an aspirational destination” —Gabrielle Bullock, Perkins&Will

“The greatest challenge is ensuring that all staff and leadership integrate diversity, equity, and inclusivity as a filter for all that we do, internally and externally, not as a siloed initiative” —Todd DeGarmo, Studios

Gensler’s U.S. workforce gender identification by appointment title:

161 Gensler U.S. team members identify with having or previously had a disability

Nontitled

0.3%

Associates

Senior associates

0.2%

Principals

31.5% 68.5%

Board of directors

Nonbinary/3rd gender

44.7% 55.1%

Male

50.1% 49.9%

Female

59.6% 40.1%

34 U.S. team members identify as protected veterans

50% 50%

“We shouldn’t be complacent but we should be hopeful”—Cheryl S. Durst, IIDA 0.5% American Indian or Alaska Native 0.5% Native Hawaiian or other Pacific Islander 3% two or more races 3% Black or African American 10% Hispanic or Latinx CLOCKWISE FROM RIGHT, MIDDLE: COURTESY OF GENSLER (4)

18% Asian

Gensler U.S. Workforce

04 65% White

Nonbinary/3rd gender respondents identified with one or more of the following gender-neutral pronouns: THEY/THEM/THEIRS,XE/XEM/ XYRS,ZE (ZIE)/HIR/HIRS

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Female respondents identified with one or more of the following gender-neutral pronouns: THEY/THEM/ THEIRS,XE/XEM/XYRS,ZE (ZIE)/HIR/HIRS

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Male respondents identified with one or more of the following gender-neutral pronouns: THEY/THEM/ THEIRS,XE/XEM/XYRS, ZE (ZIE)/HIR/HIRS

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ONDE by Luca Nichetto www.gandiablasco.com

GANDIA BLASCO USA 52 Greene Street, New York, NY 10013 T: 212-421-6701 info-usa@gandiablasco.com

A sea-inspired pavilion by Various Associates for Shenzhen Design Week represents the Chinese city’s ocean of cultural exchanges and creativity

rhapsody in blue 1 1. A water motif nodding to local trade ports formed the basis of Breaking Boundaries, an installation by Various Associates for Design in Bay Area, the theme of last year’s furniture expo at China’s Shenzhen World Exhibition and Convention Center. 2. A rendering illu­ strates the pavilion’s stacked laser-cut ply­ wood units, each of which could be used individually as a chair or grouped together into a desk or decorative element, held together via plastic mortise-and-tenon joints; both the wood and plastic were scrap. 3. Design and construction took 20 days, which included painting the plywood an ocean blue. 4. The modules en­abled quick disassembly after the exhibition and packed up nearly flat for easy transportation and storage. 5. Another rendering shows how they will be reass­em­bled and reused as tables and chairs for Various’s upcoming education project.

CLOCKWISE FROM TOP: COURTESY OF VARIOUS ASSOCIATES; ZEBING LI; COURTESY OF VARIOUS ASSOCIATES (3)

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FOUR 250 MODULES

designers led by Various Associates co-founders and chief designers Qianyi Lin and Dongzi Yang

15 FEET HIGH

350 8,480 SCRAP PLYWOOD SHEETS

SQUARE FEET

“The idea was for visitors to see beyond an object’s sole purpose, that it isn’t restricted to its inherent function” MAY.21

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ZEBING LI

Since the expo was co-organized by several bay area design institutes and co-curated by 21 designers from eight cities, Various’s wave concept underscored Shenzhen’s role as a developing metropolis of cultural fusion, inclusivity, and young talents pushing the city forward, like a sea that admits hundreds of rivers.

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ne Bo d oo hw As 84 57

View the entire collection at www.formica.com

may 21

There’s so much to see

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treasure island

On Hormuz, off southern Iran, Zav Architects is creating an environmentally sensitive complex that benefits community and visitors alike text: vera sacchetti photography: tahmineh monzavi

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Previous spread: On Iran’s Hormuz Island, Majara is a 17-suite guest residence by Zav Architects built by local workers using the Superadobe construction technology, plaster, sand soil, and minimal concrete and steel to reduce the project’s environmental impact.

Photography: Soroush Majidi.

Top: Majara’s domes recall vernacular Iranian typologies, such as the roofs seen in the desert city of Yazd or the long corridors of the bazaars around the country; photo­ graphy: Soroush Majidi. Bottom: Suites feature concrete floors and locally sourced and custom furniture by Zav’s interiors team, including pendant fixtures inspired by the area’s fishing nets.

Opposite top: Majara is part of the Presence in Hormuz, a sustainably-built, three-part complex along the Strait of Hormuz; photo­ graphy: Soroush Majidi. Opposite bottom: Colors derive from those found in the region’s soil, and structures are linked by meandering concrete walkways; photography: Amir Tehrani and Mohammadreza Ghodousi.

When it comes to hospitality, it might be difficult to find more generous and selfless hosts than the Iranian people. That’s underscored by the context: Iran is home to some of mankind’s most incredible architectural and engineering feats, from the Persian qanat water supply system in arid regions to the majestic Meidan Emam Square in Isfahan, as well as the country’s bazaars and religious buildings that have gone on to influence and shape the built environment of many other cities around the world. Even Le Corbusier was transformed by his travels in Persian territory, and that influence can be seen in the Swiss architect’s use of illumination and color in his religious and residential spaces.

While the principles of Western modernity seem to have taken over building culture in Iran in more recent years, studios such as Tehran-based Zav Architects seek to incorporate and reappropriate Iranian architectural tradition by working with local materials and construction techniques. Such is the case with a project on the small island of Hormuz, which opens up to the strait of the same name in the south of the country. Called Majara, it is a 17-suite guest residence that completes the second phase of Presence in Hormuz, an environmentally sensitive, three-part complex by Zav that’s intended to draw in tourists and support the community. Zav, by the way, is a Persian word that roughly translates to builder.

A 16-square-mile island with a population of 6,500, most of Hormuz is a natural reserve, its landscape known for colored sands and notable geological features. While most of the residents are dependent on income related to tourism, ironically, there is a lack of tourist accommodations on the island, which the Presence in Hormuz seeks to address. The complex, which encompasses 43,000 square feet on 21/2 acres, also includes the Rong Cultural Center, com­pleted in 2017, and the forthcoming Badban, a center for human-resource training and the management hub 84

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“The project intends to draw in tourists and support the community, while minimally impacting the landscape and incorporating traditional Iranian architecture”

for the whole development. The recently completed Majara is the standout, featuring elements that evince a measured and context-specific approach.

In conceiving the project, Zav sought to integrate the community as a stakeholder in the process.

That materialized in the training of 50 local workers in Superadobe, a construction technology pioneered

by Iranian-American architect Nader Khalili in the second half of the 20th century. An ingenious technique that earned Khalili a 2004 Aga Khan Award, Superadobe uses sandbags, barbed wire, on-site earth, and few tools to build structural arches, domes, vaults, or more standard rectilinear shapes.

For Majara, Zav fine-tuned the Superadobe process to use less concrete and steel and replaced limited clay soil with region-abundant sand soil to mix with the plaster exteriors and interiors, allowing the creation of larger-radius and lower-height domes, 200 of them altogether, some topping freestanding structures, others interconnected.

The resulting ensemble combines several dome shapes and heights in a harmonious combination reminiscent of other locations in the country, from the desert city of Yazd to the badgir wind towers of Kashan. “Architecturally, we were looking at the domed water reservoirs in the region,” Zav founder and senior architect Mohammadreza Ghodousi begins, “a typology called berke in the local language.” Additionally, Majara employs colors in a surprising, effective way. The saffron yellows, sky blues, sage greens, and deep reds were inspired by the area’s rainbow topography. But instead of using the island’s endangered, naturally tinted soil to achieve the hues, Zav painted the structures, both inside and out.

The outcome is a series of strong interiors that echo vernacular Iranian typologies, such as the winding, domed bazaars that are common throughout the country, dramatically illuminated by

This page: The sitting area in a suite bedroom is composed of furniture from Neshiman, a company based in Shiraz, Iran.

Opposite left, from top: Among the landscape’s native species is Terminalia. This is Ficus benjamina, also known as weeping fig; photography: Payman Barkhordari. Opposite right, from top: Domes are pierced by different-scale oculi, common in Iranian architecture. The guest residence includes a café.

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Top: Bedroom ceilings reach as far as 22 feet high. Bottom: A suite’s entry is furnished with Puzzle sofas by Nazari, a Tehran manufacturer.

Opposite top: Majara features 200 pointed and rounded domes, many with larger radii and lower heights than typically built. Opposite bottom: Appropriate distances are maintained to the shore and the island’s protected areas, and the entire 2½-acre complex is dotted with water troughs for gazelles and other animal species; photography: Amir Tehrani and Mohammadreza Ghodousi.

piercing oculi. Majara’s guest rooms and public areas, also by Zav, play with the exterior and interior hues by creating complementary and contrasting arrangements of monochromatic furnishings. The pieces are a mix of ones sourced in the region and custom designs executed by Hormuz craftspeople. “Some were based on the area’s shrimp-fishing nets, applying local craftsmanship like weaving,” Zav project architect Soroush Majidi notes, referring to a suite’s woven metal table and stools and pendant fixtures encased in black netting. “And our diffuse lighting system helps achieve a subtle atmosphere.” There are also simple glass orbs and round beds, which reinforce Majara’s curved geometry.

“Our goal for the project is to not only employ the local community but also boost GDP,” Ghodousi says of the guest residence, which opens its doors to the public later this year. When the entire Presence in Hormuz complex is complete, it will create dozens of new jobs for locals while still continuing to interact sustainably with the region—more than 20 percent of the landscape will harbor green areas planted with native species and the whole complex is ringed by water troughs for gazelles and area wildlife. It’s a sensitive and measured approach to the impact of mass tourism, revealing a glimpse of what the industry in a post-pandemic world could be—and pointing the way to the future of hospitality.

PROJECT TEAM FATEMEH REZAEI; GONAZ BAHRAMI; SARA JAFARI; TARANEH BEHBOUD; SARA NIKKAR; MOHSEN DEHGHAN; SHEILA EHSAEI; PAYMAN BARK­HOR­ DARI; MOHSEN SAFSHEKAN; KAVEH RASHIDZADEH; HOSSEIN PANJEHPOUR: ZAV ARCHITECTS. HABITS LIGHTING STUDIO: LIGHTING CONSULTANT. PRODUCT SOURCES FROM FRONT INTEX TEHRAN: BEANBAGS (SUITE). NESHIMAN: CHAIRS, TABLES, FLOOR LAMP, STORAGE TABLE (BEDROOMS). NAZARI: BENCHES, TABLES (CAFÉ); SOFAS, TABLE (ENTRY). THROUGHOUT MEHRA CO.: WIN­ DOWS. BETONPAS CO.: CONCRETE FLOORING. NEWCOLOUR CO.: PAINT.

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With the Bonn, Germany, headquarters of Aktion Mensch, Ippolito Fleitz Group proves that an inclusive and accessible workplace can be attractive and inviting

looking good, feeling good text: monica khemsurov photography: philip kottlorz

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In Germany, virtually anyone who grew up in the second half of the last century and owned a TV would be familiar with Aktion Mensch. It’s a nonprofit organization, the country’s largest in the social sector, that hosted a beloved game show, Der Große Preis (or The Great Price), on network television from 1974 to 1992.

Part of the show was devoted to a lottery that still exists today and funds the foundation’s core mission: to provide aid for projects that support people with disabilities, and to advocate for equality and inclusion in German society as a whole. In fact, its motto is “Together we win.” Aktion Mensch’s public-facing work includes creating education campaigns and offering grants to grassroots advocacy groups. But a recent renovation of its five-story headquarters in Bonn gave the nonprofit the chance to see its values on display internally, as well. The new space, spearheaded by Ippolito Fleitz Group, manages to neutralize disabilities while celebrating them at the same time—a place where differences are normal.

Keeping that “we” in mind, reenvisioning Aktion Mensch’s 40,000-square-foot office was a highly collaborative process that took nearly three years to complete. While the majority of the brief was straightforward— transitioning from closed offices to open-plan, improving acoustics, incorporating up-to-date digital tech­ nologies—the project also had to take into account a nonprofit’s budget, the wishes of its donors, and the specific needs of the nearly 15 percent of Aktion Mensch’s employees who have disabilities themselves.

After months of workshops between reps, the workers’ union, and the Ippolito Fleitz team, the architects developed a prototype that was tested and refined, then rolled out slowly, giving employees a chance to get used to the change. “It was important that the staffers really agree that this was a good project,” begins Ippolito Fleitz managing partner Peter Ippolito, who, along with co-managing partner Gunter Fleitz, is a member of Interior Design’s Hall of Fame. “A socially driven, human-centric organization has a much higher consciousness about those things than a commercial one.”

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Previous spread: At the Bonn, Germany, headquarters of Aktion Mensch, a nonprofit organization that funds projects supporting people with disabilities and advocates for equality and inclusion for all, Ippolito Fleitz Group employed asymmetrical shapes in a conference room and throughout to celebrate the diversity and individuality of the employees, nearly 15 percent of who are disabled.

Opposite top: Neighborhoods, such as swimming pool, are defined by colors, some of which contrast, like the Muuto high-back sofa and orange carpet round, to help the sight-impaired easily demarcate spaces. Opposite bottom: Behind a meeting room’s Occo chair by Jehs + Laub, the privacy curtain has clearance at the bottom for wheelchair safety.

Top: La Palma chairs and a custom pendant fixture populate the central lounge of the port neighborhood. Bottom: In the market neighborhood, FormvorRat side tables stand beneath the acoustical ceiling, painted with color-coded circles.

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Much of the knowledge-sharing that took place during the design phase had to do with accessibility. While the building, completed in 2004, was already somewhat wheelchair-friendly, Aktion Mensch brought to the table a nuanced list of considerations for those with learning disabilities or impaired sight or hearing—as well as cutting-edge ideas for accommodating them. In addition to outlining industry standards for sink and handle heights, aisle widths, and curtain clearances, the Aktion Mensch team, led by project manager Clemens Hollingsworth, advocated for the scheme to be “mobile first,” he says. “It helps people with disabilities tremendously when everything relating to their daily needs can be combined in one tool.” One such example of this is the installation of iBeacons at the office’s bus stop, main entrance, and first-floor conference rooms; they trigger visitors’ phones to display guidance and information in their preferred format, such as a reading service for the blind or a graphicsbased representation for those with learning disabilities.

When it came to considering the needs of the employees themselves, color played a huge role in functionality, particularly when it came to spatial orientation. Not only do high-contrast colors make it easier for those with visual impairments to delineate between spaces but colors also make for a simpler wayfinding system for the learning impaired. Ippolito Fleitz took this information and used it to solve a key problem at the heart of the project: the building’s labyrinthine layout, an endless sequence of identical corridors and staircases that couldn’t be altered architecturally. The firm devised a neighborhood system that breaks down the office into eight more-digestible departmental zones, each assigned its own color scheme and ultrasimple name, like blue swimming pool, pumpkin market, and red-rose garden. Each neighborhood has a central lounge that serves as a welcome area and features walls, ceiling decals, and carpeting in its signature bright hue, while sharply contrasting carpet colors define the boundaries of adjacent meeting rooms and workstation areas.

Also adding liveliness to the interiors is a system of modular acoustic panels—available in a menu of densities, textures, and shapes—that each employee Opposite top, from left: Brunner stools surround a custom table in a meeting area. Working under the budget considerations of a nonprofit, Ippolito Fleitz value-engineered acoustical privacy panels so they don’t require hiring a professional to install or move them. Opposite bottom, from left: Upholstered telephone booths have swinging doors that are wheelchair-friendly and less claustrophobic. Bright colors add personality to what was once a maze of corridors.

Top: Workers in each department can choose their own panel configuration and density; this one provides heavier sound-dampening for phone calls. Bottom: A meeting room in the port neigh­ borhood has extra clearance to accommodate wheelchairs, but, furnished with Charles and Ray Eames chairs and Isbrand Design’s Cabale table, is otherwise conventional in appearance.

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Right: Liberal use of fabric paneling and nylon carpeting throughout helps temper acoustics, which Ippolito Fleitz says is the main driver of well-being in a workplace. Bottom, from left: Marcel Wanders’s Big Shadow floor lamp and Lievore Altherr Molina’s Dizzie table stand in the lounge. Workers can select the shape of their desk divider as well, like rabbit, which is also asymmetrical and easy to move.

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can configure for their own work space to suit their aesthetics and level of privacy. Mounted to easy-to-installand-deinstall floor-to-ceiling tension rods, the panels (as well as the mirrors in conference rooms) were purposefully designed to be charmingly asymmetrical and uneven, as a metaphor for the organization itself.

“The shapes all have their own personalities,” Ippolito notes. Seeing them deployed throughout the office in unique ways, he adds, resembles “a gathering of diverse characters, doing something great together.”

Despite the project’s appreciation for diversity, however, it doesn’t immediately appear to be a workplace for differently abled people. By keeping the focus on universal design—making sure, for example, that every table is height-adjustable and has extra space around it, not just those meant for wheelchair users—Ippolito Fleitz ensured that the end result would accommodate disability without singling anyone out, making it a beacon for Aktion Mensch’s message of inclusivity. “Every space is accessible for everybody,” Ippolito states. “It sends a strong signal that however you come, you’re welcome, and we’ve created space for you to perform your best.”

PROJECT TEAM MICHAEL BERTRAM; MARLENE COURT; PILAR HUERTA; TIM LESSMANN: IPPOLITO FLEITZ GROUP. LICHTWERKE GMBH KÖLN: LIGHTING CONSUL­ TANT. LBH: CUSTOM FURNITURE WORKSHOP. DESIGNFUNKTION: FURNITURE SUPPLIER. HOFFMANN INTERIOR GMBH & CO. KG: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT HAY: STOOLS (SWIMMING POOL, PORT MEETING ROOM). MUUTO: SOFAS (SWIMMING POOL, MARKET), LOUNGE CHAIR (MARKET).

WILKHAHN: CHAIR (MEETING ROOM). LA PALMA: CHAIRS (LOUNGE). FORMVORRAT: SIDE TABLES (LOUNGE, MARKET). HOLMRIS B8: TABLE (PORT MEETING ROOM). ARPER: LARGE TABLE (LOUNGE). CAPPELLINI: LAMP. THROUGHOUT BRUNNER: OTTOMANS. VITRA: TASK CHAIRS. CAMIRA; FEBRIK; GABRIEL; KVADRAT: FABRIC. FINDEISEN NADELVLIES; OBJECT CARPET; TARKETT; VORWERK: CARPET. APARTMENT 91: CURTAINS. CAPAROL; SIKKENS: PAINT.

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a world of talent Outstanding projects in locations as diverse as India, Argentina, Dubai, Canada, and Mexico confirm great design knows no national borders text: mairi beautyman, edie cohen, and georgina mcwhirter

See page 100 for Gallery House, a community center in Bansberia, India, by Abin Design Studio. Photography: Edmund Sumner.

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Abin Design Studio project Gallery House, Bansberia, India. photography Edmund Sumner.

Asked to design a stand-alone garage for the private residence of a childhood friend, architect Abin Chaudhuri not only produced an astonishing brick-and-concrete structure but also significantly enlarged the building’s simple program. Aesthetically, the 4,100-square-foot, two-story facility is a contemporary take on the terra-cotta facades of traditional Bengali temples. Chaudhuri—the son of mathematicians who discovered his vocation touring a house by the Indian modernist architect Charles Correa, graduated from Jadavpur University in Kolkata, and studied industrial design at Domus Academy Milano—collaborated with ceramic artist Partha Dasgupta on the exterior’s elaborate geometric brickwork. But it was Chaudhuri’s frequent conversations with his client about giving back to their hometown that led him to suggest the garage be largely repurposed as a community center, dubbed Gallery House. Now the ground-floor parking space is mostly used as a neighborhood meeting hall; upstairs, a multipurpose room hosts dance classes and yoga sessions during the day and functions as a dormitory for resident staff at night. Even the concrete front steps provide a viewing stand for neighborhood processions and festivals: “Anyone can sit there,” Chaudhuri notes with satisfaction.

“Encouraged to maximize the public utility of this building, its design was conceived to extend into the street, both visually and physically”

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“Materials, shapes, and textures were used to evoke the cold, icy, and frozen—and to emphasize the primacy of these characteristics in the products offered”

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Efeeme Arquitectos project Fristo Frozen Market, Villa María, Argentina. photography Gonzalo Viramonte.

Flavio Díaz and Marina Alves Carneiro, who met as architecture students in the Facultad de Arquitectura, Urbanismo y Diseño at Argentina’s Universidad Nacional de Córdoba, founded their Villa María–based firm in 2011. Since then, the duo has peppered the town with a series of innovative retail spaces that turn shopping into a design experience. Walk into the new Fristo Frozen Market, for instance, and shiver. Figuratively, that is. Just as the shop’s name mashes up the Spanish words frio (cold) and listo (ready), so its interior deftly combines the pragmatic and the artistic, drawing on what the partners call “Argentina’s multiethnic and multicultural character expressing progress and modernity.” The 870-square-foot space feels like an avant-garde installation that places the viewer—or customer—inside a refrigerator. Suspended from the ceiling, panels of clear PVC film and simulated icicles made of stainless steel provide visual chills. Aluminum-foil wall covering and glossy porcelain-tile flooring further the frosty effect. Meanwhile, bona fide freezers and a center vitrine keep all that frozen food truly sobre hielo.

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“Cultural tension is giving way to cultural balance”

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Roar project Drop Coffee, Dubai, United Arab Emirates. photography Oculis Project.

Pallavi Dean is diversity personified. Born in Mumbai, she grew up in the United Arab Emirates, earning an architecture degree from the American University of Sharjah. She then worked in London for PRP Architects focusing on social housing, far from “glamorous projects in the UAE,” she notes wryly. Dean cites the multiculturalism of her Indian, Emirati, and British backgrounds as a primary influence, “often pushing and pulling me in conflicting directions.” The same diversity applies at Roar, the Dubai-based design studio she founded in 2013, where the mostly female staff represents ethnicities from Africa, Asia, Australia, Europe, and the Middle East. Although Dean launched the firm because of difficulties she encountered as a woman, “It isn’t about feminism,” she insists. “Gender equality is the real issue.” Drop Coffee, a 1,200-square-foot cafe in Dubai’s Dar Al Wasl Mall, shows Roar’s easy cosmopolitanism to fine effect. A central grab-and-go counter of pale oak and stainless steel atop an integrally lit glass-block base joins a generous choice of seating pos­ sibilities, including a sofa, banquette, freestanding tables and chairs, and a stand-up bar with clamp-on trays. Presiding over it all, a wall-size mosaic of broken ceramic tiles is like an homage to the aesthetic and cultural powers of collage.

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Cadena + Asociados Concept Design

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project Bambo Beauty, Mexico City. photography The Raws.

Remember the joyously colorful advertising of labels like the United Colors of Benetton in the 1990’s? That vibe is back with Bambo Beauty, a Mexican makeup and skincare company that sells drugstore products like Revlon alongside its own brand. Bambo turned to architect Ignacio Cadena, who founded his multidisciplinary creative agency in 2001, after completing a master’s in architecture at SCI-Arc in Los Angeles, to restyle the company’s digital and physical worlds, including campaign photography, packaging, and the interior of a 1,700-square-foot store in a Mexico City shopping center.

(The U.S. and South America are next.) “Latin American rhythms are translated into graphic grids and chromatic playfulness,” Cadena notes. “It’s a very rational yet playful environment inspiring creativity.”

Customers are encouraged to open grids of multicolored plastic and wood drawers to discover what’s inside. Above display units lining the walls, the grids continue with mirrored panels and beauty photo­ graphy printed and backlit or shown on video screens, Hollywood Squares–style.

“The grid sets the basis for everything”

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Denizens of Design project McMichael Café, Kleinburg, Ontario. photography clockwise from opposite: Mark Binks; Scott Norsworthy (3).

As a child, Dyonne Fashina frequented Ontario’s Nottawasaga River, collecting clay for sculptures. “I was always the kid into art and architecture,” says the principal of Denizens of Design, which she founded in 2014.

Armed with an interior design degree from Toronto’s Ryerson University, Fashina climbed the corporate ladder before striking off on her own. Several successful hospitality projects later, her firm was commissioned to renovate a café at the McMichael Canadian Art Collection in Kleinburg—its holdings include Indigenous works, both historical and contemporary— which Fashina first visited on a school trip years earlier. The museum’s main building is an enormous log-and-fieldstone cabin built in the 1950’s and much-enlarged since. For its new café, Fashina envisioned “a space that felt like it had multiple makers, celebrating Canadian craft in the way the museum celebrates our art.” With movable privacy screens, modular service stations, and flexible furniture, the 2,000-square-foot dining area can be expanded into 3,000 square feet of adjacent gallery space for weddings, cocktail parties, and lectures.

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“The importance of the building and the art within it is what should be recognized—then the café becomes part of that”

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In China, a Hangzhou showroom

by Pig Design celebrates—and puts a local spin on—the legacy and aesthetic of Italy’s Memphis Group

all shapes and sizes text: rebecca lo photography: shao feng

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In the design world, the 1980’s are perhaps best remembered for their definitive rejection of modernism’s austerity in favor of excess. Interior Design Hall of Fame member Robert Venturi put it best with the idiom “less is a bore,” paving the way for an American return to color, pluralism, and a Miami Vice aesthetic. At the same time, over in Milan, a group of mostly European designers led by Italian architect Ettore Sottsass took a deep dive into experimentation with postmodernism.

They eventually resurfaced as the Memphis Group, named after the Bob Dylan song Stuck Inside of Mobile with the Memphis Blues Again that was looping in the background as they brainstormed in December of 1980. Though only officially together until 1987, the collective’s joyous output of furniture, lighting, textiles, and ceramics was marked by euclidean geometric forms juxtaposing fanciful patterns. There was a spirited quality to the products that hacked high art for the masses.

Fast forward four decades. The Italian company Memphis Milano continues to produce original designs today that are purchased by collectors worldwide. The reach has even extended to China, where a gallery-esque showroom called Ya Space in Hangzhou is the official dealer of Memphis—and a total embodiment of the group’s aesthetic. The two-story project is by Pig Design, a local architecture studio cheekily named after founder and chief designer Wenqiang Li’s especially tubby cat. Ya Space has an equally playful derivation: The Chinese nickname of Memphis, Tennessee, is Cliff City, and cliff is pronounced like ya in Chinese.

That theme carries over to the structure’s facade, which is composed of corrugated stainless-steel triangles that make up three-dimensional tetrahedrons, pyramids, and other pointed shapes. It’s an introduction to the unusual silhouettes that

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Previous spread: On the second floor of Ya Space, a gallerylike showroom and the exclusive retailer of Memphis Group furnishings in Hangzhou, China, by Pig Design, cement design elements were inspired by the collective’s signature geometrics.

Opposite top, from left: A foyer archway, one of several throughout. A decorative copper sphere near the tempered-glass entry door.

The stairway’s skylightlike ceiling fixture and painted rail posts. Opposite bottom: On the ground floor, the cement forms mix with flooring of terrazzo, chosen because it was a common Memphis Group material.

This page: On the facade are corrugated stainless-steel panels manipulated into pointed three-dimensional shapes that reference cliffs, since the Chinese nickname of Memphis, Tennessee, is Cliff City and cliff is pro­ nounced like ya in Chinese.

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“The project fits with Memphis Milano’s pursuit to localize unique modern design”

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Opposite: More LEDs illuminate a round cutout of a triangular pilaster.

Top: Memphis Group member Michele De Lucchi’s First Wood and Metal Chair is visible through a copperfinished portal. Center: Cement platforms lead visitors from the entry through an archway to the exhibition space. Bottom: A triangular pergola stands in the center of the ground floor’s main display hall.

that define the showroom, both inside and out. “Memphis ideals are independent and self-contained, and its forms and colors are vivid and dynamic,” Li begins. “The project fits with Memphis Milano’s pursuit to localize unique modern design.” One in which Li and his team conceived as visualized through a global lens.

Take the entry. Wide granite steps, downlit in a space-agey manner, lead up to a deep portal, the round glass door inside it emblazoned with a copper excla­mation point, a larger version of the one in the company’s logo. Inside, where the landscape is populated with geometric plinths and columns and warm tones, it’s clear that Ya Space isn’t a typical furniture showroom. “Memphis offers a different take from more conventional design rationale,” Li says. “It pursues freedom and romance, which resonates with young people today.” Li built upon that freedom and romance for the concept of the showroom.

With the exception of a small restroom on the second floor, the entire 4,800square-foot interior is devoted to display spaces that reinforce the Memphis aesthetic through variations on 3-D circles, arches, and triangles. Also in a nod to Memphis, terrazzo, often found in the group’s pieces, is the main flooring material throughout, and, similar to its play on elevating inexpensive materials, most of the geometric interventions are made from humble cement.

That’s immediately seen once inside.

Designed on an angle to suit the site’s configuration with Hangzhou’s grid, the foyer connects to the main hall via islandlike platforms, each a different shape and height. With its internally lit circular and triangular elements, all in pale-gray cement, the hall itself feels like a piece of supersize Memphis furniture and helps amplify the objects on display, such as lamps by Sottsass and Martine Bedin and furniture by Michele De Lucchi, Gaetano Pesce, Peter Shire, and Li himself. “We liberally adopted the free-form compositions that mark the Memphis style,” Li explains.

“At the same time, our selection of materials and colors, namely gray, copper, and yellow ochre, plays on texture and other concepts, to go beyond Memphis’s emphasis on the visual.”

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That subtle play is at work in the staircase connecting the project’s two floors. Capped by what appears to be an enormous round skylight but is actually a light fixture, wide terrazzo steps have an army of golden waist-high posts marching up alongside them as a balustrade.

“We really hope to transport visitors to the Memphis Group’s original intent,” Li continues.

In contrast to the architectural components downstairs, the second level utilizes partialheight partitions to divide its open space. Circular windows of varying diameters allow for a dialogue between the serene interiors and the buzz of urban life glimpsed through the glass.

The round form is repeated in platforms, ceiling-mounted light fixtures, and the st­y­lized capital topping a central column. Expanses of flat walls allow for the display of two-dimensional Memphis pieces, like a graphic wool rug by Nathalie Du Pasquier, who, along with Bedin, were the group’s youngest and only members. With the simplified palette, each object at Ya Space is elevated, given proper deference. But the environment is not so pared-down that it looks generic. “Chinese interiors have been dominated for a long time by the frigidity of Nordic countries or a neutral minimalism,” Li says. “It can all look the same. Memphis, and this project, offered us an impactful way to shake things up.” The hope is it will raise awareness of postmodern culture in Hangzhou and throughout China—a second Ya Space in Shanghai is in the works.

PROJECT TEAM SHIJIE TAN; LIANG CHENG; YIYUN ZHU; YUNYUN CHEN; RUONAN LIU; KEKE WANG: PIG DESIGN. HANGZHOU DIANCHANG DECORATION DESIGN ENGINEERING CO.: GENERAL CONTRACTOR.

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Opposite top, from left: Rounded elements on the second floor. LEDs embedded in the painted cement pilasters. A stainless-steel model of the museum.

Bottom: A pyramidal structure functions as a furniture showcase.

This page: Large expanses of walls on the second floor host Memphis Group textiles, such as Riviera, a rug created in 1983 by Nathalie Du Pasquier.

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bridging the divide LMN Architects anchors Washington’s Mukilteo Multimodal Ferry Terminal in local Native American cultures and green building practices text: lauren gallow 118

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In Washington, traveling by ferry is more than a commute—it’s a beloved pastime. With the nation’s largest ferry system, the state’s department of transportation manages 21 routes crisscrossing the Puget Sound, carrying over 23 million passengers annually to the many islands dotting the Pacific Northwest and British Columbia. In Mukilteo, a city approximately 25 miles north of Seattle, LMN Architects has designed the first new Washington ferry terminal in 40 years, serving the West Coast’s busiest ferry route between the Seattle metro area and nearby Whidbey Island.

“This is a historically sensitive location for the many Native American tribes who have been here for thousands of years,” LMN principal Howard Fitzpatrick says of the site for the Mukilteo Multimodal Ferry Terminal, which sits on the tribally significant lands where the 1855 Point Elliott Treaty was signed. A watershed moment for the Indigenous people who ceded millions of acres of land to the U.S. government, the treaty also guaranteed perpetual hunting and fishing rights to the tribes on their ancestral lands. To honor that agreement, the terminal was conceived in close collaboration with over 11 local Coast Salish tribes.

“This is the first federally funded project in Washington that incorporates Native American cultural design elements throughout the entire site,” says Phillip Narte, the tribal liaison for Wa­sh­ington State Ferries who coordinated with the Tulalip, Suquamish, Samish, Snoqualmie, and Swinomish Tribes, among others. “Early on, the tribes pointed out that nowhere in Washington is there a place that honors them for their immense gift of land in the treaty.”

The 5,865-square-foot terminal is poised to become that place, with tribal representatives calling for a design that expressed local Indigenous culture and tread lightly on the sacred site, which sits adjacent to a buried shell containing ancient tribal artifacts. The resulting two-story terminal is a contemporary spin on a tribal longhouse, the type of building traditionally used for Native American community gatherings and ceremonies. Materials nod to the fusion of past and present, with LMN improvising on the post-and-beam form with composite steel and Douglas fir columns supporting a shed roof made from locally sourced CLT. Western red cedar, a vital tree species for Coast Salish tribes, was chosen for cladding on the terminal and adjacent toll plaza. “Although responding to a traditional building form, our goal was to also create a modern building for these tribes,” Fitzpatrick notes. “Rather than treating tribal culture as if it were frozen in time, this was an opportunity to respect that culture as it exists today—and as it will exist tomorrow.”

Modern interpretations of traditional Salish art weave through the project, locating the region’s rich tribal heritage squarely in the present. If arriving by car, ferry passengers drive through tollbooths adorned with a pair of red and

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Previous spread: Washington’s Mukilteo Multimodal Ferry Terminal, its boats connecting the Seattle metro area to nearby Whidbey Island, by LMN Architects incorporates art by members of over 11 local Coast Salish tribes, including the ticket-sales area’s Spindle Whorl by Tulalip master car­ ver Joe Gobin. Photography: Adam Hunter/LMN Architects.

Opposite top: Restrooms are flanked by Gobin’s carved cedar welcome figures. Op­po­ site bottom: Tribal long­ houses inspired the form of the building, which is capped by a roof of locally sourced CLT. Photo­graphy: Benjamin Benschneider.

Top: Materials such as steel, glass, and heavy timber unite traditional and contemporary.

Bottom: The upper-story waiting area relies on natural ventilation with a thermo­ stat­ically controlled rack-andpinion window system.

Photography: Benjamin Benschneider.

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“Modern interpretations of traditional Salish art weave through the project, locating the region’s rich tribal heritage squarely in the present”

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black Salish welcome figures by Suquamish artist Kate kʼy kʼablu Neayuq Ahvakana. Widely used in many Indigenous nations, welcome figures hold spiritual significance for tribal members and are found throughout the terminal. “My hope is that people who see these figures will feel a sense of acknowledgement and curiosity as they transition from land to sea,” Ahvakana says.

Walk-on riders enter the terminal via a pair of elevator bays bookending the building, fronted with colorful fused glass murals

by Tulalip artist James Madison; they depict orca whales and salmon swimming past ghostly renditions of his own grandparents.

“It’s a message about protecting our waters, because our waters are our livelihood,” he says. “The art helps educate people about their surroundings.”

Inside the upper-level waiting and ticketing area, more Coast Salish artworks enliven the double-height space alongside sweeping views of Possession Sound. Interpretive panels explain the art’s cultural significance, as well as the LEED Gold– targeting building’s environmental features. LMN associate Mette Greenshields, who led the terminal’s construction and the building performance, explains, “The project’s sustainability aspects help teach the community that this is a way forward.”

Opposite: A detail of Gobin’s carved cedar welcome figure depicts a man with orca sentinels and crowned by salmon, framed in saltwater waves rendered in aluminum. Photography: Adam Hunter/LMN Architects.

Top, from left: Tulalip artist James Madison stands before one of his 32-foot-tall, dual-sided glass murals at the terminal entrance. A carved-wood piece Man With Raven is in the waiting area. Bottom: Gobin stands next to his carved cedar Spindle Whorl, which features a pair of orca whales, the tribal crest of the Tulalip. Photography: Adam Hunter/LMN Architects.

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Top: LMN associate Mette Greenshields retracts the perforated, weathered-steel panels enclosing the storage and mechanical systems in­ cluding the air-to-water heat pumps warming the concreteslab floor in the terminal, which is targeting LEED Gold certification. Bottom: The cedar tollbooths receive over 4 million ferry passengers an­ nually with a pair of 16-foottall aluminum welcome figures

by Suquamish artist Kate k ʼy k ʼablu Neayuq Ahvakana.

Photography: Benjamin Benschneider.

Opposite top: The waiting area contains cases for ro­ta­ ting displays of ancient tribal artifacts and contemporary works, including carved pieces

by Coast Salish artisans.

Opposite bottom: The allelectric facility is powered by a solar-photovoltaic system and relies on passive cooling with windows that auto­ma­ti­ cally open and close. Photo­ graphy: Adam Hunter/LMN Architects.

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The all-electric facility is powered by a solar-photovoltaic system and relies on passive cooling with windows that automatically open and close for ventilation in response to temperature. “It’s another way of respecting the land: being consid­ erate of how we use energy and sit on the site,” Greenshields continues. The concrete-slab floor is heated by air-to-water heat pumps, and a rainwater harvesting system includes pervious concrete in the vehicle waiting area that filters stormwater through sand before returning it to the sound.

With bus and train lines feeding directly into the new terminal, and WSDOT preparing to launch its first hybrid-electric ferry here, the terminal is leading the region in green transportation design.

With ridership projected to double over the next 20 years, even more people will experience the tribal heritage animating the building. As they do, this vibrant Coast Salish culture will not only be seen but also sustained.

PROJECT TEAM CLAY ANDERSON; DAVID BACKS; GREG BISHOP; ELIZABETH CORREA; AUBREY DAVIDSON; MATTHEW FISHER; CODY GABALDON; APOORV GOYAL; CHELSEA HOLMAN; EUISEOK JEONG; GUSTAVO LOPEZ; GRAHAM MOORE; LORI NAIG; WALT NIEHOFF; CHRISTOPHER PATTERSON; JOHN PETTERSON; BENNETT SAPIN; TYLER SCHAFFER; TODD SCHWISOW; KATHY STALLINGS; JOHN WOLOSZYN; RUSHYAN YEN: LMN ARCHITECTS. DARK LIGHT DESIGN: LIGHTING CONSULTANT. HBB LANDSCAPE ARCHITECTURE: LANDSCAPE ARCHITECT. KPFF CON­ SULTING ENGINEERS: STRUCTURAL, CIVIL, BRIDGE ENGINEER, PROJECT MANAGER. JACOBS: CIVIL, ELECTRICAL ENGINEER. CM DESIGN GROUP: STORMWATER ENGINEER. HART CROWSER: GEOTECHNICAL ENGINEER: FSI ENGINEERS: MEP. MATHEUS LUMBER: WOODWORK. IMCO CONSTRUCTION; MANSON CONSTRUCTION COMPANY; ORION MARINE GROUP: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT BIG ASS FANS: CEILING FANS (WAITING AREA). ELLIPTIPAR: LINEAR UPLIGHTS. DISSIMILAR METAL DESIGN: PANELS (STORAGE). AIRPORT SEATING ALLIANCE: CHAIRS (WAITING AREA). THROUGHOUT DR JOHNSON: TIMBER. PENOFIN: WOOD FINISH. KAWNEER: CURTAIN WALL. WAUSAU: WINDOWS. DAYTON METAL PRODUCTS: WINDOW OPERATORS. ILIUM: CUSTOM SIGNAGE.

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See page 130 for Chandler Boulevard Bridge Home Village, a temporary homeless shelter in Los Angeles by Lehrer Architects.

Photography: courtesy of Lehrer Architects.

community spirit Around the globe, civic-minded projects anticipate the day we can put social distancing behind us text: colleen curry and peter webster

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“The reshaped interior brings greater focus to community building, social responsibility, and access to technology, in addition to traditional library uses”

Teeple Architects project Stanley A. Milner Library, Edmonton, Alberta. standout Visitors to the 230,000-square-foot main branch, built in 1967, were formerly greeted by dimly lit, low-ceilinged spaces that discouraged exploration, but now, since its renovation, experience a soaring atrium, abundant glazing, sightlines between reading and tech rooms, and a two-story interactive display that bring the facility into the 21st century. photography Andrew Latreille.

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“The project is a model of how to enhance a community by caring for its most vulnerable residents with dignity through design”

Lehrer Architects project Chandler Boulevard Bridge Home Village, Los Angeles. standout In just 13 weeks, builders deployed 39 prefab shelters, each measuring 64 square feet, along an oddly shaped infill lot on the city’s Orange Line busway, converting land previously deemed unfit for development into a colorful, safe, and healthy temporary refuge en route to permanent housing for the city’s homeless. photography courtesy of Lehrer Architects.

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“The diverse and open spatial arrangement allows for more possibilities for subsequent use, which always evolves with time”

Moguang Studio

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project Youth Activity Center, Beijing. standout The former clothingfactory complex—12 buildings comprising 68,000 square feet—maintains its original two-courtyard layout, emphasi­ zing the structures’ interrelationships with elevated metal walkways, corridors, and small transitional squares that link activity and accommodations zones into a three-dimensional, continuous landscape experience. photography Xi Zhi.

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Taller Ken project Parque 02, San José, Costa Rica. standout Local and global design students collaborated to transform a 1/2-acre of disused parkland into a cheery playground by installing grasscovered mounds planted with a forest of painted bamboo sticks, the latest in the annual design-build initiative by the firm, a Minority- and WomenOwned Business Enterprise based in New York, Guatemala, and Costa Rica. photography Andres Garcia Lachner.

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“Our overarching practice pairs playful design with a focus on civic and cultural renewal”

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LAUNCH EDITORS' NOTE

LAUNCH

™

to the next level!

Hello designers!

It’s that time again: another eagerly anticipated edition of LAUNCH is here! And like always, this issue is jam-packed with fresh finds and smart solutions.

We are thrilled with how the publication—and our proprietary LAUNCH CODE technology—has changed and improved the way you search for new products. And we are constantly evolving and leveling up to best suit your needs (thank you all for your great feedback BTW!). Here’s the latest news: • We just launched a brand-new website where designers can Discover. Curate. Save.

Share. Take a look at openlaunch.com!

• The A+D library just got personal. We know designers love to curate and save products in their personal libraries, and our updated and improved filter-and-save feature enables you to do that more efficiently.

• With so many design firms continuing to work in a hybrid model, getting new product information won’t look the same as it once did. With LAUNCH, you can easily discover new products when, where, and how you want.

You’ll find LAUNCH in four more issues of Interior Design magazine in 2021 (for a total of six this year!). And 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!

Enjoy using all the new tools, and just remember that we at Interior Design—and now LAUNCH—always have your specifying needs in mind! 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

LOOPO Armchair in Mouths and Flowers

An endearingly quirky print of wide-open red-lipsticked mouths holding flowers in bloom upholsters an armless lounge chair with vintage élan. loopomilano.com

standouts painted metal legs polyester velvet upholstery available in 4 patterns and 8 solids

62 x 62 x 81 cm

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standouts

2 patterns : re - mingle ( shown ) and un - roll wool or polyamide

MOOOI CARPETS Ravel

A short-and-sweet rug collection by Claire Vos features digitally printed trompe l’oeils showcasing the sinuous twists and turns of lengths of yarn. moooicarpets.com MAY.21

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LAUNCH EDITORS' PICKS

POLS POTTEN STUDIO Steps

The Dutch maker’s stepped, mouth-blown colored glass vases (and a candleholder) glow like lanterns when the sun’s rays catch them just so. polspotten.nl

standouts in amber , green , or gray

20 x 30 cm small vase 35 x 50 cm large vase 12 x 15 cm candleholder

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LAUNCH EDITORS' PICKS

standouts wooden frame polyurethane rubber padding crafted in slovenia

MARSÈLL Tan LEONARDO SCOTTI

To evoke furniture melting in the sun, London studio Soft Baroque created a superstructure of benches upholstered in the Venetian leather company’s supple calfskin. marsell.it MAY.21

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LAUNCH EDITORS' PICKS

LODES Aile

Luca Nichetto’s die-cast aluminum sconce reflects his love of luxury sports cars via a sleek design and a quartet of finishes that includes a racing-red lacquer. lodes.com

standouts champagne , matte white , matte black , or red lacquer

PORTRAIT: NENI STUDIO

two 9 w led modules

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STUDIO YOLK Happy Meal

A family art and design studio specializes in one-offs, like this table with an apple-green ash base and a laminated-glass top reminiscent of Wojciech Fangor canvases. studio-yolk.com

standouts

130 x 71 cm designed by morten linde hand - drawn print and foil on tabletop

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LAUNCH EDITORS' PICKS

SOSSEGO Caetano

Simplicity of form reigns in Aristeu Pires’s modernist desk of Brazilian hardwood, its sculpted handle appearing as if organically hewn by nature. sossegodesign.com

standouts

3 sizes soft - close drawer on left or right jequitibá or louro freijó wood

JONATHAN DURLING/SOSSEGO

collection includes tables and drawers

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LAUNCH EDITORS' PICKS

COR UNUM Lakenvaas

Simone Post’s earthenware vases depict the smooth folds of a tablecloth falling around a table, the splattered-glaze version a neat allusion to the dining surface post-meal. cor-unum.com

standouts

36 x 31 cm pleats finished by hand

MARIJE KUIPER

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LAUNCH EDITORS' PICKS

PROJECT RATTAN Infinity

Made by Thai craftspeople and designed by Enter Projects Asia, a sustainability initiative arising from lockdown bears fruit in the form of a rattan-strip chair that loops back on itself. projectrattan.asia

standouts fabrication process fuses 3-D technologies with traditional craft techniques

16 pieces in collection

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standouts

2 colorways vinyl or eco - friendly recyclable substrate nonwoven fabric

PORTRAIT: ANDREA AGRATI

WALL&DECÒ Rainy

A striped wall covering by Serena Confalonieri also sports circles that overlap like shooting stars or raindrops sliding down a car windshield. wallanddeco.com MAY.21

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LAUNCH PARTNERS // FABRIC & WALL COVERING

standouts type II performance

100% non - phthalate vinyl

3 patterns , each in 5 colors

KNOLLTEXTILES The Fields Collection

The brand used an innovative digital printing technique to translate watercolor and ink compositions by Calico Wallpaper’s Rachel and Nicholas Cope into large-scale graphic wall coverings that retain the spontaneity of the original art. knolltextiles.com

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FURNITURE

// LAUNCH PARTNERS

standouts allows personalization

16 lacquer colors , 7 wood stains platinum steel , black , or bronzed brass detail

MERIDIANI Plinto

An interplay of solids and voids distinguishes Andrea Parisio's sculptural and endlessly customizable table: Choose from marble, stained oak, or lacquer and from various shapes for the monolithic plinth and top. meridiani.it

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LAUNCH PARTNERS // SEATING

DESIGN WITHIN REACH CONTRACT Casala Capsule Collection

Designated FX International’s Product of the Year and recipient of the German Design Award for Excellent Product Design, the gracefully shaped cocoon-like seat creates inviting spaces. dwrcontract.com

standouts exclusive to dwr contract designed by kateryna sokolova multiple frame options dual - fabric upholstery

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INTERIORDESIGN LAUNCH

MAY.21

FABRIC & WALL COVERING

// LAUNCH PARTNERS

KIREI New Horizons

The brand’s future-forward line of lightweight EchoPanel acoustic products—including the tactile, modular EchoEdge, shown—installs effortlessly and boasts high NRC values.

standouts

kireiusa.com

customizable

100% pet incorporates at least 60% recycled material available in up to

31 colors

MAY.21

INTERIORDESIGN LAUNCH

153

LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts

12.5” across 3 formats , 2 patterns 4 neutral colors

TILEBAR Pergola Gray Wood Hexagon

At once playful and minimal, organic and architectural, the Scandinavian-inflected porcelain hex tile derives inspiration from elegant limestone and natural wood tones. tilebar.com

154

INTERIORDESIGN LAUNCH

MAY.21

FABRIC & WALL COVERING

// LAUNCH PARTNERS

standouts

7 patterns (curve shown ) 24 colorways

ARTE USA Icons by Arte

The brand’s latest collection reinterprets traditional interior design elements such as shagreen, bouclé, and rattan as textured wall coverings, infusing these classic motifs with a modern spirit. arte-international.com MAY.21

INTERIORDESIGN LAUNCH

155

LAUNCH PARTNERS // LIGHTING

standouts

24v double circuit installs on almost any surface paintable infinite configurations

JUNIPER Universe System

Track lighting gets reinvented: The patent-pending ultra-low-profile belt conceals a low-voltage, high-efficiency electrical conduit that magnetically holds and powers precision-designed miniature spot modules and a variety of Juniper fixtures. juniper-design.com

156

INTERIORDESIGN LAUNCH

MAY.21

FURNITURE

// LAUNCH PARTNERS

standouts

30+ powder - coats plus custom made to order by the inch 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

MAY.21

INTERIORDESIGN LAUNCH

157

LAUNCH PARTNERS // ACCESSSORIES

NeatTech

NeatCharge

NeatHub

NeatUp

HUMANSCALE The Neat Suite

This quartet of technology solutions creates a smart, connected workspace free of messy wires—plus the elements are easy to install and sustainably made. humanscale.com

standouts seamless cable management and power delivery easy install level certified

158

INTERIORDESIGN LAUNCH

MAY.21

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts suitable for all climates fully customizable ready to install ; no assembly necessary uv - stabilized , fire - rated injection molded polyethylene foliage

GREEN ROOF SOLUTIONS Vistafolia

This high-quality alternative to traditional living walls creates a beautiful vertical garden in any space—without the hassle of using real plants that require natural light and ongoing maintenance. greenroofsolutions.com

LAUNCH PARTNERS // FLOORING

standouts solution - dyed nylon carpet tile designed by todd van der kruik flexible installations

16 colors

MILLIKEN Grain + Bias

Inspired by the imperfections of the reverse side of embroideries, the design is part of an innovative sustainability program: the D/ Lux series of high-performance carpets that use less raw materials. millikenfloors.com

160

INTERIORDESIGN LAUNCH

MAY.21

FLOORING

// LAUNCH PARTNERS

standouts

65% recycled cork , thermoset nitrile rubber tile , plank , and roll formats best - in - class comfort and slip resistance heavy - duty fitness version available

ZANDUR Sustain Cork Rubber

Sustainability, performance, and safety go hand-in-hand: The slip-resistant tile’s subtle tonal variance offers aesthetic warmth while its impenetrable surface makes for ease of maintenance and disinfecting. zandur.com

MAY.21

INTERIORDESIGN LAUNCH

161

LAUNCH PARTNERS // OFFICE

standouts designed by petra vonk

100% wool design felt 96 colors (choose up to 3 per screen ) 5 standard sizes plus custom

FILZFELT Plectere

Available straight or curved, dimensional panels fashioned from knitted strips of wool felt and suspended from minimalist hardware divide space while preserving openness. filzfelt.com

162

INTERIORDESIGN LAUNCH

MAY.21

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts

4 hues matte finish

1m x 3m x 5.6mm for commercial and residential interiors

CROSSVILLE, INC. In-side

Large-scale porcelain sheets designed to mimic the look of Pietra del Cardoso sandstone offer an expansive, durable, yet textured ‘skin’ for walls and floors. crossvilleinc.com MAY.21

INTERIORDESIGN LAUNCH

163

LAUNCH PARTNERS // SEATING

LIVING DIVANI Sumo

Piero Lissoni’s smart sectional marries a slender and fluid form with artful functionality: fixed-size “lenticular” elements are available in different dimensions, plus the seat can be specified with integral coffee table. livingdivani.it

standouts

66 cm seat depth

fabric or leather upholstery fully removable covers

164

INTERIORDESIGN LAUNCH

MAY.21

FLOORING

// LAUNCH PARTNERS

CERAMICHE PIEMME Evoluta

Thanks to a ground-breaking technology exclusively developed in the Piemme plants, the porcelain stoneware collection offers surfaces with a naturalness and variety of color previously unachievable. ceramichepiemme.it

standouts high - definition porcelain

5 colors , 3 sizes , 3 surfaces for floors and walls rated for commercial traffic

MAY.21

INTERIORDESIGN LAUNCH

165

LAUNCH PARTNERS // ACCESSSORIES

DOUG MOCKETT & COMPANY PCS75–POWER

Put power where it’s needed most: The versatile, easy-to-install, and low-profile grommet mounts nearly flush onto any piece of furniture, allowing for ultraconvenient charging. mockett.com

standouts round or square both fit into a 1 ¾” round cutout choose power or usb ( dual usb - a or usb - a / usb - c combo )

166

INTERIORDESIGN LAUNCH

MAY.21

FLOORING

// LAUNCH PARTNERS

NORA BY INTERFACE Noraplan Linee

The product's distinctive striated profile brings subtle dimension to the floor while its muted colorway creates a softer feel suited for today’s patient-centered healthcare and wellness environments. nora.com

standouts extremely dense , nonporous surface never requires coatings or finishes

10 soft colors

MAY.21

INTERIORDESIGN LAUNCH

167

LAUNCH PARTNERS // LIGHTING

standouts

4 styles 3 finishes ada compliant sconce for all installation methods

CRAFTMADE INTERNATIONAL, INC. Melody

Delivering a sense of art deco glam, the collection includes a dimmable LED sconce and a pendant whose repeating inverted arches surround a crisp white-frosted glass globe. craftmade.com

168

INTERIORDESIGN LAUNCH

MAY.21

SEATING

// LAUNCH PARTNERS

standouts plinth base or glides

48, 60, 66, or 72” wide fabric , vinyl , crypton , leather , or com upholstery

ERG INTERNATIONAL Encino

Available as a back-to-back or single unit, the channel-detailed banquette comes in four heights—from 34 to 72 inches—to support the level of privacy desired. erginternational.com

MAY.21

INTERIORDESIGN LAUNCH

169

LAUNCH PARTNERS // MIX

The company’s program is the first of its kind to enable a perfectly aligned solution for wall-towall linear drain installation—without the wait.

ENDURE WALLS BY TEDLAR, DUPONT TEDLAR WALLCOVERINGS Color Theory Collection–Chromatic I

infinitydrain.com

This customizable Dupont Tedlar wallcovering line withstands harsh cleaning chemicals and includes six embossments and a diverse color palette— resulting in 420 combinations. endurewalls.com

BANKER WIRE TXZ-3

MOSA Terra Tones

The unique patterning of this sleekly modern wovenwire mesh can be enhanced by colorful decorative plating, making it an ideal option for interior applications. bankerwire.com

The porcelain wall and floor tile series encompasses eight colorways—each comprising a light, medium, and darker variant—that seamlessly combine to create a natural, dynamic surface. mosa.com

BOTTOM RIGHT: DAVID PAPAZIAN PHOTOGRAPHY

INFINITY DRAIN Next Day Custom Linear Drains

MIX

// LAUNCH PARTNERS

FERMOB Luxembourg

CERNO Gaviota

Embodying the spirit of the iconic Jardin du Luxembourg chairs, Frédéric Sofia’s durable update combines the lightness and resistance of aluminum with the comfort of curved seat slats and the practicality of stackable frames. fermobusa.com

California-made by master craftsmen, the statement-making solid-hardwood ring—in sizes from 3 to 7 feet across—can be configured with both downlight and indirect up-lighting. cernogroup.com

HOW TO LAUNCH

™

ONE

pick your product

TWO

scan [or tap] the LAUNCH CODE

THREE

™

take action

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

MAY.21

INTERIORDESIGN LAUNCH

171

CAESARSTONE 5112 Aterra Blanca quartz surfacing misty white base with fine earthy veins subtle yet evocative the whitelight collection

Postcards September 11 Memorial at St. George, Staten Island. Photography by: Jenna Bascom.

May 13-18 2021

May 13 Architecture

Brought to You By Eventscape

May 14 Graphics + Branding May 15 Outdoors May 16 Interior Design May 17 Product Design

Brought to You By Smart Design and Brooklyn Navy Yard

May 18 Digital + Technology Join in at nycxdesign.com

Brought to You By Material Bank

The Art Museum in Modern Times

Inspired by Place: CLB Architects

by Charles Saumarez Smith New York: Thames & Hudson, $40 272 pages, 122 illustrations (69 color)

by Chase Reynolds Ewald Novato, CA: ORO Editions, $75 448 pages, 295 illustrations (225 color)

Much more than a picture book, this is a serious and contemplative survey of what a museum today can and should be. Its distinguished author has been director of both London’s National Portrait Gallery and its National Gallery and secretary and chief executive of the Royal Academy of Arts.

The current institutions that comprise the heart of his book are in­ structively prefaced by an illustrated recalling of the monumental and neoclassical museums that they would supersede. The following case studies examine 42 modern museums in a dozen countries, beginning with New York’s Museum of Modern Art, built in 1939 by Philip L. Goodwin and Edward Durrell Stone. It was, of course, a design of its time for a collection of its time. But its story, as related here, also includes artists and curators who become opposed to “The Gospel according to MoMA.” In addition to the major museums in major cities, there are also smaller gems, such as the Louisiana Museum, which opened in 1958 in Humlebæk, Denmark, and is praised for its “more relaxed and less obviously didactic way of showing works of art,” and the private Muzeum Susch from 2019, which occupies an old monastery and brewery in the tiny and remote Swiss village of the same name.

The studies are then analyzed and enlarged upon by a 23-page closing section of 10 essays with such titles as the Morality of Wealth, the End of History, the Digital World, and Audience Expectations. The book is a brilliant compendium of museum philosophy by an author who has given his subject decades of thought.

CLB was founded in Jackson, Wyoming, in 1992, with the C standing for two of its founders, John and Nancy Carney, now retired. Eric Logan and Kevin Burke are the L and the B, and, today, they’re joined by co-principal Andy Ankeny, with a second office in Bozeman, Montana, and a staff of more than 40.

Weighing in at 8 pounds, this is a big, handsome book about big, handsome houses with big, handsome vistas of forests and meadows, creeks and rivers, and the Teton and Gros Ventre mountain ranges. The 11 residences do not try to compete with these views nor recall the indigenous barns, stables, and farm­ houses that preceded them. They are of the moment, with plenty of glass for those views but also with sturdy and straightforward materials: quarried limestone, Montana sandstone, darktextured cedar, larch, fumed oak, oxidized steel. A front door is crafted of steel and leather, a window’s steel screen is randomly perforated, white plaster walls meet ceilings of rift-sawn white oak and floors of Belgian slate.

The fine visual presentation of the houses is without captions, which means a loss of some information (Who designed that lighting fixture? What is that wall made of?), but it allows for a rare sense of serenity, perhaps a little like gazing at those mountains. In his introduction, Interior Design Hall of Fame member Tom Kundig of Olson Kundig says the projects display “a modern approach that keenly balances built form and nature,” but that “the quiet beauty of the natural envir­on­ ment always takes center stage.”

books edited by Stanley Abercrombie

Simon Hamui Founder of Simon Hamui

What They’re Reading...

Six Drawing Lessons

“This was a present from my nephew, who knows I’m an avid Kentridge fan. The South African artist’s integration of media—drawing, video, music, sculpture—is powerful, and I’m particularly drawn to his highly expressive drawing skills. The book is based on a series of lectures Kentridge gave at Harvard in 2012 during which he describes his process in the studio and the ideation behind his works. It’s fascinating to see him draw a direct line between history, music, and philosophy, through a creation that emerges from his workshop. My work, which currently encompasses residences in Mexico and New York, a yacht in Italy, and the remodel of a Colorado Ritz-Carlton, relies heavily on experimenting in the studio, so I identify with the fact that he and I both have personal laboratories for testing our ideas. Kentridge’s thought process and diligent research, plus his visual expression, are inspiring not only for my interiors and furniture designs but also my personal sensibility.”

174

INTERIOR DESIGN

MAY.21

BOTTOM LEFT: COURTESY OF SIMON HAMUI

by William Kentridge Cambridge, MA: Harvard University Press, $25 187 pages, 156 illustrations (79 color)

Product Shown: 2V-Fold

Embrace the grid with FACT acoustic ceiling tile systems. All products drop into a 2x2 ceiling grid, which means an easy installation, long-term functionality, and a more sustainable product with less waste.

Get the facts at WWW.FACT.DESIGN | (423) 709-8787

c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNERS IN CREATIVE VOICES

Lehrer Architects (“Community Spirit,” page 126), lehrerarchitects.com.

AMWA Designs (“Lingua Franca,” page 41), amwadesigns.com.

Moguang Studio (“Community Spirit,” page 126), mg_studio2021@126.com.

Bi Yuu (“Lingua Franca,” page 41), biyuu.mx/en.

Taller Ken (“Community Spirit,” page 126), tallerken.info.

CmDesign Atelier (“Lingua Franca,” page 41), cmdesign-atelier.com.

Teeple Architects (“Community Spirit,” page 126), teeplearch.com.

Futura (“Lingua Franca,” page 41), instagram.com/futuradosmil.

PHOTOGRAPHERS IN FEATURES

Kamille Glenn (“Lingua Franca,” page 41), dsgnrswrkshp.com.

Benjamin Benschneider (“Bridging the Divide,” page 118), benschneiderphoto.com.

Vo Trong Nghia Architects (“Lingua Franca,” page 41), vtnarchitects.net.

Shao Feng (“All Shapes and Sizes,” page 110), sfap.com.cn.

Philip Kottlorz (“Looking Good, Feeling Good,” page 90), philipkottlorz.com.

Tahmineh Monzavi (“Treasure Island,” page 82), tahminehmonzavi.com.

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DESIGNER IN CENTERFOLD Various Associates (“Rhapsody in Blue,” page 77), various-associates.com.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi­ monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group, 101 Park Avenue, 4th Floor, New York, NY 10178, 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.

ZUP DESIGN - PHOTO: SIMONE CASETTA

YOKU SH Yoku is a sauna+hammam system whose name, and inspiration, comes from a particular branch of Japanese natural medicine based on the beneficial effects of contact with plants and the forest atmosphere. Yoku can be completed by elegant library elements connecting it to the surrounding ambient.

Design: Marco Williams Fagioli www.effe.it

PERFECT WELLNESS GROUP NORTH AMERICA WWW.PERFECTWELLNESSGROUP.COM T. 917-671-0300

ISA

45

INTERNATIONAL 1976 - 2021

B R I S TO L S E R I E S WWW.HAVASEAT.COM | 1.800.881.3928

i n t er vention The second largest city in South Korea, Busan is known for its ultramodern urban center and beautiful waterfront. Blue Line Park, a linear greenway that redeveloped 3 miles of previously neglected coastline, bridges the gap between those two worlds. It literally connects them, too: A disused railway line running through the park has been reactivated, offering passenger train cars between the bustling Haeundae district and the tranquil Songjeong seaside resort.

An existing railway tunnel near the park’s entrance was transformed into a vibrant installation by Milanese firm Migliore + Servetto Architects, which oversaw the entire 37-acre project, from the pedestrian walkways to the wayfinding. Each of the tunnel’s 15 concrete arches back up to a hill on one side but face a pathway and the Sea of Japan on the other. Migliore + Servetto fronted the latter with Cor-Ten steel overhangs, painted the bases a spectrum of colors, and glazed openings with panes of colored glass. “The goal was to modify light and atmosphere,” Ico Migliore says.

The colored glass allows train passengers to view the water through a continuous chromatic mutation; pedestrians on the path see the train as a range of frames in different colors. At night, the archways are lit by LEDs. “The experience,” Mara Servetto adds, “offers new and constantly changing perceptions.” —Wilson Barlow

rainbow way

JAE YOUNG PARK

MAY.21

INTERIOR DESIGN

179

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