Interior Design May/June 2020

MAY/JUNE 2020

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CONTENTS MAY/JUNE 2020

VOLUME 91 NUMBER 6

ON THE COVER Xi’an Changjiang Insun Imax Cinema in China by One Plus Partnership is a winner in the IIDA’s annual Interior Design Competition. Photography: Jonathan Leijonhufud.

features 116 HEALING HANDS

by Michael Lassell

Compassion takes on physical form at a Memorial Sloan Kettering cancer center in New York by Perkins Eastman, ICrave, and Ennead.

126 FACE TIME

by Jessica Dailey

HOK encourages collaboration at the New York headquarters of personal-care and cosmetics company Shiseido Americas.

134 BODY AND SOUL

by Michael Snyder

Traditional rattan gets a cyber-age workout at Vikasa on 24, a Bangkok yoga studio

by Enter Projects Asia.

142 YOU’RE ALL WINNERS

by Wilson Barlow and

Colleen Curry

The IIDA honors the industry’s elite with its 47th annual Interior Design Competition.

154 BALANCING ACT

by Edie Cohen

Peter Marino expertly melds the understated and the chromatic at Maison Louis Vuitton New Bond Street in London.

164 LAGERFELD LIVES ON

by Jane Szita

A regal headquarters in Amsterdam by Framework Studio hails the late king of fashion.

MANOLO YLLERA

06.20 154

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CONTENTS MAY/JUNE 2020

06.20

VOLUME 91 NUMBER 6

special leadership section 45 THE WAY FORWARD

by Annie Block and Jen Renzi

Our coverage of the design industry’s response to the COVID-19 pandemic.

departments 35 HEADLINERS 89 MARKET

by Rebecca Thienes, Annie Block,

Georgina McWhirter, Peter Webster,

and Nicholas Tamarin 112 CENTERFOLD

by Annie Block Color Therapy

Margaret McMahon copes with sheltering in place by getting inventive with household objects.

173 LAUNCH 209 GREATER GOOD 210 BOOKS

by Stanley Abercrombie 212 CONTACTS

© ERWAN BOUROULLEC, 2020

215 INTERVENTION

by Georgina McWhirter

45

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ANZA TABLE COLLECTION ALTA CHAIRS BY CORY GROSSER

editor in chief chief content officer

Cindy Allen, hon. IIDA MANAGING DIRECTOR

ART DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

SENIOR DESIGNER

Annie Block

Stephanie Denig

DEPUTY EDITOR

DESIGNER

Edie Cohen

Hanna Day-Tenerowicz

FEATURES DIRECTOR

CREATIVE SERVICES

Peter Webster

Marino Zullich

SENIOR EDITORS

PRODUCTION DIRECTOR

Georgina McWhirter Nicholas Tamarin MARKET DIRECTOR

Rebecca Thienes ASSISTANT TO THE EDITOR IN CHIEF

Amy Torres ASSISTANT EDITORS

Wilson Barlow Colleen Curry BOOKS EDITOR

Stanley Abercrombie EDITOR AT LARGE

FROM WASTE TO WATTS

Kevin Fagan 917-934-2825 SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

interiordesign.net SITE EDITOR

Carlene Olson ASSOCIATE EDITOR

Kristie Garrell WEB EDITOR

Quinn Halman

Elena Kornbluth

VIDEO PRODUCER

CONTRIBUTING EDITORS

James Eades

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

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

MULTIMEDIA PRODUCER

Steven Wilsey VIDEO EDITOR

Stephanie Couture SITE CONTRIBUTOR

Jesse Dorris

PRESIDENT

Amanda Schneider DIRECTOR, BUSINESS DEVELOPMENT

Olga Odeide

CHAIRMAN AND CEO OF SANDOW

Adam I. Sandow PRESIDENT

Erica Holborn CHIEF DESIGN OFFICER

Cindy Allen INFORMATION TECHNOLOGY DIRECTOR

Edward Sanborn VICE PRESIDENT, CREATIVE OPERATIONS

Michael Shavalier

UPCYCLED LIGHTING: THE COIL COLLECTION Visit LIGHTART.COM to learn how we used additive manufacturing technology to turn falloff material into beautiful products.

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SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, Galerie, and NewBeauty.

Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logistics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. Additionally, SANDOW was selected by the New York City Regional Economic Development Council to be the official operator of NYCxDESIGN Week.

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vice president publisher Carol Cisco

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business development VICE PRESIDENT

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DIRECTOR

It may take some time but we will get back to a version of normal.

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e d i t o r ’ s welcome

leader to leader

MONICA CASTIGLIONE

Hello all! I want to extend my warmest welcome to the May/June issue, the first ever bimonthly of Interior Design in almost 90 years of existence. I'm actually quite proud of the choice we made in the very beginning of what became the pandemic to produce a double issue. Even back then, it seemed the responsible thing to do, what we first saw as a duty: saving bandwidth, resources, personnel, mail carriers, and freight man hours. As for everyone else, cost and scope of investments played a role in this merger for sure (we are all in the same boat, folks...keep those pumps attended!). But staying safe and healthy, not being an extra burden for our vendors and logistics team, and even sparing you from having to quarantine another item in your already-too-small lockbox were chiefly in mind when we chose to compound our regular May fashion appointment with June.

Now, I have to acknowledge not a little amount of pride for this special in and of itself, and particularly for its content. In addition to the portfolio we present—a testament to design cracking on no matter what the circumstances are—we have collected testimonials, random acts of kindness, and small creative contributions of designers and manufacturers from pretty much all over the globe. It is in no way a complete cross section of the design world, yet I believe this unique anthology we assembled paints an accurate portrait of who we are in the times of COVID: positive, supportive, dedicated, altruistic people, ready to join the fight and move on to a brighter future. I expect to keep this special Leadership issue on my desk for a long time because, frankly, everything in it is dear to me, from my colleagues on the mastheads to the very last ad way in the back. I suspect it will be a sought-after source of information and inspiration from our industry during this catastrophic period.

Finally, this particular issue will also be with me for a while because it's the first volume of our future. We produced everything working remotely, an A-Z from many mini ID offices scattered throughout the country and beyond (thank you all!). Almost overnight, we converted from a traditional media concern to an agile, harddriving team keenly focused toward tomorrow. As we are adapting and changing to match this new normal, we are also readying to resume our conventional editorial schedule...bigger and better, of course! Because another overnight effect of our sheltering in place was hatching new venues with regular programming in a newly minted TV channel, DesignTV by SANDOW, and multiple social media outlets. In all these, and in our beloved paper edition, you can bank on our all-out effort absolutely focused on innovation—and your future. And ultimately, you can continue to expect from us, even in these troubled times, what we always provide: leadership you can count on!

Much love and a virtual hug,

Follow me on Instagram

MAY/JUNE.20

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headliners

Peter Marino Architect “Balancing Act,” page 154 principal: Peter Marino, FAIA. firm site: New York. firm size: 120 architects and designers. current projects: Cheval Blanc in Los Angeles; Bulgari and the Cheval Blanc hotel in Paris; Louis Vuitton in Dubai, United Arab Emirates. honors: Interior Design Best of Year Awards; Kips Bay Boys & Girls Club Lifetime Achievement Award; AIA New York and New York State Design Awards; Officier de l’Ordre des Arts et des Lettres. active: Marino likes to ski, garden, and play tennis. pensive: He’s inspired by the opera, galleries, and art-history books. petermarinoarchitect.com

MANOLO YLLERA

MAY/JUNE.20

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h e a d l i n e rs

Ennead Architects “Healing Hands,” page 116 design partner: Todd Schliemann, FAIA. management partner: Don Weinreich, FAIA. office site: New York. office size: 200 architects and designers. current projects: Weill Cornell Medicine’s Belfer Research Building in New York; University of Oregon’s Knight Campus for Accelerating Scientific Impact in Eugene; and Kuwait University Health Sciences Campus in Kuwait City. honors: Smithsonian Institution-Cooper Hewitt National Design Award; National AIA Firm Award; AIA NY Medal of Honor. role model: Eero Saarinen for his TWA terminal, a masterpiece of 3-D conception well before computergenerated designs. water: Schliemann has been racing his wooden sailboat for 25 years. paper: Weinreich, a righty, can write mirrorimage cursive with his left hand. ennead.com

Framework Studio “Lagerfeld Lives On,” page 164 founder, creative director:

Thomas Geerlings. senior designer:

Francesca Finotti. office site: Amsterdam. office size: 15 architects and designers. current projects: De Hooch residential building in Amsterdam; Pauw store concept; a hotel in Ibiza, Spain. role model: “We see and learn from many exhibitions, designer work­ shops, and books, drawing inspiration from myriad architects, designers, and artists, contemporary and not, including Karl Lagerfeld.

3D: Geerlings scours the Marché aux Puces de Saint-Ouen flea market in Paris for vintage furniture.

2D: Finotti has begun collecting photography by up-and-coming talent. framework.eu

ICrave

Enter Projects Asia “Body and Soul,” page 134 director: Patrick Keane. office site: Phuket, Thailand. office size: Four designers. current projects: Residences in London and Phuket, Thailand; Naiharn Wellness spa in South Phuket. honors: Restaurant and Bar Design Awards finalist; ID Commercial Interiors Award; National Timber Design Awards, Australia, finalist. role model: Oscar Niemeyer, who gave Keane some sketches in 1997 that now have pride of place in his office, a reminder of the Brazilian architect’s legacy.

“Healing Hands,” page 116 founder: Lionel Ohayon. team leader: David Taglione. firm site: New York. firm size: 40 architects and designers. current projects: A sports and entertainment arena in Las Vegas; an office tower in Gurgaon, India. honors: NYCxDesign Awards; IIDA Healthcare Interior Design Awards. role model: John Hejduk for imbuing architecture with poetics and narrative. support: Ohayon donates time and resources to Performance Space 122, a New York nonprofit dedicated to contemporary art. dedication: Taglione has a special-needs family member, so he spends nights and weekends in a healthcare setting, giving him both purpose and insight into the field. icrave.com

global citizen: Born in Africa, Keane has lived on five different continents. motor maven: He has an avid interest in classic cars. enterprojects.net

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HOK “Face Time,” page 126 principal, director of design and interiors: Bill Bouchey, IIDA. principal: Yelena Mokritsky, IIDA. office site: New York. office size: 148 architects and designers. current project: WPP office in Chicago. role model: “All the professionals around us, collectively, who have so much design talent.” cars: Bouchey collects vintage toy Citroën DS’s. crafts: Mokritsky designs, sews, and knits clothes for herself and friends. hok.com

h e a d l i n e rs Perkins Eastman Architects “Healing Hands,” page 116 founding partner: Mary-Jean Eastman, FAIA, IIDA. founding partner: Bradford Perkins, FAIA. office site: New York. office size: 374 architects and designers. current projects: NYU Langone Health Ambulatory Care Center;

Mount Sinai Beth Israel/NYEE Hospital; and NewYork-Presbyterian Brooklyn Methodist Hospital Center for Community Health. honors: Latrobe Prize; AIA Education Facility Design Awards; IIDA Healthcare Interior Design Awards.

soil: Eastman, a long-time gardener, is looking forward to the blossoming peonies and roses she planted around her Hudson Valley home. spanish: In addition to architecture and MBA degrees, Perkins also earned a bachelor’s in Latin American history. perkinseastman.com

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MAY/JUNE.20

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l e a d e r ship

Designers have long applied their creative thinking to solving future-defining challenges, from climate change to housing inequality. But few could have predicted the extent to which those efforts would be needed in grappling with the new reality pre­ sented by COVID-19. Since the global stay-at-home order went into effect, and as this issue goes to press, we have produced 36 Hello Cindys on Insta­ gram Live, 31 DesignTV segments, and dozens of online articles with and about you and your work.

All of it has laid bare that good design is critical to survival. The following pages snapshot the tempo­ rary hospitals you’ve built, your business and community efforts, your predictions for design’s future, the creative outlets that have kept you positive and productive during this disorienting time, and the artworks you made specifically for this issue to transmit hope. You’re not only the ultimate multitaskers and dot-connectors but also the human experts in the equation, addressing occupants’ physical and psychological health and well-being. You’ve been doing it all along—now you’ll have to do it in the spotlight, under extreme conditions, with courage, grace, and brilliance.

The world needs you now more than ever.

Patricia Urquiola New shelters

the way forward Our special section on the design industry’s response to the COVID-19 pandemic

by Annie Block and Jen Renzi AMMOR Architecture Color Stories No. 3

MAY/JUNE.20

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INTERIOR DESIGN

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LE ADERship This pandemic, like any disruptive global crisis, invites many questions about the future.

It is a time to embrace uncertainty and focus on the immediate. Everything is in flux, changing radically from moment to moment—yet, being sequestered for endless weeks, it can feel like time is at a standstill. No project typology better reflects the times than the emergency field hospitals that have sprung up—some in 14 days or less—to help health systems navigate the surge of COVID-19 patients. Although the facilities are group efforts, design-industry members have been instrumental in their realization. The following convention-center conversions showcase design problem-solving under unfathomable pressure. They’re also emblematic of where design is (and has been) headed: increasingly collaborative, complex, community-minded, flexible, and fast-tracked—but also utterly, inspiringly human.

how can design save lives?

Practitioners from AECOM, BDP, and HKS share lessons from the trenches that can be applied to projects of any stripe

1. Harness existing infrastructure

COURTESY OF HKS

So, what makes convention centers— versus tents and other alternatives— ideal for the role of emergency field hospital? “An advantage is the tremendous infrastructure these facilities already have in place,” says Bane Gaiser, senior vice president and managing principal at AECOM, which oversaw Chicago’s McCormick Place conversion. This can mean a speedier and less-costly buildout. And, because convention centers are typically owned by the local jurisdiction, adds Jason Schroer, principal and director of health at HKS, which helped convert the Suburban Collection Showplace in Novi, Michigan, “It’s relatively easy to negotiate their use”—no small consideration when time is of the essence.

The spatial openness also allows for layout flexibility and, in the case of this virus, enabled a safer, more socially distanced work environment.

“There were zero incidences of COVID, or injury, even, at McCormick,” Gaiser notes, “despite the construction team putting in 100,000 man hours in such a short time frame.”

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“Our solutions are practical and effective—simple, repeatable, and modular, with an honesty through necessity rather than design.”

GED COUSER, BDP

MCCORMICK PLACE CONVENTION CENTER, CHICAGO/AECOM

2. Understand some limitations are not immediately apparent Convention centers do have drawbacks. “The size and openness limit the type of patients you can serve in such a space,” Gaiser says; for instance, noise and spatial volume can compromise the health of dementia sufferers. McCormick was initially intended to serve patients from nursing homes and long-term care facilities, he continues, “But we ultimately determined it wasn’t responsible to treat them there.” And since convention centers exist to drive revenue, an urgent need as cities reopen and strive for economic recovery, there are time limits to their emergency use. That’s why in Memphis an abandoned newspaper plant was chosen over the city’s convention centers, explains Greg Mare, AECOM vice president and healthcare practice leader. “This way, the facility can stay open for 18 to 24 months”—long enough to accommodate subsequent surges.

3. You complete the program Stakeholders in these conversions include local and state government, the National Guard, medical teams (who set the on-the-ground model), the Office of Emergency Management, and the U.S. Army Corps of Engineers, which establishes the template that the design team helps refine. At the Suburban Collection Showplace, for example, “The USACE provided facility assessment concept sketches— an idea pictogram,” recalls Jim Whitaker, HKS principal and director of government and alternative project delivery. “From those, a plausibly workable scheme was definitized after an intense first 24 hours.” AECOM describes a similar experience in Chicago. “The corps had been working for a week by the time we arrived, and had a preliminary layout identifying patient rooms and nurse stations, which we took a hard look at to make adjustments,” Gaiser adds. “They did a great job of determining what could and couldn’t fit, but we had to bolt the full program—elements like airlocks, lounges, and supply chains—onto their model.”

l e a d e r ship 50

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4. Redesign in real time Gaiser likens the convention center conversion process to “building an airplane as you’re flying it,” with key programmatic aspects changing in real time. Midway through the Suburban Collection Showplace buildout, for example, the bed count was reduced from 1,100 to 250 to reflect a change in anticipated surge capacity. “The program, or the performance work statement, in USACE vernacular, changed every day, several times a day,” Whitaker says, noting that date and time stamps were applied to all working documents “like a ticket to a show,” since plans were often rendered obsolete by day’s end. “The design process felt like a dynamic performance art of reacting to the actual situation on the ground.”

5. Plumb the emergency’s uniqueness Two different layouts were tested at McCormick Place: one that followed a typical disaster recovery model, with nurse stations positioned at the end of each aisle, the other U-shape, with the rooms facing in around a central nurse station. The latter proved much more beneficial, enabling the clinicians to have better control and observation—a lifesaving feature for a disease that manifests with sudden changes. Also important in an infectious disease scenario was the flow of foot traffic to minimize virus spread. “We had to create an airlock approach for donning PPE and a separate exit for their disposal,” Mare explains, “as well as consider passage to showers and toilets and the flow of supplies and food.”

“We could design with such immediacy because we could pull information from other projects we’re working on and apply the lessons learned across all facilities.”

BANE GAISER, AECOM

GREG MARE, AECOM

MCCORMICK PLACE CONVENTION CENTER, CHICAGO//AECOM

COURTESY OF AECOM

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JASON SCHROER, HKS

JIM WHITAKER, HKS

l e a d e r ship

6. Factor in flexibility Because few analogues exist for this type of facility—“Disaster tents servicing Haiti earthquake victims were the closest precedent,” Mare says—teams were forced to invent on the fly and build in a degree of flexibility. In fact, these fac­ ilities continue to change as doctors and public health experts discover more about the disease, as local needs evolve, and according to the severity of patients and types of populaces being treated. “There will be tweaks and changes to the surge hospital designs as more is understood about the treatment,” contributes BDP principal Ged Couser, who has consulted on the NHS Nightingale field hospitals throughout the U.K.

“It was ordinary people accomplishing extraordinary things in a super-stressful situation for a virtuous reason. Magic!”

7. Be swift but thoughtful

SUBURBAN COLLECTION SHOWPLACE, NOVI, MICHIGAN/HKS

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INTERIOR DESIGN

COURTESY OF HKS

While such facilities are constructed to meet a relatively short-term objective of increasing bed numbers, Couser continues, “We designed everything in as much detail as possible, down to the signage and graphics. We considered it to be vital that while these hospitals are temporary, they’re designed to look reassuringly permanent and thought-out.” Designers were surprised at how quickly they were able to pull off the seemingly impossible; the first hall of McCormick Place was slated for a 14-day buildout but was completed in just 10. In retrospect, Mare says, some of that extra time could have been used up front for even more planning and programming, or even to make the project viable for a longer term. But no matter how tight the deadline, designers and architecs are able to realize the most human-centered solution.

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what is the

future of design?

We have to rethink and change, analyzing what we design, the materials we use, and how they affect the living conditions of people and the planet.

—Martín Lejarraga Architecture Office

L E A D E R ship

future

We must be more honest and think in new ways. Not only for profit but for humanity. When we design buildings, we need to be intelligent, to use the last generation of the facade and not throw out half the materials.

—Lissoni & Partners Hopefully, we’ll become more sensitive to the sourcing of materials and manufacturing, to ensure the whole chain of production complies with values that respect the environment and address our real needs.

—India Mahdavi The definition of richness and beauty is going to shift, taking on more urgency. Quality, purpose, and longevity will be the focus. —ODADA Why would it still be so necessary to move around so much for meetings or lectures? From now on, we will be less wasteful with our time.

—Studio Arthur Casas

Products that bring together technology and human need, like Snoo, a crib that combines gentle rocking with soothing white noise to help babies sleep.

—fuseproject

The strong wish for more community—co-working, co-creating, co-everything—has been tangible for some time. Now even industries that were not that fond of digital working concepts have discovered it can actually work. Altogether, this will be a great chance to learn new things and come out as stronger, better professionals. —Ippolito Fleitz Group Intuition will become a good tool, but information is the best one. We have the power to make a difference, to relieve and minimize the pain.

—Esrawe We’re thinking about epidemic prevention strategies, like for homes, creating an entry sterilization area, enhancing natural ventilation, and providing exercise spaces and disposable tissues in elevator halls or stairwells. —CCD/Cheng Chung Design People are like, ‘Oh we’re all going to work from home after this,’ but you can’t deny that we are inherently social beings. What we do is about interacting with each other. —SkB Architects Outdoor spaces for every apartment, so people can step out and breathe fresh air, will be huge going forward. —ODA

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Hariri & Hariri Architecture Disaster relief folding pod prototypes

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Thinking about the reopening of restaurants right now is stressful, but not thinking about it can be disastrous.

We’ve created design concepts for attractive screens to help hospitality clients and friends navigate this uncertain period of transition. They’re lightweight, easy to move, store, and clean, and tailored to match existing interiors. —Tihany Design

L E A D E R ship future

This virus is telling us something. We have to be better.

As designers, it’s hard to see this clearly, since we think what we’re doing is something better.

But every time, it’s linked to consumerism.—Jouin Manku

Some hospitals tried to introduce robots into medicine delivery and daily examination, to reduce unnecessary contact. But the buildings are designed for the sight lines of humans, not robots. We need to consider how to face crises both in design and technological ways. —Wutopia Lab HVAC will have to change to be localized, so that if someone gets sick, the whole building doesn’t get sick. We’ll have to create zones. And this will leave a permanent mark on how we see and select materials. —MKDA We need qualified, passionate, young people. Everyone will suffer if there’s a lack of designers and architects. We can’t have a chunk of a generation skip this profession because of what’s happening to it right now. —AIA NY We should be ready for drastic changes and to create new patterns. But with change comes innovation. —Crème/Jun Aizaki Architecture & Design There’s going to be a seismic shift in residential design. Families in apartments that have the old post-WWII format and basic 5-by-7 bathroom are going to look at what the Japanese do, with the sink in one area and the WC in another. —Sanchez+Coleman If you strip away all the money and it’s down to light bulbs and paint, you can create amazing things. —Box Interior Design

From now on, we will focus more on hospitals, senior homes, and healthy living formulas. —Matteo Thun Milano 56

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FACETED MIRRORED GLASS COLUMNS PROJECT FLY CONDOS, TORONTO, ON // DESIGN STUDIO MUNGE DEVELOPER/GENERAL CONTRACTOR EMPIRE COMMUNITIES BUILT BY EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

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Rebecca Moses Stay at Home Girl series, Sydney Stinson

Erwan Bouroullec Dancer

Felderman Keatinge + Associates Alone Together

Dedar and Icinori Minutes

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TOP LEFT: © ERWAN BOUROULLEC, 2020

l e a d e r ship

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Touch the Future™

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Sanjit Manku Custom musical instrument

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Some elements have the power to take an interior to the next level.

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We’ve been recording and photographing our kids’ art, taking pictures of each image. That’s been inspiring.

—Koko Architecture + Design

what have been your

creative outlets?

Lucien paints and, around dawn, I go driving through the mountains.

—Steven Harris Our studio has started an online weekly speaker series with creatives from around the world, like Michael Anastassiades, Rogan Gregory, Mauro Mori, Valeria Nascimento, and Gianluca Pacchioni. —Nicole Hollis We made a Spotify channel with themed playlists plus a guidebook featuring things like streaming fitness options to resources for parents balancing work and remote learning. —Workshop/APD It can be a good time to make small improvements or fix things you can’t normally get to. I re-covered my books in bright, happy colors, which brought joy to my space and made feel better. —Ingrid Fetell Lee Verda Alexander A Mandala

I run when the sun is coming up and the city is quiet. It’s good for my mental outlook and energy levels. —Kim Yao Meditating, making matcha, burning incense. Maintaining those daily rituals in this time enables me to continue being creative. —Stephanie Goto I painted a mural in my house—I started on a Friday and didn’t stop for a week. I needed to get energy out. Stress reliever! —Lauren Geremia When I’m not zooming morning to night, I’ve been getting back in touch with the pleasures of simple chores as well as picking up new skills, like grooming my schnauzer Walter (as in Gropius!). —David J. Hacin I find peace and solace, and thus mental space to be creative, in organizing—my closets are looking pretty fantastic. —Ghislaine Viñas

I’ve been painting watercolors of the Chicago buildings I see out of my apartment windows.

—Sarah Kuchar 62

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l e a d e r ship creative

Every day, we handmake a ceramic character that’s also a candle holder. We have about 30 so far.

Eventually, we’ll have a whole calendar’s worth.

—Kiki & Joost

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L E A D E R ship creative Ayse Birsel Seck Socially distant but emotionally together

Each day since quarantine, I’ve added a mark to white trace I’ve put up on a wall representing a thought, an aspect of a project, a furniture detail in a new collection. The days go on and the marks continue, fluidly and intuitively.

—Alison Rose

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Italian design since 2013

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l e a d e r ship Clara Lee Eny Lee Parker’s polymer-clay mini-room competition

Patrick Jouin Future: The Present From the Past A conceptual sketch in pencil and watercolor.

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Surfaces inspired by brilliant ideas.

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how has your

business shifted (or not)?

We’ve been telling clients, ‘Let’s focus on what we can affect right now.’

That’s why we call our Italian suppliers each morning and look at our chains in Europe and China. And we’re constantly asking ourselves: How can we be helpful? —LSM When the world falls apart you have to adapt, and the strength of your studio lies in your ability to react. —Champalimaud On the one hand, the situation has shone a bright light on the aspects of work that are lacking when everyone is dispersed. On the other, WFH has allowed for a new understanding of where a person is coming from. It’s been woven into perceptions of co-workers and new levels of relationships are being built. —Rapt Studio

I’m still in my little office like always, doing everything with pencil and tracing paper, making sketches to pass on to the team, either as scans or photographs.—H. Jay Brooks

l e a d e r ship business

We focus on cultural government institu­tions and libraries, which don’t spend their money until they have it, so that work isn‘t in jeopardy yet. In fact, I’ve had more RFPs to do in the past months than all year.

In brainstorming with staff, we’re concentrating on placemaking as the catalyst for health and well-being.

—Margaret Sullivan Studio 70

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Susana Paz COVID-19 safety signage for Indiesigns

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l e a d e r ship business We’ve quickly shifted directions to minimize impacts on construction by specifying local products where and when we can. Keeping your community thriving is a positive way to find opportunity in adversity. —RCH Studios It’s our obligation to take care of our employees and partners. We took measures to create a safer, more convenient environment for everyone.

We’re now back in the office. None of our projects have been cancelled.

—X+ Living When projects are postponed, it gives us an opportunity to re-think, re-calibrate, and approach our offerings to the industry in different ways.

Our culture has been shaken to its core. We all need to take a moment to adjust. —IIDA

We called our client for our ongoing Belmont Park Arena project to see if we could help with anything during the shutdown. That resulted in us creating custom print and digital marketing materials, a whole new practice area for our firm.-Goodrich

One thing that has emerged and may continue beyond this time is the pacity to sketch ca­ collec­tively on a single screen.

Teknion Manual for a safe and productive workplace

The flexibility of working from home appeals to our staff—some like to work in the evening, others the early morning. This has us thinking about a new form of our office that’s more of a hub for meetings, materials, and in-person collaborative work with other, more individual work happening remotely. —Bonetti/Kozerski Architecture Having so much cancelled has opened up a lot of white space in my schedule. I’m looking forward to using that time for some longer-term thinking, not so much about where my business should go, but around issues that I don’t normally get to focus on. —Liz Ogbu

Considering your total company, what percentage of projects would you classify in the following categories? week 1 continuing as planned

60%

on hold 30%

cancelled 10%

54%

35%

10%

54%

36.22%

11.46%

54%

35%

12%

54%

34%

13%

week 2 week 3

Drawing at oppo­ site sides of a table, as we often did, one person is always upsidedown.—LTL Architects

week 4 week 5

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Building better work spaces for the future.

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SaoPaulo™ TILE ©2010 modularArts, Inc. Sarah Gallop Design, Vancouver | Photo by Paul Grdina Photography

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

Crush™ PANEL @2011 modularArts, Inc. Photo by Factioned Photo, @factioned

John Cetra A lot on my mind

L E A D E R ship

Irwin Miller Our Family Dining Table miniature sculpture

architectural features in modular, glass-reinforced gypsum.

modulararts.com

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YOU CAN SEE IT IN THEIR EYES The pride, determination and sheer grit of the employee-owners at KI – and those across our industry. Through the most challenging of times, we’ve embraced new ways of working, carried our businesses forward and inspired each other every step of the way. THANK YOU!

Al Teymorian - KI Team Leader

ki.com

Harvest A Natural Fit Making people’s outdoor experiences better: It’s what we do and, in Loll Designs, we have the perfect partner to keep that mission going.

Loll Designs shares our enthusiasm for good design that fits the spirit of the outdoors−fresh, natural, and inviting.

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what has been happening in the

fuseproject World Health Organization RFP for global COVID-19 graphics

community?

Our firm is spearheading a company-wide effort to raise money for the nonprofit Heading Home, which finds permanent housing for families in need and is currently seeking additional funding to provide food and essentials.

—Elkus Manfredi Architects Once a week we all get on a call we’ve dubbed BANTER (B.A.-nter) to talk about our problems. They don’t have to be about technology, projects, clients, or construction. What’s come out of it has been a strengthening of our studio and opportunities for problem-solving ideas to emerge, even from partners and family members. The call can be very quiet, even somber, but it’s very supportive. —Belzberg Architects We bought and donated 100 tacos to the FDNY EMT. —Asthetique As part of the High Performance Building Coalition, we helped mobilize our members to donate protective equipment to medical facilities. Also, we hosted a webinar with an economist who gave a view of what we should expect for the remainder of the year. That’s available for anyone to listen to on our COVID-19 resource page. —ASID

l e a d e r ship

We participate in many charitable causes as a group, notably DIFFA. Continuing our tradition of community-giving throughout this crisis and beyond will be crucial to our psychological well-being. —IA Interior Architects

community

Interior Design DIFFA Dining by Design rendering, 2020

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2/27/20 5:29 PM

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3-d printing masks and equipment

donating fabric for masks and gear

donating materials/ resources

Brooks + Scarpa Kohn Pedersen Fox Page Southerland Page Shimoda Design Group Situ/ Tighe Architecture Wilkhahn

Fabricut Kravet Pollack Rosemary Hallgarten Stylex Seating Zoffany

Cactus Century Furniture Ceramics of Italy Kohler Co. Allermuir Yield Design

community support through funding initiatives & donations, virtual visits/events, and classes Cambi Auction House Cosentino Darran Furniture

DesignGivers Elephant Ears Design Flavor Paper Formica Preciosa Foundation Samuel & Sons Samuelson Furniture Sherwin-Williams Studio Four NYC Invisible Collection

Since March, we’ve been using our 3-D printing facility to make healthcare face shields through designthatmatters.org, but we’re shifting our focus to innovation. The most valuable aspect in times of change is having the mindset to connect with people, refine the process, and envision new directions.—Skylab

We bought chairs from China late last year, a basis for a prototype we’re designing. After China got control of its virus situation, the makers sent us 100 masks. It was so beautiful.—Minarc Group 2/27/20 5:29 PM

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Thanks to Material Bank for donating all these fabric samples to my mom. And shoutout to my mom for making and donating so many masks to families in need.

—Brooke Ennis

L E A D E R ship community

SCAD alumni and students designed and produced masks to help those on the frontlines effected by COVID-19.

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Producing/Donating/ Designing Masks, PPE, & Medical Gowns Allsteel AMEICO Andreu World Ann Gish Apparatus Baker Design Co. CannonDesign Chilewich Dauphin Group David Sutherland Designtex + West Elm Eric Brand Eventscape Gunlocke Fabricut FederlegnoArredo and Salone del Mobile Milano Harbinger HBF Integra Seating Loll Designs Louis Poulsen Louis Vuitton Maplewood Quilting Co. Massimo Iosa Gina–Iosa Ghini Associati Mitchell Gold + Bob Williams MKDA Nagami Design Natuzzi Norwalk Furniture O. Henry House Partisans Pindler Ratana Rich Brilliant Willing Room & Board Standard Textile House of Scalamandré + STARK + MaskClub USC School of Architecture Wearbest/Swavelle Wilkhahn Woodard Furniture Stitchroom

MAY/JUNE.20

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WO O L S T R U C T U R E

me m o s a m p l e s . c o m

L E A D E R ship community

Working remotely, Gensler has achieved the following: created

2,006 face shields

1,348 specialty PPE parts

993 hand-sewn face masks Its north central region matched employee contributions to donate a total of $6,050 to the American Red Cross and Feeding America

Coordinated 36 makers in 22 cities to fabricate PPE for healthcare workers Amazing Cities The firmâ&#x20AC;&#x2122;s south central region created a free twovolume coloring-book series for those with young learners at home.

Color Speaks The firm is working with local artists in the Pacific Northwest to bring murals to boarded-up restaurants and retail spaces. Shown here is We Stand by Sara Thompson for Belmont in Seattle.

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A R C H I T E X- L J H . C O M

D I S I N F E C TA N T - C L E A N A B L E T E X T I L E S

Design Beautiful, Cleanable, Healthy Environments

L E A D E R ship Saguez & Partners Life is worth nothing, nothing is worth life

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wall+covering

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Colour & Design has been diligently testing several institutional disinfectants and cleaning products on Aqua-Clear Protected Wallcoverings to determine what solutions can be used safely without any damage or discoloration to the wallcovering.

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ERDEM X DE GOURNAY

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Dreams really can come true. Hannah Cecil Gurney, daughter of Claud Cecil Gurney, the founder of handmade wallpaper, fabric, and porcelain company de Gournay, has been a longtime fan of Erdem, the womenswear label known for extraordinary prints and craftsmanship helmed by Erdem Moralioglu. She even wore one of his pieces in a recent magazine profile. When she spotted a de Gournay wallpaper paired with an Erdem dress in another magazine, it encouraged her to reach out to Moralioglu to collaborate (Hannah is also de Gournay’s director of global marketing and development). Turns out, the admiration was mutual, and Erdem x de Gournay was born. Moralioglu’s wall-covering design, aflutter with birds and blossoms, joins de Gournay’s iconic Chinoiserie collection. In gouache pigment on such dyed silk as the Imperial Yellow shown, the non-repeating composition spans 20 3-foot-wide panels, with customization available. The pattern also translated to silk and cotton voile for a capsule Erdem line, which includes the Aurelio gown. degournay.com

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m a r k e t collection

LEANNE FORD

coming full circle In 1962, a one-off boutique opened in Chicago selling furnishings mirroring the clean lines of its trademark Helvetica typeface. That shop was Crate and Barrel and its advent marked a new era for well-made yet accessible contemporary design. Nearly 200 stores later, that’s still the case, as evidenced by the Crate & Barrel x Leanne Ford collection, a 109-piece furniture, bedding, and accessories line that delivers easy living filtered through a modern farmhouse lens.

“We played with simple lines and materials, but with an edge,” says Ford, who’s half of the sibling duo on HGTV’s Restored by the Fords. “These pieces can be around forever—the more they’re lived in, the better they get.” Highlights among the introductions are the comfy Ever sofa, the aromatic Chloe, Ella, and Meechelle candles, and the West bar cabinet and Canyon canopy bed, the rounded forms of the latter two resembling vintage mailboxes sent from the future to deliver comfort.

CANYON

FIELDS

CORTEZ

crateandbarrel.com

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EVER, PACIFIC

CHLOE, ELLA, MEECHELLE

WEST

“Sometimes you have to look back in order to move things forward”

MAY/JUNE.20

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EVA ZUCKERMAN

EZZAT

tabletop treasures Growing up amid the skyscrapers of New York, then attending the Cooper Union, it’s no surprise that the city’s architecture and energy influence Eva Zuckerman and her successful Eva Fehren fine-jewelry line.

Diamond earrings dangle in Chrysler Building– like formations; blackened white-gold rings crisscross like power lines. With an eye for talent and craftsmanship, it’s also no surprise that Holly Hunt approached Zuckerman to conceive a home-accessories collaboration, resulting in the five-piece Holly Hunt x Eva Fehren collection. Marked by the same geometric aesthetic and quality materials as the jewelry, black-veined white lilac marble defines the 12-inch-wide Hero Link objet, 7-inch-high Warrior vase, and 24- or 28-inchlong Ezzat tray, while hand-formed faceted Venetian glass in a smoke-gray finish yields the 17-inch-long Horizontal Gem and 10- or 14-inch-tall Standing Gem. “My ultimate dream,” Zuckerman says, “is applying my vision to all aspects of my environment.” hollyhunt.com

“I jumped at the opportunity to work with Holly Hunt” M A R K E T collection

COURTESY OF HOLLY HUNT

HORIZONTAL AND STANDING GEMS

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carnegiefabrics.com/upholstery

M A R K E T collection special lighting section

“Everything we do is centered around craftsmanship”

french provincial

MALACHITE

Two of France’s most appealing southwestern regions mix and mingle in MKS X SL, a collaboration between lighting company Market Set, based in Bordeaux, and young designer Sonia Laudet, whose studio is on the Basque coast. Along with geographical proximity, the partners share the same environmental values, which allowed for a common eco-design process. Laudet, who studied fashion before earning a degree in upholstery design, uses a swirling patchwork of recycled fabrics to create dishlike shades. Available as sconces or ceiling fixtures in two diameters, 16 or 23½ inches, or as a pendant fixture measuring 23½ or 31 inches, the collection comprises two patterns. There's Malachite, undulating tone-on-tone bands in Sable or Nuit that suggest geological strata, and Nostalgia, a velvety floral in Camélia or Pivoine, named for the flowers that inspired them. marketset.fr

SONIA LAUDET NOSTALGIA

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Lína Swivel Chair Designed by Hlynur Atlason for Design Within Reach

© 2020 Design Within Reach, Inc.

THE BEST IN MODERN DESIGN TRADE 1.800.944.2233 | WWW.DWR.COM CONTRACT 1.800.591.6965 | DWRCONTRACT.COM

m a r k e t collection lighting

beam me up Here’s something happy. Four years ago, industrial designer Samuel Wilkinson and LED specialists Bujar Shkodra and Chris Stimson founded Beem, a company looking to upturn the traditionally staid world of LED bulbs. By taking advantage of newly flexible filaments, their dimmable, lowenergy tubes are able to take on playful shapes. See the three-part Smile series, where a tube of sandblasted borosilicate glass is offered as a deep bend reminiscent of a big grin (1), a lightly curved smirk (2), or a solemn straight line (3). There’s also Curli, its polycarbonate swirl inspired by calligraphic flourishes. The four LED shapes pair effortlessly with the company’s ecosystem of ceramic and powder-coated steel fixtures to become pendants, chandeliers, or table lamps. Through Ameico. ameico.com

“It’s an alternative to a market saturated in retro-industrial bulbs”

CURLI

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SMILE 1

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INSPIRED BY BRILLIANT DESIGNERS C U S T O M WA L L C O V E R I N G S W I T H N O M I N I M U M S

Turn your vision into a reality with exclusive materials, talented artists and state-of-the-art equipment. hdwalls.com

M A R K E T lighting

Verner Panton for Verpan product Reflect. standout The 24-inch-tall table lamp with 12-inch-diameter shade has been produced in steel powder-coated red or gray for the very first time based on Panton’s original sketches. verpan.com

Mid-century designs by Scandinavian stars brighten today

Arne Jacobsen for Louis Poulsen product AJ Royal. standout To celebrate the 60th anniversary of the 22-story SAS Royal Hotel, designed by the architect as Copenhagen’s first real high-rise, the copper and stainless pendant he created for it returns in the latter metal in two colors and three sizes, now with an LED. louispoulsen.com

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[PORTRAITS, FROM TOP: COURTESY OF VERNER PANTON DESIGN; COURTESY OF LOUIS POULSEN

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A R C H WAY I N S K E T C H

Create a Sense of Place Wherever youâ&#x20AC;&#x2122;re working from, make it all yours. Introducing our new Rugs Collection - 31 designs that translate beliefs into a space. To foster a sense of togetherness and connect you to where you are, from the ground up.

Explore our entire rug collection at shawcontract.com

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MARKET lighting

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Whether pendant, sconce, or lamp, all boast a strong point of view 1. Golden Tear Drop pendant fixture in bronze, handblown glass, and incandescent bulb by Alison Berger, through Holly Hunt. hollyhunt.com 2. Mini mirrors/lamps in neon, mirrored glass, and mahogany, oak, or chestnut by Lumneo. lumneo.eu 3. Esse sconce in anodized aluminum by Aluminated.

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aluminatednyc.com 4. Earnest Studioâ&#x20AC;&#x2122;s Post sconce in powder-coated

magnesium, magnetic cable, and LEDs by Muuto. muuto.com 5. Loop Table I lamp in Estremoz marble, powder-

coated steel, sandblasted glass, and LEDs

by Utu Soulful Lighting. utulamps.com 6. Junction table lamp in white oak with a hard-wax oil finish in black and LEDs by Hollis + Morris. hollisandmorris.com 100

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BY SUNBRELLA CONTRACT

TEXTILES

THINKING BEYOND LOOK AND FEEL Selecting the right fabrics with confidence for today’s modern spaces More than ever, today’s rapidly changing environments will demand even more from textiles. Work, health and hospitality spaces are reacting to advances in mobile technology, the challenge of serving varied age populations, and an increasing understanding of how the aesthetic quality of a space can shape a brand image, impact morale and even improve healing. And, now, moving the future, health safety will be in even higher demand – even expected.

This also means new visions are possible. No matter what the challenge, performance is always key. Use this primer to take a closer look at Association for Contract Textiles (ACT) standards and for other tips for your next project.

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UNDERSTANDING ACT: THERE’S MUCH MORE THAN ABRASION When selecting fabrics, a good place to start is with ACT. Their voluntary guidelines create a unified system for evaluating and comparing textiles across a wide range of performance requirements, including: • Flammability tests three paths: how quickly did the fabric burn? How much of it burned while the flame was lit? How much of it dripped burning materials after the flame was out? As fire moves faster going upward, this means testing must be very stringent for vertical surfaces such as drapery.

• Crocking or pigment transfer assesses the fabric’s ability to maintain vibrant color, which depends on two things: how well is the pigment put into the fiber and how well does the pigment resist UV light? The crocking test checks the transfer of pigment from the fabric to another surface.

• Lightfastness determines how well the fabric stands up to light, grading fabrics for how well they maintain color over time.

• Abrasion uses two classifications, which is low abrasion (little “a”) and high abrasion (big “A”). The standard industry methods use the Wyzenbeek and Martindale tests. These methods create abrasions that mimic repeated use and end when the yarn begins to break or the fabric is degraded.

• Physical properties tests for fabric failure due to inappropriate application. In addition to abrasion, this includes pilling, breaking strength and seam slippage.

Working closely with the manufacturer and textile representative is a great way to troubleshoot and anticipate unintended uses.

FABRIC: BEYOND THE SURFACE Of course, certifications are only one part of the story when it comes to specifying fabrics. Demanding spaces expect the highest performing fabric.

• In high-traffic areas, indoor spaces with lots of natural light, and outdoor spaces used for indoor activities use a durable fabric that won’t fade over time, with fibers that are saturated with color and have UV-stabilized pigments.

• Look for performance that goes beyond the surface. Many performance fabrics rely on their surface finish. Sunbrella Contract’s performance is a solution-dyed textile engineered into the core of the fabric itself.

• For health care spaces and beyond, consider a fluorine free performance fabric such as Sunbrella Assure, which is durable and has added sustainability benefits, or a fabric engineered to inhibit the growth of bacteria, like Sunbrella Contract with Defiance.

• Bleach cleanable textiles will gain popularity for many projects, no matter the segment. Determine what makes the textile bleach cleanable – is it the fiber or an added coating? Select textiles where acrylic fiber and a proper finish technology are combined to provide a textile that is bleach cleanable.

• Aggressive cleaning programs will dominate every space, in every market, so specify textiles that can stand up to harsh chemicals that may make their way onto upholstered furniture.

The one constant is change and that’s especially true in design. Learn more about changing spaces and specifying fabric to meet today’s interior demands by taking our Continuing Education Course. For more information, contact your local Sunbrella Contract representative and visit SunbrellaContract.com.

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Model 8

Made in America | Versteel.com

color therapy Margaret McMahon copes with sheltering in place by getting inventive with household objects

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“It came to me when I was standing in my laundry room looking at my rubber gloves. Being home so long has forced me to become hyperfocused on every little thing around me, so I got the idea to create a color board with just what I have. I’ll find one random thing—a T-shirt from a South Africa trip, lavender from a friend’s house in France, a spaghetti pottery dog from a vintage shop upstate—and continue to collect items in a similar palette throughout the day. It often starts with a book—I’m a huge reader, my sister calls me the queen of self-help books. Then I obsessively arrange and rearrange the objects—I’m all about order—on a 24-by-36-inch piece of foam core and shoot them with my iPhone 11. So far, I’ve done 18 of these. I’m good with balance and composition, something I honed from making client presentation boards as a young designer. Now as vice president and global director of interiors at Wimberly, my responsibilities are mostly managementrelated. I crave that interaction in the studio. Forming a color story and sharing my life—it’s the creative outlet I really need.”

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Seeking strength and balance

EDMUND SUMNER

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healing hands Compassion takes on physical form at a Memorial Sloan Kettering cancer center in New York by Perkins Eastman, ICrave, and Ennead text: michael lassell photography: chris cooper MAY/JUNE.20

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Now, perhaps more than ever, we are turning to hospitals to heal. In the case of COVID-19, that is being done by the medicine practiced by the brave healthcare professionals inside their walls. But, beyond the pandemic, could the rooms and the buildings we create to contain the therapeutic process do more by fundamentally redefining what a hospital experience is?

Memorial Sloan Kettering Cancer Center, the oldest and largest private treatment and research center in the world of its kind, founded in New York in 1884, thought it could. In de­ veloping a major ground-up outpatient facility, its executive team committed MSK to pro­ viding its population with next-generation levels of cure, care, and empowerment. Three collaborating primary firms, Perkins Eastman Architects, ICrave, and Ennead Architects, were tapped to undertake the task of rethinking everything: from facades, furnishings, and fixtures to the very concept of waiting and the capacity of choice to reinforce the will to heal.

The result is the David H. Koch Center for Cancer Care, a 750,000-square-foot, state-ofthe-art building, which opened in January as the institution’s—and the city’s—largest freestanding cancer care facility. Perkins Eastman was the medical planner and interior designer of the clinical spaces and worked in tandem with Ennead on the building’s architecture and skin. The experiential design, public spaces, and patient rooms were the purview of ICrave, with an emphasis on aesthetically and conceptually reimagining what an outpatient treatment environment can and should be.

The completed project for the 1 1/2-acre site will ultimately be occupied by two buildings, the 25-story Koch center and the Science and Health Professions Building for the City University of New York/Hunter College, currently on hold. They will be tied together visually, but the CUNY building, which will house its nursing school, stands to be significantly smaller. “The two buildings are designed to go together, have the same skin, and assist each other, but they have very different ownership,” says Mary-Jean Eastman, founding partner with Bradford Perkins of Perkins Eastman, which has been working on projects for MSK since the 1990’s.

“We designed the Koch center to bring together patients healing from similar diseases in a hospitality-driven environment that fosters communication between and reduces stress for patients, families, and staff. This where you go in your life to get better.”

Situated along the East River, many of the center’s rooms afford serene water views. LEED Gold certified, the structure contains 231 exam, 110 infusion, and 37 procedure rooms, and 16 private inpatient rooms for short stays, as well as expansive public areas. It’s named for the controversial oil and chemicals billionaire who died in 2019 but was first diagnosed with prostate cancer in 1992. He donated much of his fortune to support conservative political causes but also contributed to medical and cultural institutions in New York, including $150 million to the $1.5 billion MSK building that now bears his name.

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Previous spread: In a waiting area at New York’s Memorial Sloan Kettering David H. Koch Center for Cancer Care by Perkins Eastman Architects, ICrave, and Ennead Architects, warm oak millwork, pleasing rounded forms, and abundant natural light from floor-to-ceiling win­ dows help to create a calming, restorative environment.

Opposite: Marble flows through the main lobby, where stainless steel surrounds the structural column and paneling is oak.

Top, from left: Curves in a corridor’s solid-surfacing cove guide wayfinding while flooring is PVC-free thermoplastic polymer; photography: David Mitchell. Waiting areas are classified as activation, recreation, or restoration, with most having ceiling insets of custom planks and carpet tile in recyclable nylon. Bottom: The segmentation of the 25-story building and its facade of terra-cotta fins and tiles soften the structure’s mass. Photography: Andrew Rugge.

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“Hospitals and hospitality really shouldn’t be so far way from each other”

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Reception on a restoration floor, which provides patients with areas for meditation, sketching, or a quiet moment in afternoon sunlight, features an LED-lined ceiling and custom Baltic birch-plywood privacy pods.

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Its exterior massing corresponds with three primary functions. The lower five floors include nearly all the imaging facilities. Above that is an amenity floor, including a full-service café for patients and staff, serving the entire center. The middle, largest segment of the building holds the core treatment spaces, while the top section is given to offices and mechanicals.

“Our intent,” Ennead design partner Todd Schliemann recalls, “was to break it down into smaller-scale sections, six- to 10-story elements defined by setbacks, overhangs, and terraces so that it wouldn’t look bulky.” The building skin follows one of the central tenets of the overall project: avoiding an institutional appearance. Terra-cotta fins and tiles in three depths and textures soften the edges, provide subtle coloration, and control sunlight. “We chose a natural material that would age well,” Schliemann says of he and management partner Don Weinreich.

“Our goal was to change the mindset of what you’re doing at the hospital,” begins Lionel Ohayon, founder of ICrave, also a repeat client for MSK. “A pivotal moment in my career was when MSK called on us for the Josie Robertson Surgery Center interiors, which we completed in 2016. I remember thinking to myself, What is that MSK sees in us?” Indeed, the firm is more known for traditional hospitality projects such as nightclubs, restaurants, and food halls, including the city’s popular Mercado Little Spain. But ICrave has also completed several airport projects, where a focus has been managing passenger anxiety. MSK connected the dots. “Hospitals and hospitality really shouldn’t be so far away from each other,” Ohayon continues. With this project, he says, “We asked ourselves, Can we design a facility that’s an actual participant in your cure?”

Adding to the stress and fear of having cancer are boredom and soulless spaces. “A patient may have three treatments a week here, for five hours at a time, for a year or two,” Ohayon says. So, he and team leader David Taglione started to rethink every detail, from lighting and ceiling planes to furniture groupings and color palettes, and then conceived of a vertical city made up of neighborhoods, each offering multiple experiential possibilities. Every neigh­bor­ hood consists of three floors defined by functions meant to address the needs of patients, their families, and staff; the functions, as defined by ICrave, are activation, recreation, and restoration, and they’re manifested as well-appointed lounges. An activation waiting area, for example, is where patients can attend a lecture or take a Photoshop class, seated in tomatored stools by Neri & Hu or gray high-back sofas by Patricia Urquiola. Recreation areas are lively too, offering social activities like arts and crafts. Restoration is more Zen, sublimely peaceful settings encouraging meditation, reading, or simply warming in the sunlight streaming in from floor-to-ceiling windows. The point is to try to turn long stretches of time into part of the therapeutic process, and the environments help relieve stress by offering a range of choices to the people they serve.

Left: Patient rooms have built-in workstations and Eoos chairs. Right: For nurse stations, lighting, including the pendant fixtures by Front Design, runs on an automated circadian system.

Opposite top: PearsonLloyd chairs join Allied Maker fixtures in a reception area. Opposite bottom: Vibrant and open, waiting areas on activation floors are configured to encourage connection and patient participation in workshops and social activities, with stools by Neri & Hu and pendants by Ludovica+Roberto Palombo.

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“For us, the experience of place is central to what our work is all about,” Ohayon states, “and we’ve always been focused on the emotive response that people have to our spaces, it’s the why of our practice.” In other words, his work and the Koch center are about selfdiscovery and transformation.

PROJECT TEAM JOSEPH FLEISCHER; MELISSA SARKO; ALEX O’BRIANT; KATHLEEN KULPA; HSIN-YI WU; ZACH OLCZAK; YONG ROH; MARGARET TYRPA; DUHO CHOI; ALFONSO GORINI; KYO-YOUNG JIN; STEPHEN KIM; JOHN MAJEWSKI; JAMES MACHO; CHARLES BRAINERD: ENNEAD ARCHITECTS. RENÉE JOOSTEN; NICOLE RAVASINI; KIM LANZA; ERIC SWIY; BINGJIE DUAN; JOSEPHINE LEE; FREDDY CORREA; YUWEI WANG: ICRAVE. JEFFREY BRAND; FEDERICO DEL PRIORE; JAMES BUTTERFIELD; DARIO BRITO; JOANNE VIOLANTI; EVAN SCHWARTZ; PAMELA BASCH; KATHLEEN BYRNE; KAITLIN GERSON; JENNIFER GILL; LEONID GITLIN; DIANE GOLDSMITH; DEAN JACOBSON; AVNEET KAUR; SCOTT OSICKA; LALA RAKHAMIM; JOHN RODENBECK; JENNIFER ROMEO; PARKER SEYBOLD; SALVATORE TOMASIELLO; LINGSHUI WANG; MAUREEN CARLEY-VALLEJO; ENLIN CHANG; CHRISTINA PARK; CHELSEA DIMPFLMAIER: PERKINS EASTMAN ARCHITECTS.

HORTON-LEES BROGDEN LIGHTING DESIGN: LIGHTING CONSULTANT. THORNTON TOMASETTI: STRUCTURAL ENGINEER. PHILIP HABIB & ASSOCIATES: CIVIL ENGINEER. JAROS BAUM & BOLLES: MEP. EASTERN MILLWORK: WOODWORK. TURNER CONSTRUCTION COMPANY: CONSTRUCTION MANAGER. PRODUCT SOURCES FROM FRONT KETTAL: CUSTOM PAVILION SYSTEM (ACTIVATION WAITING AREA). STUA: ARMCHAIRS. MAHARAM: ARMCHAIR FABRIC. VITRA: LOUNGE CHAIR. KIMBALL: OTTOMANS. HAWORTH: HIGH-BACK SOFAS. TIA MARBLE: FLOORING (LOBBY). LZF: CUSTOM SCREENS. DESIGNTEX: LOUNGE CHAIR FABRIC. FRITZ HANSEN: LOUNGE CHAIRS (RECEPTION, RESTORATION). WEST ELM CONTRACT: LOUNGE CHAIRS (ACTIVATION WAITING AREA). HBF: SOFAS (WAITING AREAS). FOSCARINI: PENDANT FIXTURES (WAITING AREAS), LAMPS (WAITING AREAS, RESTORATION).

SOFTLINE: SWIVEL CHAIRS (WAITING AREAS). COALESSE: SIDE TABLES (INPATIENT RECEPTION, WAITING AREAS), COFFEE TABLES (WAITING AREAS), SIDE CHAIRS (PATIENT ROOMS), CHAIRS (INPATIENT RECEPTION). SEED DESIGN: SCONCE (PATIENT ROOM). CARNEGIE FABRICS: WALL COVERING (PATIENT ROOMS). LOUIS POULSEN: LIGHTING FIX­ TURES. ZERO INTERIOR: PENDANT FIXTURES (NURSE STATION). ALLIED MAKER: PENDANT FIXTURES, LAMP (INPATIENT RECEPTION). 3FORM: CUSTOM WALL PANELS. NAUGHTONE: TABLE. KI: SOFA BED (PATIENT ROOM). IOA: RECLINER. CAMBRIA: COUNTER MATERIAL (BATHROOM). PORCELANOSA: WALL TILE, FLOOR TILE. MENU: HAMPER. DU PONT: BENCH MATERIAL. FORMGLAS: CUSTOM CEILING (CAFÉ). BERNHARDT DESIGN: CHAIRS. TABLE TOPICS: TABLE. MUNROD CUSTOM: CUSTOM BANQUETTES. SANTAMARGHERITA: COUNTER MATERIAL. MUTINA: COUNTER DIE MATERIAL. PORT MORRIS TILE & MARBLE CORP.: FLOORING. THROUGHOUT ARMSTRONG: SLAT CEILING SYSTEM. SHAW CONTRACT: CARPET TILE. UPOFLOOR: POLYMER FLOORING. WOLF-GORDON: WALL COVERING. BENJAMIN MOORE & CO.: PAINT.

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Opposite: Hospitality-inspired, patient rooms are furnished with oak millwork and decorative resin wall covering, both custom, and sleeper sofas for visiting family.

Top, from left: Waiting areas on recreation floors have spaces for activities like arts and crafts as well as more private reading and writing nooks; Susanne Grønlund designed the swivel chairs. Patient bathrooms are spalike, with flooring and walls in marble and porcelain and ceramic tile. Bottom: Beneath a coffered ceiling in glass fiber reinforced gypsum, the café is full-service, providing restaurant-quality food for patients and caregivers and chairs by Noé Duchaufour-Lawrance, plus grab-and-go late-night options for staff.

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face time

HOK encourages collaboration at the New York headquarters of personal-care and cosmetics company Shiseido Americas text: jessica dailey photography: eric laignel MAY/JUNE.20

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Transformation is key to what Shiseido is. Founded in 1872, the Japanese corporation has evolved over the last century-plus from a local cosmetics company to a global personal-care giant.

Part of that expansion includes the New York–based Shiseido Americas, which alone owns 11 makeup, fragrance, and skincare brands, Laura Mercier and Nars among them. Yet they and their employees were siloed, spread across two buildings and seven disconnected, disparate floors. So when CEO Marc Rey began the search for new headquarters, he had a seemingly simple goal: cohesion. “He requested a place of community where beauty and leadership could shine,” begins Bill Bouchey, principal and director of design and interiors at HOK, which won the bid to design the Shiseido Americas workplace.

The chosen site encompasses 220,000 square feet and eight contiguous floors, 15 through 22, in a 32-story tower. The building was still being renovated when HOK came on board, so the firm was able to carve out a separate lobby for Shiseido, helping to signal a unified company immediately upon entry. “Executives came to us with the concept of creating ‘one Shiseido,’” HOK principal Yelena Mokritsky recalls.

The idea of transformation—the corporation’s as well as when a person uses a Shiseido product—guided HOK’s concept.

“The act of putting on makeup creates a change,” Bouchey says, “a sense of some type of beauty being achieved. We were interested in representations of that: gradients, textures, references to consumer beauty products.”

Those representations come through in rounded, curved forms, color schemes similar to those in makeup palettes, and moments of surprise. Corridors are clad in black-and-white wall covering made from blown-up images of calligraphy brushstrokes, and a statement lighting installation formed from hundreds of lipstick-esque white cylinders is arranged in the outline of an S. Even subtle elements reference Shiseido. The glass walls of conference rooms gradiate in color, a la eyeshadow, for privacy, while punched metal detailing on stair and balcony railings hints at skin porosity and products.

Previous spread, left: At the Shiseido Americas headquarters, an eight-floor office in New York by HOK, a meeting area for cosmetics brand Nars features a magnetic wall display of product photography behind Charles and Ray Eames chairs.

Previous spread, right: The lounge shared by the corporation’s 11 brands features an installation of custom pendant fixtures shaped like lipstick tubes.

Top: Felt along the ceiling scape distinguishes an executive-floor corridor. Bottom, from left: A custom Corian and brass desk by Mash Studios greets visitors in the main reception area on a different floor. HOK’s experience design group created all the graphics, including an executive-floor wall painted in the company color with omotenashi, the Japanese word for hospitality, one of Shiseido’s guiding principles.

Opposite: The double-height lounge is furnished with an Anderssen & Voll ottoman and lounge chairs by Space Copenhagen.

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Another guiding principle of the project is omotenashi, a Japanese term referring to the utmost in hos­ pitality. For Shiseido, it refers to being attentive to consumers and employees. HOK brought the concept to life in what’s referred to as the heart of the New York office, a double-height space that opens to a large terrace and occupies approximately half of the 19th floor, where Shiseido’s main reception is. “We tried to create an environment that felt less corporate, with more of a cafélike feel,” Mokritsky says of the multi­ purpose area that feels more boutique hotel than office. The sculptural white reception desk and the coffee bar (with barista) farther in are both detailed in brass. Materials such as white oak and commercial-grade velvet infuse luxury, as do residential-scale furnishings, like a confection-reminiscent side table by Mia Hamborg and a plush baby-blue ottoman by Anderssen & Voll.

In fact, many pieces—dining and café tables, bar-height counters and stools, lounge chairs and sofas— there and in the second double-height, shared café space on the 21st floor allow for flexibility. The major­ ity is lightweight seating that can be easily reconfigured to accommodate all-hands meetings or company events. But they are also places to eat lunch, work, or take a coffee break. “They’re centralized locations that enable serendipitous encounters, casual collisions, and a greater sense of connectivity than just their hub or floor,” Bouchey explains. (Some brands, by the way, occupy more than one floor, while others share a floor, but all have their own branded “knuckle,” Mokritsky notes, or hub, that includes a pantry and a meeting area.)

For each brand, HOK designed a kit of parts that meets company-wide standardizations but also allows for customization and flexibility. Instead of permanently plastering a wall with product images from Clé de Peau Beauté, also owned by Shiseido Americas, HOK created an adaptable display system of metal panels.

Images are printed on what are essentially large magnets that slide together to form a mosaic. They can be creatively applied—Nars has a mural-size photograph of a model with strategic panels removed hiding her face—and easily changed. “We focused more on functionality, and how the spaces would be used,” Mokritsky says. “Pieces were selected based on a brand’s aesthetic.” For example, BareMinerals, which has an understated, natural-leaning color palette, features earth tones, clear pendant fixtures, and uphol­ stered chairs, while Nars, more bold, with high-contrast cosmetics, opted for a black, white, and red scheme and glossy molded-plastic chairs by Charles and Ray Eames.

Below: Custom pendant fixtures run above a Corian-topped table in a communal pantry.

Opposite top: Offices for group executive heads are planned from a kit of parts plus customized pieces, like this one’s marble-topped desk and Arik Levy guest chairs. Opposite bottom, from left: HOK created an artwork display system and consulted with each brand on imagery. Some are vintage lithograph ads dating to Shiseido’s 19th-century beginnings.

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“We were interested in representations of cosmetics, like gradients and textures”

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To avoid a sense of hierarchy, Shisheido Americas executive offices are on the lowest level, 15. Elevated details such as a felt ceiling treatment and increased oak paneling indicate that it’s the senior leadership floor. But every area was designed with the same principles in mind, to create a space “that celebrates the senses,” Bouchey says. It’s a cohesive house of beauty that represents Shiseido, and exactly what cosmetics should be: an empowering personal transformation that can be changed and adapted as you grow.

PROJECT TEAM TOM POLUCCI; ANTHONY SPAGNOLO; ERIKA REUTER; GREGORY BASSIELY; ELIZABETH MARR; KALLIE INGERSOLL; KENNETH SECCO; TIFFANY ESPINOZA; VANESSA FELIX; BOBBY BOUZINEKIS; ADAM CHERNICK; YOKO MATSUNO; ERIN EZELL; ANDIE MOEDER; JENNIFER SAMEL; JESSICA BENZ; CHRISTINE WEBER; DANIEL MEEKER; DANNY SHERVINGTON; CLAIRE PELLETTIERE; PATRICK SCHMIDT: HOK. LIGHTBOX STUDIOS: LIGHTING CONSULTANT. SEVERUD ASSOCIATES: STRUCTURAL ENGINEER. ROBERT DERECTOR ASSOCIATES: MEP. ISLAND ARCHITECTURAL WOODWORK: WOODWORK. M C GRORY GLASS: GLASSWORK. GARDINER & THEOBALD: PROJECT MANAGEMENT. J.T. MAGEN & COMPANY: CONSTRUCTION MANAGER. PRODUCT SOURCES FROM FRONT HERMAN MILLER: CHAIRS (NARS MEETING AREA, CAFÉ). ANDREU WORLD: TABLES (MEETING AREAS). LUKAS LIGHTING: CUS­

Top: The 280 gloss-painted metal pendants are arranged to form the Shiseido S. Bottom, from left: An image of a calligraphy brushstroke was enlarged and digitally printed on vinyl wall covering for some cor­ridors. A meeting area for Bare­ Minerals is set up similarly to Nars but in brand-appropriate colors and furnishings, including velvetupholstered chairs.

Opposite: Ceiling moldings ref­ erence cosmetics packaging in the 21st-floor café, also shared by all 11 brands.

TOM PENDANT FIXTURES (LOUNGE). &TRADITION: SMALL SIDE TABLE. GUBI: COFFEE TABLES. STELLARWORKS: CHAIRS. MUUTO: OTTOMAN (LOUNGE), SOFA (OFFICE). MASH STUDIOS: CUSTOM BENCH SEATING (LOUNGE), CUSTOM DESK (RECEPTION). ARKTURA: CEILING SYSTEM (EXECUTIVE HALL). LIVING DIVANI: STOOLS (LOUNGE). FLOS: CUSTOM PENDANT FIXTURES (PANTRY). JOHANSSON: STOOLS. KNOLL: DESK, TASK CHAIR, CASEGOODS (OFFICE). TON: GUEST CHAIRS. COR: COFFEE TABLE. HALCON: BAR TABLES (LOUNGE, CAFÉ). WEST ELM: PENDANT FIXTURES (BAREMINERALS MEETING AREA). SHAW: CARPET TILE. ARPER: TABLES (CAFÉ). THROUGHOUT OFFICE RESOURCES: FURNITURE DEALER. CORIAN: D U PONT. INTERFACE: CARPET TILE. ARMSTRONG: ACOUSTIC CEILING TILE. PYROCK: PERFORATED ACOUSTICAL CEILING SYSTEM. B+N INDUSTRIES: CUSTOM ARTWORK DISPLAY SYSTEM. ARDEX: CONCRETE FLOOR TOPPING. ABET LAMINATI; FORMICA: PLASTIC LAMINATE. MERCURY LIGHTING PRODUCTS CO.; USAI LIGHTING: LIGHTING. BENJAMIN MOORE & CO.; SHERWIN-WILLIAMS COMPANY; WOLF-GORDON: PAINT.

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body and soul Traditional rattan gets a cyber-age workout at Vikasa on 24, a Bangkok yoga studio by Enter Projects Asia text: michael snyder photography: edmund sumner

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The Vikasa Yoga Retreat sits on a hillside on the Thai island of Ko Samui, a cluster of gabled bungalows rising on stilts above lush greenery, overlooking a turquoise sea. But when Vikasa’s founder Kosta Miachin decided to open a studio in the capital of Bangkok, one of Asia’s most dynamic urban centers, he knew he couldn’t simply transport the retreat’s rustic aesthetic to the heart of the metropolis. The new facility would have to be both meditative and modern, its peaceful interior also a reflection of the vivid pulse of the city outside.

Located in the slick neighborhood of Sukhumvit, surrounded by apartment towers and cutting-edge projects by firms like Finland’s ALA Architects and Thailand’s Department of Architecture, the 5,000-square-foot Vikasa on 24 occupies the second floor of a concrete, steel, and glass building—a conventional urban structure built originally as a showroom for the luxury apartment block that rises behind it.

“The client wanted something nontraditional, immersive, and holistic,” says Australian architect Patrick Keane, founder and director of Enter Projects Asia, the multinational firm Miachin hired to design the center.

A Princeton University School of Architecture graduate, Keane has been interested in the use of rattan as a building material since his earliest projects in Thailand, where he has practiced for the last six years.

So, treating the button-down structure as a vessel to be explored, the architect introduced a series of sinuous rattan tubes that snake through the interior, occasionally ballooning overhead like clouds. This nexus of oversize biomorphic pipes, which he describes as “a material guide to the space,” seems alive, more sentient being than architecture. During the day, they connect the various parts of the studio like a complex system of veins and arteries; at night, lit from within by LEDs, Previous spread: Teak marine plywood paneling surrounds a large studio at Vikasa on 24, a yoga center in Bangkok by Enter Projects Asia. Opposite: In the reception area, a rattan tube snakes across the ceiling before swooping down to form the front desk and adjoining bench. Top, from left: Studio flooring is polished cement.

One end of reception’s tube terminates as a globular lantern hanging above the entry staircase. Bottom: Another tube pierces a studio wall, loops across the ceiling, and exits where it entered.

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they become neural pathways, channeling energy from one end of the facility to the other and visible to passersby on the street below.

Keane and his team used software like Maya, a graphics application popular for special effects in movies, and Rhino, a favorite in automobile manufacturing, to generate a range of possible forms and configurations. Essentially, they looked at the space as a rigid glass box filled with gas into which they pumped a fluid material that could assume any shape. “We started by looking at the Klein bottle,” Keane continues, referencing the mind-bending geometric object that’s like a 3-D Möbius strip, its exterior turning inward and swallowing itself. “The idea of an external surface becoming an interior, that’s what you’re looking for in yoga. The work you do on your body transforms your soul and the work you’re doing inside manifests in your way of being in the world.”

The first of the rattan tubes begins as a bulbous, synapse-shape lantern looming above the open entry stairwell. The pipe then crosses the receptionarea ceiling before dropping down to create a curving, weightless front desk and bench. Two large yoga studios sit on either side of reception, each cocooned in a wood shell with a palm-leaf thatch exterior.

Their interiors are lit by rattan tubes that loop and float overhead like enormous Isamu Noguchi light sculptures before exiting through the walls, only to expand dramatically and, in deft imitation of a Klein bottle, curve back on themselves to form bowerlike wicker enclosures that serve as small private yoga studios.

Though the design emerged through high-tech digital manipulations, the materials throughout come directly from the craft traditions of the Thai countryside. The curved walls and ceiling of the large yoga studios, for instance, are clad in shiplapstyle panels of teak marine plywood manufactured by one of the many boatbuilders populating Thailand’s 1,750-mile coastline. In the locker rooms, the straightforward functionality of honed-slate flooring and gray cement walls is softened by custom teak benches handcrafted by Ian Sykes, a Bangkok-based English carpenter. “We really became a design-and-build contractor working on this project,” Keane reports. “We’re building up a permanent team of artisans here.”

That process has not been easy. Finding craftspeople who could translate the complicated tube designs into reality proved especially difficult.

“There’s a tendency now for people to buy plastic imitation rattan, which is cutting artisans out of the industry,” Keane says. Indeed, it was only upon

Top: Palm-leaf thatching clads the exterior of the second studio, filling the center with a characteristic aroma of rural Thailand. Bottom: Kosta Miachin, the founder and guru of the Vikasa yoga group, poses in one of two small private studios.

Opposite top: Custom teak blinds shade the glass-and-steel curtain wall. Opposite bottom: Base-level LEDs illuminate custom teak benches and honed-slate flooring in a locker room.

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“The idea of an external surface becoming an interior, that’s what you’re looking for in yoga”

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encountering Supinya Colin, the French-Thai director of a small company handmaking mostly synthetic-rattan furniture who was willing to work with the natural material, that it became possible to pull off the project through descending orders of technology: Designing the convoluted forms on computers, printing to-scale models, and finally executing them by hand with Colin’s master craftsmen.

Though Keane acquired his CAD credentials in the West, including 12 years working in New York, he has been able to take digital-age design a step further in Thailand.

Projects like the yoga studio allow the technology to be absorbed and indigenized through the use of traditional materials and craft implementation. More than just an optimistic expression of a region in transformation, or a showy demonstration of what powerful software can make possible, Vikasa on 24 regards the past, present, and future as points that exist not on a timeline, but rather on the surface of a Klein bottle: fluid and continuous, one forever leading to another, a neural pathway built from an ancient material, shot through with light.

PROJECT TEAM TOMAS GUEVARA; AZUL PAKLAIN; ARCHANA RAMESH; SERGIO LISSONE: ENTER PROJECTS ASIA. EEC LINCOLNE SCOTT CO.: STRUCTURAL ENGINEER, MEP. RATTAN4EVER: RATTAN WORK, WOODWORK. PROJECT SOURCES FROM FRONT EAST MARINE ASIA: PANELING (LARGE STUDIO). HARMAN KARDON THROUGH RS COMPONENTS CO.: CEILING SPEAKERS. NONTHABURI WHOLESALE: THATCHING (STUDIO EXTERIOR). FINE WOOD BLIND COMPANY: CUSTOM BLINDS. THAILAND LOCKER: LOCKERS (LOCKER ROOM). HÄFELE: SINK, SINK FITTINGS. NORTHERN LIGHTS ENTERPRISE CO.: WALL TILE. THROUGHOUT SIGNIFY THOUGH HOMEPRO THAILAND: LEDS. PANDOMO BANGKOK CO.: CEMENT WALLS, FLOOR. THAI STONE TRADE: STONE SUPPLIER.

Opposite: The form of a private studio was inspired by the Klein bottle, a geometric object with a non-orientable surface that folds back on itself. Top, from left: At night, LEDs turn the rattan tubes into light fixtures that appear to channel energy through the center like a giant neural network. All the natural-rattan elements were handmade by a company that usually works with a synthetic version of the material. Bottom: The 5,000-square-foot center occupies the second floor of the former showroom for the luxury apartment building behind it.

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text: wilson barlow and colleen curry

you’re all winners The IIDA honors the industry’s elite with its 47 th annual Interior Design Competition

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See page 146 for the Amos Rex Art Museum in Helsinki by JKMM Architects.

Photography: Angela Gil.

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project Xi’an Changjiang Insun Imax Cinema, China. standout Inspired by film negatives and the work of photographer Georges Rousse, optical illusions in contrasting paint colors make a big impact on a small budget while drawing a visual connection to the movies shown on screen. photography Jonathan Leijonhufvud.

One Plus Partnership

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“The new apertures provide the same subtle light quality of a clerestory”

JKMM Architects project Amos Rex Art Museum, Helsinki. standout Connecting past and present—including a 1930’s pavilion comprising restaurants, shops, and a cinema—domed sculptural skylights in concrete and steel are a bold addition to a historic 19thcentury squ­are, formerly a military parade ground. photography Clockwise from top left: Angel Gil; Mika Huisman; Tuomas Uusheimo; Mika Huisman; Tuomas Uusheimo.

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project ICS Kindergarten, Beijing. standout Happy, saturated colors and natural materials define the series of open-plan learning areas and walkways, which encourage independence in the pint-size studentsâ&#x20AC;&#x201D;and provide them with infinite opportunities for creative play. photography Yue Wu.

Fun Connection Design

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“There’s a relationship between space and the way we think” MAY/JUNE.20

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“The diamondlike structure dialogues with the pitched roofs of 20th-century chalets”

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Hitzig Militello Arquitectos project Goodstën, Martínez, Argentina. standout An existing creamery receives a double-height annex addition that’s faceted and blanketed in treated metallic shingles, introducing a contemporary aesthetic while honoring the building’s traditional architecture. photography Federico Kulekdjian.

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Arshia Architects project Gallery 19C, Los Angeles. standout Modern-day molding frames 19th-century artwork, and a fabric ceiling-scape emits diffuse, even light in the winner of the Will Ching Design Competition for commercial projects by firms with five employees or fewer. photography Monika Sedziute. interiordesign.net/iida20 for images of the other winning projects

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“We rethought the concept of the gallery wall”

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text: edie cohen photography: manolo yllera

balancing act Peter Marino expertly melds the understated and the chromatic at Maison Louis Vuitton New Bond Street in London

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Believe it or not, Peter Marino designs three to seven Louis Vuitton shops a year, each different.

“With every one, we push the innovation by 10 percent,” the Interior Design Hall of Fame member states. It’s a process—and a client—he’s had for more than two decades, completing dozens of global projects for the luxury French clothing, jewelry, and furniture brand. Some maisons, as the boutiques are called, are brand-new, such as Louis Vuitton Maison Seoul, which opened in South Korea last November. Some are renovations of existing Peter Marino Architect interiors,

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as is the case with Maison Louis Vuitton New Bond Street in London, the firm’s third inter­ vention at the site. The latter demonstrates how all of Marino’s Vuittons have become increasingly gallery-esque.

Credit the evolution to a happy marriage between architect and client, specifically Bernard Arnault, chairman and CEO of LVMH Moët Hennessy–Louis Vuitton and a prodigious art collector himself. With the reopening of the New Bond Street store, following PMA’s 15-month renovation, the impetus has hit its acme. At least so far.

“There’s a psychological equation between the highest level of craft and the highest level of artwork,” Marino says. In fact, that craft-art connection is evident in LV product—think Takashi Murakami’s wildly popular multicolored monogram handbag collection from 2003.

But there’s an additional force at work here.

“There’s a new paradigm for fashion boutiques,” Marino continues, “joyous, happy, cheerful, bright. We haven’t heard those descriptors in a long time.” In other words, glossy is out. Earthy is in. This shift manifests itself in the revamped 27,000-square-foot, four-story London store via subtle yet opulent materials. Slabs of French limestone on floors and walls keep the envelope neutral but warm. Myriad custom silk-and-wool rugs continue the refined taupe palette. Display shelves are clear fiberglass, their twisted form inspired by the facade of Maison Louis Vuitton Beverly Hills. Counters are mostly sculpted

Previous spread: On the sec­ond floor of London’s Maison Louis Vuitton New Bond Street by Peter Marino Architect, French limestone slabs sur­round sculptor Annie Morris’s stacks of carved-foam orbs.

Top: The Campana brothers’ ceiling-hung Cocoon chairs, from LV’s Objets Nomades collection, hang in the doubleheight atrium carved out of the second floor. Bottom, from left: Sarah Crowner’s acrylic on canvas spans 22 feet of a wall in womenswear.

Nearby, a table in petrified cottonwood stands on a silk-wool rug, both cus­tom.

Opposite: In mens­wear, which is below-grade, custom seating is backdropped by a doublehelix spiral stair rising through three of the shop’s four floors.

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oak—“a change from slick, smooth veneers,” Marino notes. More oak, this time cerused, appears in the project’s pièce de résistance: a double-helix spiral stairway that wends itself from the below-grade menswear department up to level two, where womenswear is. The massive stair replaces a glitzier, LED-lit one and comes directly from Marino’s own hand. He sketched it out on tracing paper, and its “wonky, playful form means that it doesn’t intersect,” he explains.

It’s evidence of PMA’s complete overhaul of the interior, a stark contrast to what went on with the exterior. This Louis Vuitton consists of two disparate buildings: a 1930’s art deco limestone structure and a late 18th–century Georgian masonry one that are adjoined on the ground floor. The Grade II–listed facades could not be touched, save for some restoration, but inside was another story entirely. “We emptied it out and rebuilt the whole thing,” recalls Marino, who’d last renovated the store in 2010. (It was 1995 when he first designed it.)

Beyond the entry and the grand stair, visitors encounter an airy volume. The PMA team cut away sections of the second floor to create a double-height void, resulting in an element akin to a vast skylight, bathing the ground floor’s accessories and leather goods and women’s clothing and shoes on two with bright, cheery light. “Uncluttered and open,” is the architect’s description, not worried in the least that he removed valuable selling floor area. That’s because his vast retail-design experience has shown that spaciousness and room to roam encourage customers to linger and spend more time—and ultimately more money.

(Furthermore, the abundant space allows them to easily social distance once the economy is back in full swing.)

Now that bright and cheery had been addressed, joyous and happy were next.

That’s where art comes in. An esteemed curator, Marino personally selected the project’s 43 pieces, including five commissions from 25 artists. “We made a concerted effort to include women and an international cast,” Marino says of his, Arnault, and LV chairman and CEO Michael Burke’s choices. There’s an impressive range of mediums, too. And lots of color.

At first, there appears to be a totem theme. Rising up from men’s through the spiral of the stair is a trio of Matt Gagnon’s slender multi-hued, multimedia light stacks. Then, up on two, what look like small and large boulders coated in

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Opposit top: Treads, risers, and balustrade are cerused oak. Opposite bottom, from left: Morris’s sculptures are similar to ones of hers at Maison Louis Vuitton Place Vendôme in Paris. In a women’s fitting room, Floris Wubben’s end table coor­ dinates with Andy Warhol wallpaper.

Top: James Turrell’s First Blush glows in women’s, where load-bearing beams are painted Vuitton’s sig­ nature saffron. Bottom: A second stair, embellished with vinyl tape by Jim Lambie, leads to the private shopping suites on the top floor.

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Opposite: Farhad Moshiri’s embroidery on canvas appoints the jewelry salon.

This page: Oak, MDF, and LEDs compose the Light Stacks by designer Matt Gagnon.

“There’s a psychological equation between the highest level of craft and the highest level of artwork”

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saturated blues and reds and stacked precariously are actually Annie Morris’s foam sculptures, similar to ones at Maison Louis Vuitton Place Vendôme in Paris (also by Marino, mais oui).

Sunny yellow seems to be a focus, too. It shows up in a nearly wall-size Andreas Gursky C-print in men’s, Donald Moffett’s wall panel in women’s, Chris Martin’s celestial canvas in the stairwell, then again in the jewelry salon’s embroidered portrait by Farhad Moshiri. Proving the variety of mediums and installation sizes is Sarah Crowner’s 22-foot-wide vivid acrylic and Tracey Emin’s neon

in accessories, Jim Lambie’s gleeful zigzag of vinyl strips on the secondary stair’s landing, treads, and risers, and, perhaps most notably, James Turrell’s rectangular light piece, which morphs from violet and buttercup to orange and red, high up on a second-floor wall.

Furnishings inject delight, as well. A pair of multicolored-resin doors, originally created by Gaetano Pesce for a TBWA/Chiat/Day office in New York, have been repurposed for the men’s fitting room. In a women’s fitting room, the orange and gold flowers of an Andy Warhol wallpaper pattern correlate with a citrus-hued end table by Floris Wubben. Throughout, vintage pieces by the likes of Fernand Dresse and Pierre Paulin mingle with custom furniture by Marino. And since the Gen Y and Z-ers who make up a sizeable portion of the retail demographic like to mix it up, a notion Marino learned from his 29-year-old daughter Isabelle, three womblike chairs, in cornflower, lime, and rose, by Fernando and Humberto Campana hang down 10 feet from the ceiling of the newly created double-height salon. Part of Vuitton’s Objets Nomades furniture collection, they’re aptly named Cocoon.

Top: Chris Martin’s mixed media overlooks the jewelry salon. Center: Vintage Fernand Dresse tables fur­ nish the private-shopping floor. Bottom: The store consists of two conjoined listed buildings, a late 18th– century masonry structure and a 1930’s limestone one, respectively.

Opposite: Men’s features a Martino Gamper table and an Andreas Gursky C-print.

PROJECT TEAM TSUYOSHI MA; MARIA WILTHEW; DANIEL MEASE; JIRO ONISHI; PAOLA PRETTO; JENNIFER FITZGERALD; ROSARIO VADIA: PETER MARINO ARCHITECT. INK ASSOCIATES: ARCHITECT OF RECORD. GEORGE SEXTON ASSOCIATES: LIGHTING CONSULTANT. RAMBOLL: STRUCTURAL ENGINEER. PRODUCT SOURCES FLAVOR PAPER: WALLPAPER.

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A regal headquarters in Amsterdam by Framework Studio hails the late king of fashion

lagerfeld lives on text: jane szita photography: kasia gatkowska/photofoyer

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“When we chose this place with Karl, we were inspired by its beautiful Louis XVI–style architecture,” Karl Lagerfeld CEO and president Pier Paolo Righi says of the fashion brand’s new global headquarters in Amsterdam. “We saw the opportunity to blend classical and contemporary,” he adds, sitting in his office overlooking the graceful Herengracht canal. “This mixing of opposites was very much how Karl approached his creative work in general.” Lagerfeld visited the building during its renovation in December 2018. Sadly, however, two months later, the 85-year-old creative visionary passed away.

Yet, even though he never set foot in the completed headquarters, he remains ever-present there. His image is everywhere: in self-portraits, photographs, caricatures, dolls, models, and displays of clothing he designed. In the rooftop bar, for instance, there’s a photo of him as a bartender; in the kitchen, there’s an image of Lagerfeld preparing food. “They’re playful anecdotes to keep him in our everyday life,” Righi says of the 150 Amsterdambased employees. The images are simultaneously iconic and ironic, adding humor to the picture. “Karl never took himself too seriously.”

Karl Lagerfeld, the company, has had an office in Amsterdam since 2006. But the business and staff had outgrown it. (There are also 20 employees in the Paris office, which was where Lagerfeld worked.) This seven-story building, called the Zonnewijser, built in 1615 as a private residence and office for a banking family (com­ bining home and work was not unusual then—plus ça change. . .), was a listed monument when Lagerfeld chose it. Its 32,000 square feet not only allowed for expanded pro­duction but also corporate envi­ronmental respon­ sibility. The Zonnewijser is completely sealed off from the city’s gas supply and instead provided with Energy Label A +, in keeping with Amsterdam’s mission to be completely gas-free by 2040.

But the interiors were a mess.

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Previous spread: A landmarked 1615 building in Amsterdam has been converted by Framework Studio into the global Karl Lagerfeld head­ quarters, where a former ballroom is outfitted with Dirk Vander Kooij’s LED pendant fixtures to function as a meeting area as well as a space for events.

Opposite: Archways, flanking small meeting areas for the design studios, are original, but the oak floor planks and wall paint are new.

Top, from left: British street artist Endless spray-painted a Karl Lagerfeld portrait on a wall of an atrium. The office of CEO and president Pier Paolo Righi features framed artwork by Lagerfeld him­ self. Bottom: Verner Panton pendant fixtures are backdropped by the newly glazed rear facade in the fourth-floor café.

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creative director of Framework were not allowed to install new Studio, which designed the Lagerlighting on most ceilings.”

So, the Framework team made feld headquarters. The landmark good use of existing elements. For status meant that architectural the original arches on the second interventions were limited: The facade had to remain intact, as did and third floors, where atelierlike such surviving original elements as offices are filled with samples, the ornate ceilings, a marble spiral prototypes, and some vintage designs made by Lagerfeld himself, staircase, an art deco elevator “We enhanced them by painting shaft, and the ground-floor neothem black to highlight their geomclassical ballroom, which was expertly renovated under the superetry,” Finotti explains. The arches vision of the City of Amsterdam’s frame new nooks in which to sit for Bureau of Monuments and Archae- a coffee or phone call,” she adds. ology using historic photographs “The concept was always that this as a reference for the colors used should be more than an office, to repaint its walls and ceiling. with us providing lots of places for Framework’s biggest intervenmeet­ings, socializing, relaxing, tion involved opening up the build- receptions, and presentations,” ing’s top floor, replacing the solid Geerlings notes. The ballroom, for example, lends itself to everything facade at the back with expanses from small casual meetings to of glass and adding two skylights. glamorous parties and fashion This floor, where Karl’s, the staff café and bar, is located, has been Top, from left: Rows of Karl dolls greet transformed from a dark attic to staff and visitors in an open office near a light-filled aerie with wonderful panoramic views. “That permit was reception. A felt-lined phone booth in­ cludes miniature versions of Lagerfeld’s approved because the alteration is signature starched collars. Bottom: A not visible from the street,” Frame- rug by Karl Lagerfeld Home furnishes work senior designer Francesca a design studio.

Finotti says. “Elsewhere, though, Opposite: The second atrium has the landmark status meant that we terrazzo flooring and Le Corbusier lamps.

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“The monochrome palette is a translation of the brand’s subtle elegance” .

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shows, a versatility that’s coincidentally in line with its history; Righi points out that the ballroom was sanctified by the original owners in order for it to be used for weddings.

And above the café, there’s the circular tower room, a new addition where employees can participate in wellness-related, team-building activities like weekly yoga classes, surrounded by even more spectac­ ular 360-degree views.

Two extraordinary atriums—one on the ground floor, the other on the second—add to the many location options. The atriums, beneath skylights 40 feet overhead, offer gardenlike atmospheres inside the building, complete with terrazzo flooring, enormous potted plants, and artwork depicting and inspiring quotes

by Lagerfeld.

“All these flexible areas reflect our creative and collaborative way of working,” Righi states. The monochrome color palette, predominantly black, gray, and white, is a translation of the Karl Lagerfeld brand’s subtle elegance. Color is largely absent for practical reasons, too. “The fashion-design teams need a neutral backdrop to develop their work,” Finotti says. Combining antique and modern industrial details—raw brickwork, oak floor planks, and matte gray paint provide a foil for ornamental plasterwork, paneling, and gilding—is also on-brand. Furthermore, contemporary furniture updates the neoclassical detailing, particularly in the ballroom, where Dirk Vander Kooij’s spectacular cartwheel pendant fixtures and Framework’s blocky black bookshelves help bring the restored interior into the present. “Karl,” Righi muses, “would have loved it.”

PROJECT TEAM KREON: LIGHTING CONSULTANT. PAARDEN­ KOOPER: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT TACCHINI: SOFA (BALLROOM).

FLEXFORM: RUG. PIERRE FREY: CURTAIN MATERIAL. VITRA: DESK, CHAIRS (OFFICE).

THROUGH GALERIE JARNO KOOIJMAN: LAMP. &TRADITION: PENDANT FIXTURES (CANTEEN), SCONCE (PHONE BOOTH). LENSVELT: TABLE, CHAIRS (RECEPTION). NEMO: WALL LAMPS (ATRIUM). DWC ÉDITIONS: SCONCES (LOUNGE).

KAIA LIGHTING: SCONCES (ENTRY, STAIRCASE).

THROUGHOUT FEST: STOOLS, DINING CHAIRS, COCKTAIL TABLES. ‘T PARKET HUYS: WOOD FLOORING. MARAZZI: TERRAZZO FLOORING.

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Opposite: The new tower room, with a built-in upholstered banquette, hosts weekly staff yoga classes.

Top, from left: The entry’s ornamental plasterwork and moldings date to the 18th century. Marble forms the building’s original staircase.

Bottom, from left: Charles and Ray Eames chairs flank an Antonio Citterio desk in Righi’s office. Neon signage signals the café.

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FURNITURE

LIGHTING

THIRTY

YEARS

www.powellandbonnell.com

INTERIORS

™™

CLARUS TherMobile

glass safety shield for health screenings thermometer cutout

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LAUNCH EDITORS' NOTE

Hey, designers: LAUNCH is back! Welcome to issue number two of our magazine-within-a-magazine—a new tool that lets you discover the very best design products in print and then immediately take action via smartphone.

Since its debut in the April issue, you’ve been LAUNCH-ing your little hearts out. Thousands of you have scanned our LAUNCH CODES, leading to direct action. Now, more than ever, manufacturers want to hear from you, so we’re happy to know that LAUNCH is making it easier than before.

(As CID Design Group’s Jenn Zella told us, “Print + tech = one happy, inspired designer!”)

For those of you who didn’t see it in the April issue, let me explain!

You’ll find LAUNCH in select issues of Interior Design. Browse the latest and greatest products, each of which has its own LAUNCH CODE. Then, open your smartphone camera, hover over a code, and up pops an interface allowing you to do a host of things at the touch of a button: download technical specs, call a rep, request a quote or sample...whatever you want! (It works on the digital edition, too!)

Easier to design, specify, and get in touch—right from your home.

Speaking of which, I hope you’re taking the time to get the inspiration you deserve. So, as you read this issue, I’d love to hear what you have to say.

Drop me a line at hellocindy@interiordesign.net.

Happy LAUNCH-ing, friends!

Love,

LAUNCH into the future ™

Cindy Allen and the Interior Design editors P.S. If you’re a Material Bank subscriber and the featured LAUNCH product is available, you can order samples with the touch of a button, up until midnight, and get them by 10AM the following day!

HOW TO LAUNCH

™

ONE pick your product TWO 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

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EDITORS’PICKS LAUNCH EDITORS' PICKS

STANDOUTS WALNUT , ASH , OR OAK FABRIC OR LEATHER UPHOLSTERY

DE LA ESPADA Carlton

Snuggle up in Jason Miller’s black-oiled oak bed, its carved components inspired by the contrast of old and new found in renovated Brooklyn brownstones. delaespada.com 176

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PRODUCT: CARLOS TEIXEIRA (2); PORTRAIT: JEFFREY SCHAD

SHOWN IN KVADRAT BYRAM 0471 KID MOHAIR

LAUNCH EDITORS' PICKS

STANDOUTS DIMMABLE LED ANODIZED ALUMINUM BACKING WALL OR CEILING

RICH BRILLIANT WILLING Dimple

Evocative of a headlight, the trioâ&#x20AC;&#x2122;s flush-mount indoor/outdoor sconce made from solid cast glass in Frosted, White, Amber, or Smoke throws an atmospheric glow. richbrilliantwilling.com MAY/JUNE.20

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MAISON DADA Major Tom

STANDOUTS KVADRAT UNIFORM MÉLANGE UPHOLSTERY OR COM

PRODUCT: KEVIN KANG (2)

COORDINATING OTTOMAN

Befitting its lunar curves—molded in memory foam—Thomas Dariel’s seating is named for the astronaut in David Bowie’s “Space Oddity.” maisondada.com

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LAUNCH EDITORS' PICKS

STANDOUTS HAND KNOTTED CUSTOM SIZES GOODWEAVE CERTIFIED

DEIRDRE DYSON EXCLUSIVE CARPETS AND RUGS Slivers

This artful rug combines 33 colors in Tibetan wool and Chinese silk to reproduce the effect of overlapping flat glass shapes. deirdredyson.com

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ET AL. Pillow

Andrea Anastasioâ&#x20AC;&#x2122;s ottoman won hearts in 2018; now meet the likeminded chair, its pillows seemingly perched precariously atop one another but actually sturdy as can be. et-al.it

STANDOUTS

18 FABRICS 100+ COLORS

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LAUNCH EDITORS' PICKS

STANDOUTS BLEACHED OAK VENEER CLEAR MATTE VARNISH CUSTOMIZABLE LEGS

HETCH MOBILIER Chromosome

A jaunty yellow-painted beech leg and a Carrara marble support enliven the eye-catching angles of Pierre-Henri Devineauâ&#x20AC;&#x2122;s oak-veneered MDF sideboard. hetchmobilier.shop

PORTRAIT: D3 STUDIO

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STANDOUTS MULTIPLE DIAMETERS AND HEIGHTS

48 COLORS COMBINE TOPS AND BASES AS DESIRED

FDC FAÏENCERIE DE CHAROLLES Stacked

Create your own side tables from stacks of totemic shapes in matte or gloss glazed ceramic by Alain Gilles. fdcfrance.com

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LAUNCH EDITORS' PICKS

MOOOI CARPETS Trichroic

Ruben de la Rive Box and Golnar Roshan of Rive Roshan harness subtle color gradients and shifting lines to create a collection of shapely rugs evoking refracted light. moooicarpets.com

STANDOUTS

3 FORMATS 2 COLORWAYS POLYAMIDE OR WOOL

PORTRAIT: DUNJA OPALKO

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standouts order by strip satin or soft matte finish washable greenguard certified

KATE GOLDING Luncheon

The Canadian artistâ&#x20AC;&#x2122;s hand-drawn sketches sparked by lazy summer days are reproduced on pre-pasted or commercial-grade wallpaper.

JOHNNY C.Y. LAM

kategolding.ca

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LAUNCH EDITORS' PICKS

STANDOUTS HARDWIRED SCONCE

12” HIGH CAN BE DAMP RATED

WORKSTEAD Canopy

A conical shroud in white or black enamel, hewn brass, or brushed nickel gently reflects light from a milky sandblasted bulb. workstead.com

PORTRAIT: MATTHEW WILLIAMS

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LAUNCH PARTNERS // FURNITURE

DDC Reale

With an intricate timber-truss base topped in glass, Carlo Mollino’s relaunched 1964 design is an engineering masterpiece, equally suited for use as a desk or a conference or dining table. ddcnyc.com

standouts

3 sizes 75” to 110” long natural or black varnished oak or walnut glass top in extra clear or smoky gray

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SEATING

// LAUNCH PARTNERS

STANDOUTS

BERNHARDT DESIGN Kylo

4 DESIGNS

Claudio Bellini gives the traditional swivel chair an aesthetic revamp, its soft curves, wide seat, and ergonomic shape allowing for maximum comfort.

MID - AND HIGH - BACK VERSIONS POLISHED ALUMINUM OR MATTE BLACK POWDER COAT BASE

bernhardtdesign.com

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ALTURA Kemizo

Diagonal gestures and curvaceous profiles unify the table collectionâ&#x20AC;&#x2122;s four styles, their forms highlighted by optional metal inlays and 32 standard finishes. alturafurniture.com

STANDOUTS

4 WOOD SPECIES 3 INLAY FINISHES AMERICAN MADE DESIGNED BY JEFF BEHNKE AND ROLAND ZEHETBAUER

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

STANDOUTS

17 COLORS INDUSTRY - LEADING

14+ WEEKS HYDROLYSIS RESULTS

300,000 WYZENBEEK DOUBLE RUBS BLEACH CLEANABLE SCS INDOOR ADVANTAGE GOLD

ULTRAFABRICS Ultraleather Reef Pro

Inspired by sea coral, this performance fabric with understated two-tone texture offers enhanced resistance to tough stains (including ballpoint pen and ketchup) and a sophisticated sensorial experience. ultrafabricsinc.com MAY/JUNE.20

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3FORM Flek

Durable, architectural-grade resin emulating translucent terrazzo is created from Varia panel trimmings that have been ground down, sorted, and encapsulated into new closed-loop panels.

3-form.com

standouts

6 colorways 48” x 96” and 48” x 120” panels

75% recycled content

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KITCHEN & BATH

// LAUNCH PARTNERS

STANDOUTS

18 FORMATS , 10 GLAZES FIELD , MOSAIC , AND TRIM

21% PRE - CONSUMER RECYCLED

ANN SACKS TILE & STONE Savoy

Tiles crafted from recycled content by skilled artisans in the ancient ceramics capital of Tajimi, Japan, are offered in an extensive range of formats and glazes to introduce warmth to any setting. annsacks.com

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INFINITY DRAIN Universal Infinity Drain

Compatible with most types of waterproofing, the new shower-drain system—featuring a pitched channel with a clamping collar—simplifies installation and promotes barrier-free bathroom design. infinitydrain.com

STANDOUTS MADE IN THE U . S .

7 DRAIN LENGTHS OFFERED IN A COMPLETE , CONVENIENT KIT TILE INSERT FRAME OR PERFORATED GRATE

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SEATING

// LAUNCH PARTNERS

DAVIS FURNITURE M75

STANDOUTS MOLDED FOAM SEAT AND BACK ; ALUMINUM BASE BUILT - IN WEIGHT ACTIVATED MECHANISM DISCREET HEIGHT ADJUSTMENT AND BACK LOCK BUTTONS

Both highly customizable and aesthetically sophisticated, this executive chair by Burkhard Vogtherr and Jonathan Prestwich reduces workplace distractions by way of its intuitive, intelligent design. davisfurniture.com

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standouts

4 bleach - cleanable fabrics ; 2 indoor / outdoor stain resistant highly durable nuanced color palette

KNOLLTEXTILES Destination

A high-performance collection takes its cues from architecture and nature, with four bleach-cleanable upholsteries including two indoor/outdoor fabrics, a velvet and an epingle. knolltextiles.com 194

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

TURF Metro

An acoustic panel system designed to fit into ceiling recesses offers a minimalist aesthetic while easily accommodating lighting and architectural elements. turf.design

standouts

30 colors of pet felt up to 60% recycled content customizable in length made in the u . s .

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standouts use indoors or out

16 colors and finishes won ’ t stain , crack , or yellow

CROSSVILLE, INC. Porcelain countertops

Elegant 12mm-thick porcelain slabs ideal for countertop installations offer all the advantages of tile—seductive looks and unparalleled durability among them. crossvilleinc.com 196

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FLOORING

// LAUNCH PARTNERS

standouts type 6.6 nylon available as broadloom and carpet tile cradle to cradle certified lbc compliant

BENTLEY MILLS Color Core

An innovative twist process produces a multifaceted all-loop product with the illusion of a slight tip-shearâ&#x20AC;&#x201D;resulting in a visual complexity conveniently delivered in a single yarn. bentleymills.com MAY/JUNE.20

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standouts transform any space quickly and easily bold design statement built - in non - slip backing

SHAW CONTRACT Rugs

Add color and improve acoustic properties in any home or commercial space with these 100 percent recyclable nylon rugs. shawcontract.com

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SEATING

// LAUNCH PARTNERS

STANDOUTS PAINTED AND NATURAL WOOD FINISHES AVAILABLE UPHOLSTERED OR ASH - VENEER SEAT ABUNDANT UPHOLSTERY OPTIONS

BERNHARDT DESIGN Halo

The company teamed with Italian design firm BrogliatoTraverso to create an ash-wood guest chair formed by subtracting unnecessary details, resulting in a minimalist, timeless piece. bernhardtdesign.com

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS SERENELY SLUMBER SLOTH

FORGED STEEL COUNTRY TWEED

standouts ultra - white base with flat, satin, and gloss sheens available curated for designers

SHERWIN-WILLIAMS Emerald Designer Edition

A range with exceptional performance and the companyâ&#x20AC;&#x2122;s best hide yet is available in 200 paint colors, with five designer-inspired collections ranging from warm and rustic hues to fresh, contemporary shades. emeralddesigner.com 200

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts

400+ decors treated fiberglass core class a fire rated

FORMICA CORPORATION HardStop Decorative Protection Panels

The high-performance—and high-design—wall solution blends impact resistance and ease of install with aesthetic flexibility. formica.com

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BENJAMIN MOORE Color Portfolio App and ColorReader

Browse fan decks on the go, match paint colors to fabrics or surfaces, and colorize rooms through virtual reality. benjaminmoore.com

standouts augmented reality renderings photo and video visualizers virtual fan decks color matching

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FURNITURE

// LAUNCH PARTNERS

STANDOUTS DESIGNED BY JOSEPH JEUP

4 STYLES , INCLUDING CHAT, MEETING , AND BUFFET - HEIGHT CREDENZAS

VENEER , LACQUERED POLYESTER , OR PAINTED CASE OPTIONS , WITH PLINTH OR STEEL BASE

NUCRAFT Forena

A suite of "resimmercial"-styled credenzas conceived for multiuse entertaining/meeting spaces transcends simple storage with features like built-in refrigeration drawers, waste compartments, soundbar accommodation, and easy-to-access device charging. nucraft.com MAY/JUNE.20

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KRAVET CONTRACT Atmosphere II FR Window

standouts made in the u . s . flame retardant excellent value for conservative budgets

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A new collection of polyester drapery fabrics features fresh yet familiar designs, many pairing large-scale patterns with subtle textures for a bold and timeless look. kravet.com/contract

KITCHEN & BATH

// LAUNCH PARTNERS

STANDOUTS SHOWER ARM HAS 10'' HEIGHT ADJUSTABILITY

7 5/8'' SHOWERHEAD WITH 4 SPRAY SETTINGS LAVATORY FAUCET WITH LEVER , CROSS , OR BLACK CRYSTAL KNOB HANDLES

5 FINISHES

BRIZO Invari

With linchpin joints and sophisticated facets these bathroom fittings offer a streamlined interpretation of stately elegance. brizo.com MAY/JUNE.20

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standouts brushed , polished nickel , and espresso finishes integrated led lighting optional light cap

CRAFTMADE Eastwood

Rugged yet refined, the indoor/outdoor fan boasts nine substantial blades, a dimmable LED light, handheld and wall remote controls, and an energy-saving DC motor. Cool! craftmade.com

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MIX

// LAUNCH PARTNERS

SURFACEWORKS Dax

BANKER WIRE TXZ-3

This flip-top table for collaborative, classroom-style, and small-group meetings is made to move, courtesy of its smooth-gliding casters, ultra-light aluminum legs, and lean profile. surfaceworks.us

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

PURE + FREEFORM Atmos

DOUG MOCKETT & COMPANY Under Desk Power Dock

High-performance aluminum surfaces are environmentally friendly and fully customizable, even offering the ability to incorporate different textures on the same plane. purefreeform.com

Make outlets and USB charging easily accessible at all times with a minimalist power dock that tucks underneath the front edge of a desk or table. mockett.com MAY/JUNE.20

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MOHAWK GROUP Smart City collaboration with gensler living product 12” x 36” carpet plank

g r e at e r good

world savers Like many members of the design community, Yves Behar and his team at fuseproject have always shown a strong sense of social responsibility, a willingness to use their skills in the service of good causes. So the San Francisco firm was quick to respond to the World Health Organization’s global call to creatives to help stop the spread of COVID-19. The open brief asked designers to submit informative visual works that accurately communicate public health messages in a bid to “flatten the curve” of the pandemic.

Fuseproject came up with a delightful portfolio of captioned images—including a series of adorable animals—that deliver lifesaving advice. Among the attention-grabbing graphics and wise words there’s an especially moving shout out to health workers, who, as Behar notes, “probably worked through the weekend...days and nights for the last eight weeks. They are our superheroes and, according to the fuseproject team, they deserve capes.” We couldn’t agree more.

interiordesign.net/whocampaign20 for more images from fuseproject’s WHO graphics suite MAY/JUNE.20

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Tom Kundig: Working Title

The New Farm: Contemporary Rural Architecture

by Tom Kundig Hudson, New York: Princeton Architectural Press, $80 368 pages, 300 color photographs

by Daniel P. Gregory Hudson, New York: Princeton Architectural Press, $45 192 pages, 150 color photographs

Here, without our realizing it, may be just what we’ve been needing: a collection of designs that are simple, economical, practical, and unselfconsciously handsome. Author Daniel Gregory, for years the senior home editor at Sunset magazine, quotes architect Cliff May (about whom he wrote in Cliff May and the Modern Ranch House) as saying, “You never see a bad barn.”

Influences on these designs, in addition to May, have been William Wurster, Edward Larrabee Barnes, and the many collaborators involved in the Sea Ranch housing community in Sonoma County. Current practitioners represented here include Backen & Gillam of St. Helena, California, and Machado Silvetti of New York. We see 16 examples, nine of them in the U.S., two each in Canada and Australia, and one each in Italy, Switzerland, and the Netherlands.

Perhaps the most impressive of these is Churchtown Dairy, a 250-acre biodynamic farm in Hudson, New York, by Rick Anderson for Abby Rockefeller, who also contributes a trenchant foreword. In it, she says, “The family barn has been a wholesome cell in the body of the human community.”

B O O K s edited by Stanley Abercrombie

This oversize volume beautifully presents 29 recently completed projects

by Tom Kundig, who, along with Jim Olson, is a partner at Olson Kundig and a member of the Interior Design Hall of Fame. This is the architect’s fourth book.

Completed between 2015 and 2019, most of the work here is residential and in the Pacific Northwest. But there are also houses in Australia, Brazil, Costa Rica, and Switzerland. In the commercial sector, there are several mixed-use towers and a natural history museum in Seattle, where the firm is based, as well as cultural and hospitality projects in Georgia, Texas, and British Columbia; perhaps most strikingly handsome of all is his office tower in Seoul, South Korea. The latter is evidence of Kundig’s growing international clientele as is a back-of-the-book list of 88(!) projects in Austria, Turks and Caicos, China, Mexico, New Zealand, and Sweden that are “in design or under construction.”

The book’s subtitle may seem a bit coy, but there’s nothing coy about Kundig’s work. It is strong, clean, practical, wise, rich, and imaginative but also unpretentious, appropriately varied, impeccably and subtly detailed, and independent of trends or fashion. To a rare and welcome degree, his descriptions are as clear and direct as the projects themselves, which speaks to Kundig’s humility and down-to-earth demeanor. For instance, for a remote woodsy cabin he designed with his signature crank-window opening, he says it’s “tough on the outside, soft on the inside—like a Tootsie Pop.”

What They’re Reading...

Founder of R. Douglas Gellenbeck Studio

John Pawson: Anatomy of Minimum

by John Pawson New York: Phaidon, $75 240 pages, 340 illustrations (300 color)

“I have recently been developing new store concepts for Calvin Klein.

In taking a look at the heritage of the brand, an intimate review of John Pawson’s work is a sure requirement. Having enjoyed his all-white New York flagship for decades before it was recently redesigned, I knew of Pawson’s work and subsequently discovered his ethereal and solemn installation at the Cistercian Abbey of Our Lady of Nový Dvůr in the Czech Republic. The book is a pared-down view into Pawson’s process and practice. In particular is the set of “lenses” he provides for himself: mass, light, structure, ritual, landscape, order, containment, repetition, volume, essence, and expression. Having gained so much insight from my own Cistercian retreat experiences over the years, I’m intrigued by the monastic quality of these lenses. The message I see in Pawson’s example is to edit, simplify, find the center, and edit again—a process he refers to as “subtraction.” The result allows the built environment to humbly, genuinely, and elegantly support the client and their product. I think that one can take this to heart in any design endeavor: Peel away to the truth and persevere.”

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BOTTOM LEFT: SMITH GALTNEY

R. Douglas Gellenbeck

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Trying to stay on the forefront of an ever-changing industry?

Join In to participate in leading research thatâ&#x20AC;&#x2122;s shaping the future of the design industry.

Visit thinklab.design/join-in to get involved.

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Arshia Architects (“You’re All Winners,” page 142), arshia.net.

Fun Connection Design (“You’re All Winners,” page 142), timdepth@foxmail.com.

Hitzig Militello Arquitectos (“You’re All Winners,” page 142), estudiohma.com.

JKMM Architects (“You’re All Winners,” page 142), jkmm.fi.

One Plus Partnership (“You’re All Winners,” page 142), onepluspartnership.com.

PHOTOGRAPHERS IN FEATURES Chris Cooper (“Healing Hands,” page 116), chriscooperphotographer.com.

Kasia Gatkowska (“Lagerfeld Lives On,” page 164), Photofoyer, photofoyer.it.

Eric Laignel Photography (“Face Time,” page 126), ericlaignel.com.

David Mitchell (“Healing Hands,” page 116), davidmitchellphoto.com.

Edmund Sumner (“Body and Soul,” page 134), edmundsumner.co.uk.

Manolo Yllera (“Balancing Act,” page 154), manoloyllera.com.

DESIGNER IN CENTERFOLD Wimberly Interiors (“Color Therapy,” page 112), wimberlyinteriors.com.

MANOLO YLLERA

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and October by Interior Design Media Group. Interior Design Media 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.

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designannex

PCS106 Power Grommet

Uline

Put convenient power and USB charging options within reach. Mounts into work desks and other furniture, anywhere power access is needed at home or in the office. Includes two power outlets plus USB-A and USB-C charging inputs. t. 800.523.1269 mockett.com

Over 1,650 box sizes always in stock! And with over 37,500 products also in stock, you’ll love our variety. Order by 6 PM for same day shipping. The best service, products and selection – that’s how we do business. t. 800.295.5510 uline.com

Edition Modern

Whiting & Davis Metal Mesh Fabrics

Handcrafted in Los Angeles atelier of French modernist devotee Denis de la Mesiere, Edition Modern pays homage to iconic designers Pierre CHAREAU, Jean ROYERE and others with scrupulous attention to detail and materials that are faithful to the timeless spirit of their original masterpieces. editionmodern.com

Manufactured in USA Since 1876 Whiting & Davis metal mesh can be used in a variety of design applications to create an atmosphere ranging from luxurious opulence to industrial chic.

Shimmering, fluid and dramatic mesh creates a simple, yet lustrous pattern of texture unlike any other material. Feel the difference. t. 800.876.MESH wdmesh.com

QM Drain Supreme revolutionizes the installation of linear drains when the pipe is off-center.

An independent base eliminates the need to relocate existing pipes. Supreme appears centered regardless of existing drainpipe location. Available in various lengths and finishes. Modern, impeccable, supreme. t. 954.773.9450 e. info@qm-us.com qmdrain.com

Metals Reimagined Architectural Laser Cut metal solutions for your next project. Oakland, CA t. 510.632.0853 mozdesigns.com

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I N T ER vention

It was late March when a doctor friend of George Yabu and Glenn Pushelberg expressed concern to the couple that masks were being rationed to two per day per employee at his hospital. That same night, the Yabu Pushelberg partners received an email from a propertydeveloper friend in China: “Do you need masks? I have 100,000, and if you need more, I can get them.” Talk about serendipity. The designers immediately decided to “do what we could,” Pushelberg recalls, and launched a fundraiser to purchase PPE for hospitals in the two cities in which the firm has offices, Toronto and New York, designing this heartwarming logo to identify the drive. But that was just the beginning. Masks are subject to regulation before they can be imported. “That was the biggest hurdle,” Yabu explains. “Then the virus got worse and prices went crazy.”

Partnering with the Bethune Medical Development Association of Canada proved a saving grace for navigating international procurement. Nearly $75,000 from 82 donors was raised, a sum now being transferred to BMDA to purchase PPE. Some will go to St. Michael’s Hospital in downtown Toronto and some to hard-hit Elmhurst Hospital in Queens. “What we’ve learned,” Yabu summates, “is we all have community—whether that’s family, friends, or colleagues—and can support each other.” —Georgina McWhirter

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A sound perspective

FREEFORM

CHANGE YOUR PERSPECTIVE ON ACOUSTICS AT TURF.DESIGN 844.887.3664