Interior Design April 2025

APRIL 2025

the shape of fashion

Photograph Photograph

by Kendall

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

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Starring creative director Laura Kim with the Veil® smart toilet in Honed Black. ©2025 KOHLER CO.

Design changes everything.

Design is our constant pursuit to transform the everyday into the extraordinary. Laura Kim shares our belief that design has the power to elevate every moment, every space, every experience— if you dare to chase it.

CONTENTS APRIL 2025

VOLUME 96 NUMBER 3

ON THE COVER

04.25

At Paris Fashion Week for the Hermès Fall/Winter 2025 women’s wear presentation, French studio Villa Eugénie nodded to the house’s equestrian heritage with a stableinspired set complete with sand-strewn catwalk, down which models walked bedecked in quilted moto jackets, saddle flap–inspired shorts, and, naturally, leather riding boots. Photography: Zoe Joubert.

features 120 MIRROR, MIRROR

by Giovanna Dunmall

Reflective surfaces—and an eye for fashion—help Ambient Architecture and Róisín Lafferty transform a pair of semidetached houses into a single residence in Dublin.

128 IN THEIR ELEMENT

by Jen Renzi

With a visit to the Arc’teryx ReBird Service Center at a popular ski destination in Jilin City, China, outdoor enthusiasts can slalom right into the circular economy.

136 VIVID FOCUS

by Wilson Barlow and Lisa Di Venuta

From sand and flax to a disco ball and Murano glass, we can’t stop staring at the catwalks and couture from recent fashion weeks across the globe.

148 WALK THE TALK

by Rebecca Dalzell

NBBJ’s addition to the Seattle headquarters of Brooks Running emphasizes the sneaker brand’s ethos of inclusive activity, community, and connecting with nature.

156 MORE THAN BLACK AND WHITE

by Jane Margolies

Not just wedding dresses anymore, Vera Wang relocates to a Manhattan headquarters by BMA Architects that’s pareddown, multipurpose, and downright chic.

164 SHADES OF SPRING

by Peter Webster

From Toronto to Shanghai, shops and showrooms worldwide embrace the season with a fresh palette of soft greens, deep blues, and sophisticated grays.

COURTESY OF CAROLINA HERRERA

136

Create Where

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CONTENTS APRIL 2025

VOLUME 96 NUMBER 3

walk-through 57 SACRED SPACE

by Joann Plockova 63 ODE TO JOY

by Edie Cohen 69 PERFECT FIT

by Elizabeth Fazzare 75 PORTAL TO WONDERLAND

by Wilson Barlow and Georgina McWhirter

High-concept apartments across the globe, from an eras-mixing Paris aerie to a foodthemed Prague two-bedroom, are truly transporting.

departments 27 HEADLINERS 33 DESIGNWIRE

by Annie Block 38 BLIPS

by Lisa Di Venuta 40 PINUPS

by Rebecca Thienes 44 BOOKS

by Wilson Barlow 46 SHOPTALK edited by Georgina McWhirter 49 CREATIVE VOICES

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Sophie Smallhorn’s Ribbon fabric for Designtex showcases her mastery of chromatic values.

89 MARKET edited by Rebecca Thienes text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes 115 CENTERFOLD Full Spectrum

by Nicholas Tamarin

An immersive installation by Reddymade constructed for India’s Architecture & Design Film Festival Mumbai celebrated the launch of the world’s largest paint library.

178 CONTACTS 191 INTERVENTION

by Wilson Barlow

GARRETT ROWLAND

04.25

Color Class

by Peter Webster

Design with feeling, inspired by color.

2025 Color Collection

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Michael Shavalier SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes Luxe Interiors + Design, Interior Design, Metropolis, and DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW, a full-scale digital marketing agency; The Studio by SANDOW, a video production studio; and SURROUND, a podcast network and production studio.

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e d i t o r ’s welcome

designing fashion Perhaps not as life-changing as a grand old stay in one of the world’s bestest spas (and boy, do I need one right now!), our April volume, solidly back in and all-out on fashion + interior design, does indeed rate as a great “restorative experience” to this editor. Actually, as our new language etiquette requires (groan), our Fashion issue should be called a “restorative experience of design experiences.” Ha! And with that quip dutifully and thankfully out of the way, I have to brag for a sec, because we haven’t gathered such a rich portfolio on this category since before the pandemic…wowza! I can’t believe it took half a decade to get back to what, in previous years, we used to consider a normal crop. Thankfully, though, we are back in full swing with this most cheered corner of the craft again. And, I have to admit, I love every single page of it with a vengeance! The sheer wealth of stories that landed on our planning desk allowed us to focus on the most fab-u-lous examples of that ever-so-tough spot where designing for fashion hit the hardest road: retail—the one sector that suffered the most and was the slowest to rebound. So, we passionately selected the most innovative retail projects, where all aspects of the Holy Union between fashion and interiors coexist and prosper—in full fashionable display—for all to see and enjoy. We traveled near and far for our cherished anthology and then added the full scope of all project types where the two merge as one.

A pop-up of Arc’teryx ReBird “popped up” as a yurt on a ski slope in Jilin City, China, inviting clients to bring in used merch for repair or to donate for credit. Water, wood, steel, and fire were inspiration for Vera Wang’s new Manhattan headquarters, by BMA Architects, where she uses high-tech screens (125 of them!) as daily digital mood-board inspiration! Design was on full display on the fashion runways, with the likes of Acne Studios displaying pillowlike soft furnishing on their bleachers (plus a giant deconstructed disco ball) and the vibrant colors of Carolina Herrera’s resort collection inspired by the sunset of Mexico City (ahhh...). Finally, and fittingly, running was the theme for the expanded Seattle HQ of Brooks Running, with a winning shoeboxinspired stairway and trail-like graphics throughout.

I don’t know about you, but I am racing right here, right now, to devour every page of this super-stylish issue we’ve missed pulling together for you.

Enjoy! xoxo

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collection MELAKY pattern ALBA

Róisín Lafferty “Mirror, Mirror,” page 120 founder, creative director: Róisín Lafferty. firm site: Dublin. firm size: 10 designers. current projects: Róisín Lafferty Gallery in Dublin; a residence in Quinta do Lago, Portugal; Base & Boon nail salon in Riyadh, Saudi Arabia. honors: Architecture MasterPrize Award; AHEAD Award; Créateurs Design Award. pop: Lafferty was a member of the Dublin Gospel Choir when it sang backup for the band Duran Duran. pooch: An animal lover, she has a rescue sheepdog named Spot. roisinlafferty.com

“We’ve developed an intuitive design language that captivates those who get to experience our spaces and environments”

headliners

RUTH MARIA MURPHY/LIVING INSIDE

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Ambient Architecture “Mirror, Mirror,” page 120 principal: Stefan Hoeckenreiner. firm site: Dublin. firm size: One architect. current projects: Hyde Park Community Sports Centre in Dalkey and houses in Ballsbridge and Enniskerry, all in Ireland. honors: RIAI Conservation Architect accreditation; RIAI PSDP accreditation. westward: Hoeckenreiner, a German native, moved from Munich to Dublin to design his Irish brother-in-law’s house. upward: A keen windsurfer, he also loves hiking in the Dublin Mountains. ambient-architecture.ie

h e a d l i n e rs BMA Architects “Black and White and Glam All Over,” page 156 founding partner: Blaze Makoid, AIA. firm sites: Bridgehampton, New York; Miami. firm size: 22 architects and designers. current projects: Homes in Bridgehampton, Miami Beach, and Pune, India. honors: AIA Peconic Merit Award in Architecture and AIA Long Island Commendation Award.

Still Young

NBBJ

“In Their Element,” page 128 founder: Eric Ch. firm hq: Shanghai. firm size: 10 designers. recent projects: McDonald’s, Chagee tea bars, and M Stand cafés, all in China. honors: Global Architecture Design Awards; MUSE Design Awards; Sky Design Awards.

“Walk the Talk,” page 148

preservation: Ch’s focus on sustainable design is rooted in his interest in research on maintaining youthfulness. perseverance: He enjoys trying out different outdoor sports, such as mountain climbing and trail running. stillyoung.cn

home: A father of three, Mullenix designed and built a backyard office during the pandemic. away: He’s climbed Mount Kilimanjaro. nbbj.com

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partner, firmwide corporate practice leader: Ryan Mullenix, AIA. firm site: Seattle. firm size: 450 architects and designers worldwide. current projects: Gage Academy of Art in Seattle and Bungie headquarters

in Bellevue, Washington.

honors: Interior Design Best of Year Award; AIA Seattle Honor Award;

Fast Company Most Innovative Company.

CLOCKWISE FROM TOP LEFT: BRANDON SCHUSTER; MARK BRIAN BROWN; SEAN AIRHART/NBBJ

check: Makoid and his daughter take an annual ski trip somewhere around the globe, the last location being Baqueira Beret, Spain. to do: They still have South America left to visit. bmaarchitects.com

U N LO C K your J O U R N E Y

MomentumTextilesandWalls.com

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LET THE LIGHT IN Jules Moore embodies the word bohemian. The New Zealand–born talent is a creative director, set designer, and stylist who has lived a peripatetic existence since the late 1980’s. At age 19, she immersed herself in the world of textiles in Turkey and Russia, and then spent years travelling overland throughout Southeast Asia, exploring uninhabited islands and living in huts—an experience she describes as special and soul-changing. “You relied on yourself to figure stuff out,” she reflects. “The education I got from that lifestyle has been a huge influence in my design work.”

After a stint in Norway decorating a bar, Moore was planning her next move, from California to the South of France, when fate intervened. During a spur-of-themoment trip to New Mexico, she fell for the Southwest and promptly relocated—with her sweet sidekick Sake, a French bulldog, in tow—to Santa Fe, purchasing a dark and damp abandoned house with pink walls. She had divined the structure’s potential immediately. “I just know when it’s the right space—I see a photographic flash of the goal in my mind and then work backwards like a canvas,” she explains.

Her New Zealand upbringing inspires her to hunt for houses with views of exceptional nature. Here, “when I looked out

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the little windows, all I could see was views from every room and immediately thought: ‘Blow them out, go big, and this place will take on light.”’ That she did, with Marvin Ultimate windows and doors.

The now-restored original adobe fireplace, newly unearthed wooden beams, and contoured white plaster walls pair with contemporary moments like a crisp gray kitchen island, stained to match the bark of trees outside, and sleek window casings that have an Espresso-stained wood interior and a Bronze exterior. A highlight is Skycove, a Marvin window nook with a four-sided glass bump-out that juts from the wall of the primary suite to create the perfect all-weather spot from which to observe wildlife. “I’m in it every single day: mornings with tea and my laptop, watching the birds. Afternoon cuddles with the dog, watching the deer, and in evenings, the incredible nightly sunsets.”

Of course, the interior is enlivened by objets d’art from Moore’s far-flung travels. Putting down roots meant the designer’s treasures could finally come out of storage: rugs from Uzbekistan, textiles from Turkey, sheepskins from her homeland, wood carvings from the Caribbean, Japanese antiquities. “It’s all my memories of where I was and what I experienced,” she says. “It’s funny, I can even smell the places when I look at certain pieces. They make me happy, for I know that I’ve lived.”

PERSPECTIVE COLLECTION

design wıre

edited by Annie Block

wild flowers With spring upon the northern hemisphere, floral-themed exhibitions are abloom in the U.S. and Europe. In “The Orchid Show: Mexican Modernism” at New York Botanical Garden, for example, thousands of the tropical specimens cluster around vivid partitions inspired by Luis Barragán; at Denver Botanic Gardens, “Finding Light” features Anna Kaye’s charcoal depictions of forest plants regrowing after a wildfire. Perhaps the most extensive of these shows is “Flowers–Flora in Contemporary Art & Culture” at Saatchi Gallery in London. It’s compre­hensive not only in size— with more than 500 works by 150 international artists, both established and emerging—but also in scope, ranging from the subject’s influence on painting, sculpture, film, fashion, and decor, organized among nine separate galleries. Among the standouts is Jo Grogan’s Best Chair, sprouting ceramic tulips, a Victorian-meets-punk ensemble by Andreas Kronthaler for Vivienne Westwood, and an engaging 32-foot-high entry mural by Sophie Mess, titled Journey of Progress. “The beauty and symbolic power of flowers,” say exhibit cocurators Katherine Benson and Rosie Grant, “invite reflection on the human experience.”

MATT CHUNG/COURTESY OF SAATCHI GALLERY, LONDON, VIVIENNE WESTWOOD ARCHIVE, AND SANDERSON DESIGN GROUP

“Flowers–Flora in Contemporary Art & Culture” at Saatchi Gallery in London through May 5 features more than 500 works in various disciplines, including the Mayfair Lady silk chiffon dress and headdress from Autumn/Winter 2021/2022 by Andreas Kronthaler for Vivienne Westwood backed by Morris & Co.’s Pimpernel cotton wallcovering in Midnight/Opal.

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d e s i g n w ire

Italy is a hotbed of creativity every spring, thanks to the Salone de Mobile in Milan and the Biennale di Venezia in Venice. This year, fairgoers may want to add a stop in Rome for “Chromotherapia: The Feel-Good Color Photography” at Villa Medici. According to the American Medical Association, it may even be healthy for them to do so, as color can impact mood, cognitive function, anxiety levels, and overall psychological well-being. Indeed, even just a gander at the rich reds in images by Martin Parr and William Wegman, who are among the 19 artists featured in the exhibition showcasing more than 200 works categorized into seven “chapters,” can energize and stimulate, while Adrienne Raquel’s petal pink and crisp white have a more clarifying affect. The show is cocurated by Villa Medici director Sam Stourdzé and artist Maurizio Cattelan, the latter also con­tributing a photograph created with Pierpaolo Ferrari, cofounder of the magazine Toiletpaper. Fittingly, the subject is covered in spaghetti.

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Clockwise from top: Among the 19 artists and 200-plus works in “Chromotherapia: The Feel-Good Color Photography,” an ex­ hi­bition at the French Academy in Rome– Villa Medici through June 9, is a Martin Parr image from his book Common Sense, Five Girls in a Car #1 by Miles Aldridge, William Wegman’s Ski Patrol, and Mirror Mirror by Adrienne Raquel.

CLOCKWISE FROM TOP: COURTESY OF MARTIN PARR AND MAGNUM PHOTOS; COURTESY OF MILES ALDRIDGE; COURTESY OF WILLIAM WEGMAN AND GALERIE GEORGE-PHILIPPE ET NATHALIE VALLOIS; COURTESY OF ADRIENNE RAQUEL

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Clockwise from center: European ash lines and forms seating in a city room at the Museum of Modern Art Warsaw, a ground-up project in Poland by Thomas Phifer and Partners, which also gave the space a 13-foot-wide window overlooking the city. The doublesymmetrical staircase in architectural cast-in-place concrete connecting the building’s three levels. Norwegian artist Sandra Mujinga’s Ghosting and Swiss artist Sylvie Fleury’s Silver Rain, both in “The Impermanent: Four Takes on the Collection,” the inaugural exhibition that’s on view through August 31.

d e s i g n w ire

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Celebrated architect Thomas Phifer has worked on dozens of cultural institutions across the U.S., most notably completing expansions to the Glenstone in Potomac, Maryland, and the Corning Museum of Glass in New York, plus myriad residential commissions.

But he hasn’t done a project in Europe. Until now, when Thomas Phifer and Partners has designed not one but two buildings in Poland: the Museum of Modern Art Warsaw and the TR Warszawa Theatre. The former has just bowed, marking not only a milestone for Phifer but also for the museum, or MSN (the Polish acronym), which hasn’t had a permanent home since its founding in 2005. And what a home it is. The three-story structure is on Plac Defilad, the largest public square in Europe. Beyond its facade of crisp-white architectural cast-inplace concrete, the 213,000-squarefoot interior features a series of “city rooms,” their expansive windows overlooking the plac, and a monumental staircase connecting all the galleries. Those are now installed with “The Impermanent: Four Takes on the Collection,” the MSN’s inaugural exhibition drawn from its 4,300-plus holdings, which spans pieces from the 1950’s to today, focusing on how artists have interpreted modernism and its political, economic, and creative implications and revealing the changes across the visual arts in the last seven decades. “The galleries serve as catalysts for Warsaw’s cultural renaissance,” Phifer says. “We imagined the building as a vitrine of light, not only a museum but also a town hall where Varsovians and visitors can participate in the life of the city.”

FROM TOP: MARTA EJSMONT/COURTESY OF SYLVIE FLEURY; FILIP BRAMORSKI/COURTESY OF THOMAS PHIFER AND PARTNERS (3)

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Picasso made jewelry, too…

French collector Diane Venet counts his visagelike Le Grand Faune pendant among her 220-piece trove of artistmade bijouterie. It turns out, several painters and sculptors shared this hobby. Pairings of their accessories and artworks in their respective mediums compose “Artists’ Jewelry: From Cubism to Pop, the Diane Venet Collection,” at the Norton Museum of Art in Palm Beach, Florida, through October 5. Among the ap­ prox­imately 250 pieces is Alexander Calder’s primary-colored Spirales tapestry, which is joined by a belt buckle he designed, Lynda Benglis’s Cocoon wall sculpture, shown alongside a silver pin she crafted, and Niki de Saint Phalle’s voluptuous Nana figure, displayed with her Nana Ange brooch. Picasso’s pendant also appears, as does Venet’s coiled silver wedding ring, made by her sculptor husband Bernar, in lieu of a diamond.

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CLOCKWISE FROM TOP LEFT: COURTESY OF LYNDA BENGLIS/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; COURTESY OF THE NIKI CHARITABLE ART FOUNDATION, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, AND ADAGP, PARIS; PHILIPPE GONTIER/COURTESY OF ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, AND SIAE, ROME

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giddyup!

Flowing manes and shaggy saddlery leather make for seating flush with equestrian eloquence

p i n ups

Jessica Gersten Design’s sinuous linenupholstered Garanhão lounge chair and Salto ottoman, part of a sixpiece collection handcrafted in northern Portugal, sport natural-finish oak bases and lush horsehair fringe that speak to the New York firm founder’s fashionindustry background. By Property through Studiotwentyseven. propertyfurniture.com; studiotwentyseven.com

MATTHEW KAPPAS

by Rebecca Thienes

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Y A N N I C K L E B R U N | dancer SHOWN IN: H I P H E R R I N G B O N E M I R R O R M O S A I C

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STEFANIA ZANETTI & MATTEO BELLOMO

Artisans at Uniqka’s Istanbul workshop hand-cut and -arrange supple saddleryleather “feathers” onto a wood frame (with stained top) to create Londonbased Slovenian designer Lara Bohinc’s bird-inspired Betsy bench, available in six colorways including rust. uniqka.com

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Fringe 2.0 ®

Scan to Explore Fringe 2.0

AMBUSH

By Yoon and Verbal New York and London: Rizzoli, $65 288 pages, 150+ color illustrations

books edited by Wilson Barlow

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CLOCKWISE FROM TOP LEFT: HARLEY WEIR; INDIGITAL; SUZIE & LEO; COURTESY OF RIZZOLI

In a world where streetwear and high fashion constantly collide, Ambush has carved a space of its own. Founded in Tokyo in 2008 by Yoon Ahn, a Korean-American fashion designer and the label’s creative director, and Verbal, aka Young Kee Yu, a Korean-Japanese rapper and music producer and Ambush’s chief executive, the brand has evolved from an experimental jewelry line—its Pow! knuckle-duster ring and Cat Ear headphones being particular standouts—into a full-fledge fashion powerhouse that’s done collabs with the likes of Bulgari, Nike, and Louis Vuitton, all a fusion of pop art and hip-hop aesthetics with an Asian sensibility. “The world is a museum of passion projects,” the married couple says in the monograph’s introduction, “and this has been one of ours.”

The volume offers a deep dive into the Ambush universe. The first half is broken down by collection, recapping past seasons of jewelry and clothing through lookbooks and runway shows. The second is an extensive photographic archive that catalogs each piece individually. It also includes interviews and behind-the-scenes glimpses, capturing the duo’s relentless curiosity and refusal to be boxed in. Whether it’s turning everyday objects into wearable art, exploring “digital jewelry” via NFTs, or continuing to expand its presence in Japan through department store shop-in-shops, Ambush remains a concept in motion, always delivering, as its name indicates, the unexpected.

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How has fashion influenced your interior design work?

“We often pull influence from fashion lines, new tex­tiles, and the art of draping. Valentino’s Spring 2017 collection guided the rich color palette of a residence in Manhattan’s Gramercy Park, includ­ing the wood stains we developed and the fabrics we selected.”

—Lara Apelian, Lara Apelian Studio

s h o p talk “I believe good fashion and good design should possess longevity and adaptability, seamlessly shifting with life. They should move with you, responding to the body, its motions, the environment, and events. My aesthetic is rooted in this philosophy rather than chasing trends or adhering to specific movements or concepts.”

—Mia Kim, Goons

“Fashion is something we try to both be aware of and set aside, since we ultimately aspire to a sense of timelessness in our work. It’s often the ideas behind fashion, such as the intentionality of seams and how edges come together, that inspire projects. For instance, in conceiving the headquarters of a global luxury brand, we considered notions of movement and pause, referencing a stage similar to that of a runway.

There is synergy to the language of both fashion and interiors; they share a common thread in that they envelop us.”

—David Montalba, Montalba Architects

“Interiors and fashion are so intimately connected.

A client’s closet is the starting point in my process, providing visual information that allows me to see what colors and textures they’re instinctively drawn to. Materiality translates into all aspects of life; from the fabrics we wear to the spaces we inhabit, it’s all part of a personal narrative.”

—Alison Rose, Alison Rose New York 46

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“Collaborating with Phillip Lim on his first retail location, in New York, which was also our firm’s inaugural project, I was struck by the similarities in our approaches. I saw Phillip use materials generally considered ordinary, common, and inexpensive in unique and surprising ways to produce elevated, timeless pieces. In that project and ever since, we’ve engaged a process of reclaiming and recontextualizing common or otherwise overlooked materials in new and extraordinary ways that amplify local context: 400,000 sheets of newspaper layered in feltlike surfaces for Aesop, faceted cork blocks defining an arched reliquary for Claus Porto, thousands of brown-paper lunch bags forming a vaulted canopy at the fashion boutique Owen. The designs are subtle and minimal but, at a closer look, reveal a depth and material richness rooted in the narrative of place.”

—Jeremy Barbour, Tacklebox Architecture

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www.weitznerlimited.com Sofa by George Smith. Sofa fabric: Palacio. Pillow fabric: Intrigue. Wallcovering: Myrtle.

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color class Sophie Smallhorn’s Ribbon fabric for Designtex showcases her mastery of chromatic values

When British artist Sophie Smallhorn proclaims, “I cannot remember a time when wanting to be creative wasn’t in my world or way of thinking,” she’s being very literal. Her parents were industrial and textile designers, and she attended a Montessori school, where children interact with “sensorial materials”—brightly hued, precisely shaped wooden objects—to naturally master concepts of color, form, and dimension. The playful lessons evidently stuck: Smallhorn sees her work today as “exploring the relationships between color, volume, and proportion,” and her signature pieces—small wall-mounted sculptures composed of colorful geometric solids—are like sophisticated riffs on those early learning tools.

Not that Smallhorn necessarily set out to be an artist.

After completing a degree program titled “Wood, Metal, Ceramics, and Plastics” at the University of Brighton, she began making stained-wood and cast-resin furniture.

“They were sculptural pieces with a very small amount of function,” she now concedes. “The driving element was always color.” For pleasure, she made assemblages from leftover offcuts and, while uncertain exactly what they were, would occasionally sell a piece. It was only once a gallery presented her work as sculpture that she accepted it as fine art, although, “It’s a slightly uncomfortable area because my background is very much design and making.”

A pair of early, attention-grabbing commissions from the Japanese avant-garde fashion brand Comme des Garçons— site-specific installations at its Tokyo flagship—allowed Smallhorn to work at a large scale for the first time. “It really started a lot of other projects,” she notes, not least col­ laborating with Populous Architects to conjure a 56-color palette for London’s 2012 Olympic Stadium; exterior bladelike canvas banners, each a different hue, formed slits through which spectators entered the structure. Her latest collaboration is with Designtex, creating an upholstery pattern called Ribbon—surprisingly, her first foray into textile design. We asked her about this recent development and other projects.

RUTH WARD

The artist in her London studio, backdropped by Ribbon, a coated upholstery fabric created for Designtex, her first venture into textile design.

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Clockwise from top left: Canvas banners in 56 colors encircling London’s 2012 Olympic Stadium, a collaboration with Populous Architects. Comprising stacks of oversize geometric shapes, a 2018 site-specific window installation for five COS stores worldwide, this one in London. Flat Ribbon, a solid version of the textile pattern, available as a customizable wallcovering through Designtex’s Digital Studio website. Also offered as a customi­ zable wallcovering, DS Ribbon, a simplified iteration of the original multiline design.

Another possible colorway. Color matching the polyurethane-coated, woven polyester– backed fabric for a showroom installation.

The COS installation seen from the street.

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You’ve been making sculptures, screen prints, and installations for three decades, but never tackled textile design before, despite it being your mother’s profession.

Why not and why now?

Sophie Smallhorn: I don’t like working on computers. There’s a disconnect dealing with digital color on a screen that I find difficult. Also, the open-ended possibilities of digital printing are rather debilitating; it’s just too much. So when Sara Balderi, the executive design director at Designtex, approached me some time ago, I was a bit resistant. But we reengaged toward the end of COVID, and she was so clear about the kind of 50

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coated upholstery Designtex wanted that I said yes. Working digitally has been a revelation actually, not nearly as overwhelming as I feared. Sara and her team gave me very free reign, so the hardest part was finding a way in, because how I think about fabric, pattern, repeats, and scale working across three-dimensional objects is completely different.

What inspired the ribbon motif?

SS: I was drifting around the Victoria and Albert Museum and came across a beautiful enameled snuff box with an undulating ribbon on it. I’ve always loved ribbon, so I thought, I’m going to do something with that.

The ribbon on the fabric isn’t solid but composed of parallel lines.

Was it always that way?

SS: Yes, right from the beginning I used the lines to give the twisting ribbon a quality I love in screen printing, when two transparent colors overlap to create a third one. It’s a graphic element that’s playful and energizing. There’s a solid version of the pattern called Flat Ribbon that’s offered as a customizable wall­ covering on the company’s Digital Studio website.

What’s the relationship between your two-dimensional work and your sculptures and installations?

SS: There’s a lot of crossover because they’re all compositions of hard-edged formal shapes. I use screen printing to turn over ideas quickly and playfully since the process allows that. One thing I can’t achieve in the three-dimensional work is layering transparent colors, but in many respects working on the print table is like sketching—there’s a lot of

CLOCKWISE FROM TOP LEFT: KATE ELLIOTT; COURTESY OF SOPHIE SMALLHORN (2)

How did you develop the idea?

SS: I began as I normally do, by playing with collage and colored acetates, twisting them, folding them. I translated that into a digital layout to work on the repeat, palette, and scale. It started out much smaller but ended up a really bold size—due to Designtex, mostly—which I love. It’s very graphic, very dynamic, with a lot of theater to it.

CLOCKWISE FROM TOP LEFT: COURTESY OF DESIGNTEX (3); ANNE DEPPE

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serendipity that I find inspiring, coming up with color scenarios that I then feed into the sculptural pieces. I use the same acrylic paint for both the prints and the assemblages, which I see as vehicles for holding a palette. There have to be enough components in a piece to create an interesting conversation between the colors—enough bandwidth to provide a balance of what I describe as ‘easy’ and ‘less easy’ or ‘awkward’ and ‘less awkward’ colors. Sometimes I’ll repaint a piece 10 times to achieve the sweet spot where there’s an equilibrium that feels right—there’s no system, it’s pure intuition.

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How does that fit in with your work for brands like Comme des Garçons and COS? SS: A lot of brands do color very well, being clever and brave with it. I’m pleased to work with labels where there’s some obvious compatibility in our thinking. COS saw synergy with my work, so the company commissioned window displays for five key stores around the world. I made large, overgrown stacks of shapes that could be propped with product. Some artists might be less happy with that, but I like having a foot in both camps.

It works for me. —Peter Webster

c r e at i v e voices

CLOCKWISE FROM TOP: ANNE DEPPE; RUTH WARD (2); COURTESY OF SOPHIE SMALLHORN; HUW MORGAN

Clockwise from top: Composed of parallel lines, the folded ribbon motif creating the effect of overlaid transparent colors. Component Cube, 2021, a 6-by-6-inch wall-mounted sculp­ ture comprising acrylic-painted polyure­thane solid forms in an anodized aluminum case. In a London office-building lobby, Assemblage One, a 2021 installation made with interlocking panels of powder-coated aluminum. Smallhorn’s first large-scale wall-mounted sculpture, a 1999 installation for the Comme des Garçons flagship in Tokyo. A glossy glazed-brick installation, her commission for a private residence near London.

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walk through firm: jan žaloudek architekt site: kamenná lhota, czech republic

sacred space

BOYSPLAYNICE

For the chapel-like, new-built home of the firm founder and his wife, all four stucco-clad sides, including the southern facade, have perforations to admit light and ventilation while upholding privacy.

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Clockwise from above: Capped by a ceramic-tiled gabled roof, the home’s shutters of whitewashed Czech fir and spruce fold open to connect the interior with adjacent larch terraces. In the dining area, with views of the garden’s centuries-old trees, a mismatched assort­ ment of chairs surround the table, all in oak and by Norr11. Lanterns made from Japanese washi paper illuminate the living area, where a tapestry woven from undyed sheep’s wool hangs over Doshi Levein’s modular Quilton sofa. The mezzanine study is furnished with a Chain table by Jan Žaloudek and a custom daybed. Rune Krøjgaard and Knut Bendik Humlevik’s NY11 stools distinguish the kitchen, where an altarlike niche frames an island clad in Shivakashi granite.

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BOYSPLAYNICE

Looking for a home to renovate outside of Prague, architect Jan Žaloudek and his wife, Jolanta Trojak, an art historian and writer, stumbled upon an exceptional plot of land where they could build one instead. The culturally protected parcel, located in Kamenná Lhota, a tiny village about an hour’s drive southeast of the city, was once the garden of the neighboring baroque château, where famed violinist Oskar Nedbal composed his operetta Polska Krev in 1913. They immediately fell in love with the site. “We were captivated by the centuries-old trees, the crumbling stone border wall, the countryside views, and the favorable orientation,” Žaloudek recalls.

In dreaming up the creative couple’s longed-for refuge, Žaloudek abided by his philosophy that a home should be a temple for living. Accordingly, the structure, nicknamed Oskar House, was inspired by chapels. “My goal,” he explains, “was to create a space with a sacred atmosphere that could vary according to the mood of the moment—a space in which it’s possible to gaze into the landscape one minute, and, in the next, cocoon yourself in a closed, meditative environment animated by light and shadow play.”

The compact 1,660-square-foot two-bedroom is defined by its gabled form, drawn from the local vernacular, and its perforated facades. Circular and quatrefoil-shape punctures in the masonry structure and the groundfloor sun shutters invite ventilation and cast what Žaloudek describes as “lacelike shadows” on the concrete floors. Folding open the spruce-and-fir shutters, which line all four sides of the house, allows the interiors to switch between an open and closed posture; aluminum-framed glass sliders forge further connection to the elements.

The decor reflects the duo’s shared interest in fine art and a contemplative approach to living, with furniture and artwork thoughtfully curated to create spaces that feel at once ecclesiastical and gallerylike. The heart of the home is the double-height open-plan living/dining area, its gable marked by a 6 ½-foot-wide circular window. Here, contemporary furnishings pair with vintage objects, such as a Gabonese ceremonial mask and a 19th-century carved-wood Madonna. Echoing an altar, a vaulted niche backdrops the kitchen, with an island clad in Shivakashi granite from India. And in the

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Clockwise from top: The ceramic-tiled guest bathroom’s oak vanity sports a travertine sink. A vaulted recess in the north-facing entry facade echoes the curved forms of baroque structures in the area.

Furnishing the ground-floor main bedroom is a custom ash Sphere bed and granite nightstands by Žaloudek, a concrete tea table by Michal Janiga, and an Antonie Stanova painting. Žaloudek also de­ signed the bed in the upstairs guest room, where travertine pillars host sculptures in alabaster and Portuguese stone by Vanda Hvízdalová.

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main bedroom suite, also on the ground floor, an ash bed and black-granite nightstands by Žaloudek complement a 19th-century Japanese folding screen and a large-scale contemporary canvas by Czech painter Antonie Stanová. Žaloudek conceived the second level as its own selfcontained guest apartment. It’s an inward-facing contrast to the open lower level, a skylit retreat where sculptures

by Vanda Hvízdalová rest on travertine pedestals. A staircase leads up from the sleeping area to a mezzanine study. “Each part of the house has a different purpose and atmosphere,” Žaloudek explains. “When you’re craving privacy, you can shut yourself away with a book in the study. Or, if you want to connect with the world, you open the downstairs shutters, and you’ll hardly know where the house ends and the landscape begins.”

—Joann Plockova FROM FRONT NORR11: TABLE, CHAIRS (DINING AREA), LARGE COCKTAIL TABLE (LIVING AREA), CHAIR (STUDY), STOOLS (KITCHEN). HAY: SOFA (LIVING AREA).

CAPPELEN DIMYR: TAPESTRY. SYNESTÉ: SMALL COCKTAIL TABLE. MICHAL JANIGA: STOOL (LIVING AREA), TEA TABLE (MAIN BEDROOM). FERM LIVING: PENDANT FIXTURES (LIVING AREA), MIRROR (BATHROOM). BEGA: PENDANT FIX­ TURES (KITCHEN, BATHROOM). TALKA DECOR: MARBLE PILLAR (GUEST BED­ROOM), SINK (BATHROOM). MARSET: SCONCES (MAIN BEDROOM). THROUGHOUT JOLANTA TROJAK: ART CONSULTANT. ATELIER ROUGE: LANDSCAPE ARCHITECTURE.

BOYSPLAYNICE

PROJEKTY S+S: CONSTRUCTION.

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ode to joy firms: ghislaine viñas; barliswedlick architects site: pound ridge, new york

GARRETT ROWLAND

The five-bedroom, six-bathroom residence’s second-floor landing features a Jonathan Adler zebra rug and an Eero Saarinen Womb settee upholstered in Ghislaine Viñas’s Mr. Dimple acrylic-blend fabric.

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GARRETT ROWLAND

Who doesn’t appreciate a healthy dose of happiness? Design-wise, nobody brings it on like Ghislaine Viñas. That special talent is what’s kept one repeat client coming back for more, first hiring her to design their Manhattan loft, then their Palm Beach, Florida, condominium, and now a five-bedroom residence in Pound Ridge, an hour’s drive north of New York City. Third time’s a charm—and, to riff on the proverb, charming, too.

The property certainly didn’t start out that way. The 1980’s-built home, set on a wooded 5 ½-acre site, was generously sized, at 6,000 square feet spread across three levels, one below grade. But it was nondescript to the point of drab, with pervasive dark-wood flooring. “It did not exude joy,” Viñas summarizes. So she devised a dynamic overhaul that would marry her signature pop with the family’s love of mid-century design—particularly the wife, whose taste was honed by growing up amid vaunted masterworks.

“My methodology is to extract what I can from myself and combine it with what the client wants,” Viñas explains. Here, the shared vision entailed establishing a crisp envelope, with whitewashed walls and Scandinavianstyle pale-oak flooring, to offset the jolts of blue, green, and orange the homeowners favored.

Although Viñas preserved the existing floor plan and eschewed structural work—“no need for wasteful changes”—she did tweak some details. Out went traditional molding and baseboards, in came strong vertical banding via wall paneling and hand-painted stripes. She also introduced the clients to her pal Alan Barlis, principal of BarlisWedlick Architects, who executed additional interventions with firm associate Jessie Goldvarg. “Our work was at the edges and the outdoors,” Barlis says, describing a scope that included extensive landscaping and hardscaping, some 2,500 square feet of decks and patios, and new interior/exterior connections. The BWA team also transformed a 550-square-foot erstwhile garage into a bright, Scandiinspired guest barn.

Viñas studiously avoided mid-century-mod clichés by comingling recherché vintage items with custom creations from her own drawing board. In the living room, for instance, a bespoke white-oak coffee table—with the delightful surprise of colorful inset boxes—sits comfortably alongside

Clockwise from opposite top: Flanked by Atelier Van Lieshout’s Statistocrat lamp and Joseph D’Urso swivel chairs in similar hues, the living room’s Deborah Kass OY/YO rests on a custom table, backed by Workstead’s Hieroglyph sconces and a Robert Rauschenberg artwork. The basement-level media room sports another oak coffee table and a wool rug, both custom—as is the ottoman, dressed in Paul Smith’s Velvet Stripe. Beyond Piet Hein Eek’s Old Lampshade chandelier, the second-floor landing showcases a trio of hand-painted wallpaper sheets above a Wrongwoods credenza

by Richard Woods and Sebastian Wrong. Board-and-batten lines another staircase— illuminated with custom-colored Pastille sconces by RBW—which leads down to the basement level. In the mudroom, Viñas’s custom console joins her Mock Rock wall­ paper and a collage by her daughter, Saskia. The kitchen was updated with engineeredstone counters, ceramic backsplash tiles, a stainless-steel hood, and Jason Miller’s Endless pendant fixture.

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w a l k through Clockwise from top: Viñas’s ShweShwe wallpaper in the main bedroom, where an Isamu Noguchi lamp joins the custom headboard upholstered in a cotton blend, derives from traditional South African prints. A prefab garage was transformed into a guesthouse via new windows, a hip ceiling, and such furnishings as Charles and Ray Eames chairs and an Edward Barber & Jay Osgerby sofa. The office’s E60 stool by Alvar Aalto and Eames lounge stand on a wool rug, overlooked by another Rauschenberg. In the game room, with sliders leading out to the pool, hand-painted stripes by Paulina Trojnar backdrop Pierre Paulin’s linen-covered Pumpkin swivel chairs and a Ping-Pong table by Antoni Palleja Office.

Joseph D’Urso chairs, a Warren Platner ottoman, and a lamp by Dutch outfit Atelier Van Lieshout (Viñas is Dutch and grew up in South Africa). Fellow Netherlander Piet Hein Eek’s 11-foot chandelier, composed of mismatched glass shades, anchors the main stairway, now graced with a more fluid railing. On the landing, an Eero Saarinen settee faces off with a Richard Woods art credenza. Meanwhile, Viñas tamed the large scale of the main bedroom with a double headboard—the front layer upholstered, the back one wood-paneled.

Surprisingly, Viñas’s favorite moments fall in the house’s lower level, starting with the moody green-and-blue board-and-batten staircase that leads down to the bottom floor. “It’s like a tunnel to happiness,” Viñas comments. This level, now with 16-foot sliding doors that connect to a new pool terrace by way of a garden, contains game and media rooms as well as the husband’s office.

For a work break, nothing beats gazing at Robert Rauschenberg’s Platter from the incomparable comfort of a Charles and Ray Eames lounge. —Edie Cohen FROM FRONT KNOLL: SETTEE (LANDING), SWIVEL CHAIRS, LOUNGE CHAIR, OTTOMAN (LIVING ROOM), SOFA (BARN). HBF TEXTILES: SOFA FABRIC (LANDING, MEDIA ROOM, BARN). EMISSARY: CURVED TABLE (LANDING). CHRISTIAN HAAS: TALL TABLE. JONATHAN ADLER: RUG. ARONSON’S FLOOR COVERING: RUGS (LIVING ROOM, BEDROOM). HOLLAND & SHERRY: SWIVEL CHAIR FABRIC (LIVING ROOM). MOOOI: FLOOR LAMP. WORKSTEAD: SCONCES. THE RUG COMPANY: CUSTOM RUG (MEDIA ROOM). NAULA DESIGN: CUSTOM OTTOMAN (MEDIA ROOM), CUSTOM BED (BEDROOM), CUSTOM OTTOMAN (BARN). MAHARAM: OTTOMAN FABRIC (MEDIA ROOM). SUITE NY: SOFA. PASTOE: CABINETS (MEDIA ROOM, BARN). RICHARD WOODS: CREDENZA (LANDING). THE FUTURE PERFECT: PENDANT FIXTURES (LANDING, KITCHEN). RBW: FABRICATION (MUDROOM). INDUSTRY WEST: STOOLS (KITCHEN). 57 ST. DESIGN: NIGHTSTAND (BEDROOM). ISAMU NOGUCHI: TABLE LAMP. DESIGNTEX: BED FRAME FABRIC. CONTARDI USA: READING LIGHT. ANOTHER COUNTRY: TABLE (BARN). DESIGN WITHIN REACH: CHAIRS. ZERO LIGHTING: PENDANT FIXTURES. ARTISTIC TILE: BACKSPLASH TILE. LUCY TUPU: CUSTOM RUG. SVENSKT TENN: OTTOMAN FABRIC. HERMAN MILLER: LOUNGE CHAIR (OFFICE). ARTEK: STOOL. KASTHALL: RUG. PIERRE PAULIN: ARMCHAIRS. ROMO: ARMCHAIR FABRIC. LA CHANCE X NOTE DESIGN STUDIO: STOOL. RS BARCELONA: PING-PONG TABLE. THROUGHOUT SHERWIN-WILLIAMS COMPANY: PAINT. ACARA CONSTRUCTION: GENERAL CONTRACTOR.

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SCONCES (BASEMENT STAIRCASE, MUDROOM). FLAVOR PAPER: WALLPAPER (MUDROOM, BEDROOM). COLLECTOR NYC: CUSTOM CABINET

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perfect fit firm: ammor architecture site: la jolla, california

GARRETT ROWLAND

Because of its narrow footprint, the three-story, beach-facing house has room widths ranging from just 9½ to 16 feet, requiring clever furniture and storage solutions for its 2,200-square-foot interior.

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It started as solely a kitchen renovation. A surf-loving couple and their three grown children needed better flow within the double galley layout at their La Jolla, California, vacation home. Goil Amornvivat and Thomas Morbitzer of New York-based AMMOR Architecture, which the clients knew from working with the firm on their Manhattan pied-àterre, were called in to help. As the project began, however, other design snafus throughout the three-story, 2,200square-foot residence became apparent, and AMMOR’s scope expanded to a gut renovation.

The beach house is on a corner lot, but, because of a corridor preserved to maintain unobstructed Pacific Ocean views, it’s exceptionally narrow. Attempts to wedge conventional furniture into the living areas and bedrooms left them cramped and awkward. So, AMMOR formulated a series of multipurpose built-ins that allow each space to expand and contract in both occupancy and use. “Everything is like a Swiss army knife,” says Bangkok-born Amornvivat, who looked to traditional Chinese daybeds to inspire con­ vertible seating-cum-beds for two such rooms, high traffic zones in the daytime due to their bathroom access; else­ where, benches and stairways incorporate drawers. In general, the architects kept the new bleached-walnut mill­work “long, linear, and pulled toward the edges of the house,” he adds, like in the living room, where an expanded gas fireplace now meets a hearth with integrated cabinetry, including a hidden charging station for devices.

GARRETT ROWLAND

Clockwise from top left: Formerly a galley layout, the renovated kitchen features bleached-walnut cabinetry, glazed porcelain floor tile topped with nylon carpet tile, and a teak dining set, all materials chosen for their ability to resist sea-salt corrosion. Teak also trims two windows in the living area, where the neutral tones of the polyamide rug by Sjoerd Vroonland, existing sectional, and grass-cloth cabinetry panels center views on the Pacific Ocean. The built-in bench in the sitting room, its envelope also bleached walnut, pulls out into a full-size bed. The bench in the main bathroom integrates storage. A custom pillow enlivens the entry’s reupholstered settee, standing on a wool rug. Ripples inform the rug and custom head­ board in the main bedroom, which also looks out to the ocean.

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Clockwise from top left: A guest bedroom suite can double as an office with its built-in desk/vanity. Under Kate Spade New York’s Leighton flushmount fixture on the top floor, the custom bleached-walnut staircase offers drawers and access to a loft bed. Entry is via a side street–facing porch, where retractable doors open entirely to the outdoors. Blackfinished fixtures, fittings, and mirror add subtle contrast to the main bathroom. The laundry area is conveniently located on the ground floor, next to the surf shower.

The seaside location also contributed to how Amornvivat and Morbitzer determined the material palette. To avoid corrosion via salt spray through the terrace doors and picture windows, wood, as opposed to metal, builds most of the furnishings, down to handles and pulls. In fact, durability is a focus for the interiors overall—flooring, for example, ranges from porcelain tile to rugs in nylon, polyamide, or wool—due to both the environment and the family’s active lifestyle; a large surf shower for changing out of wetsuits conveniently adjoins the laundry area. Throughout, the architects kept fabric colors neutral, including the entry’s reupholstered Rodolfo Dordoni settee, to showcase the ocean vistas.

“This is where family members come to chill out, it couldn’t be too formal,” Morbitzer notes. “They’re not necessarily hosting dinner parties, but they’ll have a lot of people over for dinner.” If those visits turn into sleepovers, visitors can stay between a top-floor loft and the three guest bedrooms, which sleep a total of nine. Storage is cleverly built to the exact dimensions of their carry-on luggage. —Elizabeth Fazzare

FROM FRONT BURKE DECOR: TABLE, CHAIRS (KITCHEN), CHAIR (GUEST BEDROOM).

MIELE: APPLIANCES (KITCHEN). DEKTON: SOLID SURFACING. BRIZO: SINK FITTINGS (KITCHEN, BATHROOM). MOOOI: RUG (LIVING ROOM). PHILLIP JEFFRIES: GRASS CLOTH. SPARK: FIREPLACE. CONCRETE COLLABORATIVE: FIREPLACE TILE. SAMSUNG: TV. CB2: WHITE TABLES. THIBAUT: BENCH FABRIC (SITTING ROOM, BATHROOM). RBW: MARK ALEXANDER: HEADBOARD FABRIC (MAIN BEDROOM). DWR: RUG, SCONCE. LARSEN: HEADBOARD FABRIC (GUEST BEDROOM). JUNIPER: SCONCES (GUEST BEDROOM, MAIN BATHROOM). VISUAL COMFORT: CEILING FIXTURE (LOFT). LG: APPLIANCES (LAUNDRY).

RUGGABLE: RUG. THROUGHOUT ROCA: FLOOR TILE. FLOR: CARPET TILE. KNOLL; ZINC: PILLOW FABRICS. BENJAMIN MOORE & CO.: PAINT. HIGHLINE CONSTRUCTION & RENOVATION: GENERAL CONTRACTOR.

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GARRETT ROWLAND

SCONCE (SITTING ROOM). MAHARAM: SETTEE FABRIC, PILLOW FABRIC (ENTRY).

The Nest Triple Pendant

boydlighting.com

wa l k through

portal to wonderland High-concept apartments across the globe, from an eras-mixing Paris aerie to a food-themed Prague two-bedroom, are truly transporting

BOYSPLAYNICELENKA NÉMETHOVÁ

See page 76 for a compact residence in Nidau, Switzerland, that Beef Architekti unified with geometric elements, oak millwork, and a calming color palette.

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Beef Architekti site Nidau, Switzerland. standout Repeating a handful of elements netted a cohesive scheme in an apartment for a young family. Vertically slatted paneling—most of it painted a dusky rose that’s sweet but not saccharine—distinguishes the kitchen, bath, and custom built-ins, with recessed pulls whose X-shape recurs as wall art. Oak millwork is another constant, most prominently an oversize porthole that provides a sight line from the entry into the living area and doubles as bench seating for the dining table. beef.sk 76

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LENKA NÉMETHOVÁ

square feet 1,225.

LENKA NÉMETHOVÁ

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Architects Office site Recife, Brazil. square feet 6,460. standout Clever interventions and a dose of Brazilian modernism tether this renovated duplex to its beachside locale. The staircase was relocated from a tucked-away corner to a more central spot, where it forms a fluid sculptural element that’s neatly echoed in sinuous furnishings including Jader Almeida sofas and a carved-marble cocktail table by Estúdio Bola. A bathroom vanity floated in front of the window wall allows daily ablutions to be performed with an uninterrupted view of the liminal boundary between ocean and sky.

ANDRÉ KLOTZ

architectsoffice.co

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A FAN DESTINED TO BE A FAVORITE A fan as fancy as its name. The Cipriani 57" ceiling fan, in modern bronze and flat black, combines classic elegance with innovative technology. Featuring a fully illuminated outer ring of dimmable, adjustable light surrounding a quiet, energy-efficient motor with clear acrylic blades is controlled with the included remote or through the integrated Wi-Fi feature. Find Cipriani and other fancy ceiling fans at craftmade.com.

Dallas Market Center, Trade Mart Suite 4902 | Las Vegas World Market Center, Suite C496

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Da Bureau site St. Petersburg, Russia. square feet 3,230. standout The local firm crafted a sprawling three-bedroom pied-à-terre with the flexibility to host everything from activities of daily life to intimate gatherings and rambunctious parties (there’s even a DJ station). The largely open plan is cleverly divvied into discrete zones via stra­te­ gically placed partitions and roundabout circu­ lation paths rather than doors. As for materiality, stark raw concrete walls meet refined stainlesssteel details and built-in, fire engine–red storage.

NIKITA SUBBOTIN/LANDON STUDIO

da-bureau.com

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N E W TE R R A E L E G A N ZA N AV I G IU L IA L IN E A S O TTIL E FL O U CREATING BEAUTIFUL BATHROOMS MADE IN THE USA CUSTOM PROJECTS WELCOME

sink & console in galaxy and matte black faucet, shower fixtures and accessories mirror with matte black frame bathtub in matte black and gloss white towel stand in matte black stool in gloss white tub filler in matte black

LACAVA .com

Atelier Leymarie x Studio Weiss site Paris. square feet 2,370. standout Architect Chloé Leymarie and curator/artist François Weiss revived a 17th-century apartment—nestled on an island in the middle of the Seine, a stone’s throw from the Cathédrale Notre-Dame de Paris—to its former Grand Siècle glory. The warm tone of recreated oak boiserie extends into the bedrooms and private areas in the form of fabric-covered walls, while vintage furnishings like 1940’s modernist gems and an artdeco dining set speak to other eras, creating the sense the property has been in the same hands for generations. atelierleymarie.com; francoisweiss.com

MABHIEU SALVAING

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Designed from eelgrass collected off the coast of Denmark, Søuld Wall is a sustainable panel that highlights a rapidly renewable, carbon-storing material while offering exceptional sound-absorbing qualities.

spinneybeck.com

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Iva Hájková Studio site Prague. square feet 1,365.

BOYSPLAYNICE

standout Located in a building that once housed butcheries, this twobedroom apartment is, at first glance, the picture of sober elegance. But it hides playful Easter eggs for those in the know: Chrome and stainless-steel accents bring a soft-gray sheen reminiscent of meat-shop knives and metal counters, tubular pinkish-brown pendant shades evoke sausage links, the kitchen’s terrazzo backsplash recalls chunky country pâté, and condiments like barbecue sauce and mustard inspired the accent colors of soft furnishings. ivahajkova.cz —Wilson Barlow and Georgina McWhirter

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MASTER DISTRIBUTOR FOR:

DESIGN WITHOUT LIMITS.

Macchia Vecchia

Fior di Bosco

As a Master Distributor, Hanover® is thrilled to announce the arrival of Optimum Surfaces Porcelain Slabs, the largest porcelain slabs on the market. Measuring an impressive 72.5” x 130”, these extra-large slabs offer design without limits — creating limitless design possibilities for a wide range of surfaces, from kitchens and bathrooms to wall coverings, tables, and outdoor spaces. www.hanoverpavers.com

ADVERTISEMENT

Capas Round:

Adding Circular Solutions to the Occasional Series Say hello to Capas Round, Davis Furniture’s latest iteration of jehs+laub’s beloved Capas Occasional Table Series, which the German duo debuted in 2023 to great acclaim.

The design’s architectonic nature—sleek, smooth, and highly sculptural—netted the range with both an Interior Design HiP Award and an Architizer A+ Award.

With Markus Jehs and Jürgen Laub’s conception of this new variant, Capas Round, the series is now offered with tops in two shapes—circular and the original soft square—all sharing the same crisp elegance and visual interplay of solid and void. Thin 1/4-inch tops of solid aluminum are seamlessly welded to two curved, aluminum-sheet legs, positioned in a configuration that allows tables to nest; users can create a topographical landscape of multiples in different formats or pack a punch with a standalone showstopper.

Tables range from 12 to 16 inches high and 20 to 35 inches across and come in 36 powder coat hues including neutrals, pearls, and Davis’ signature color trends. In any color, Capas is a chameleon with a powerful presence, seeming to transform from visually light to monolithic and grounded depending on the angle it’s viewed from.

“Derived from the Spanish word for layers, Capas is a study in combining paradoxical design elements.

We wanted to achieve something that not only could be layered physically, as when the tables are nested, but also in a conceptual sense, such as lightweight yet strong, substantial yet slim.” —jehs+laub

Capas Tables – Round Tops Now Available designed by jehs+laub

Nothing says escape like

A PLACE YOU WANT TO STAY. Every Crossville tile is crafted from a deeper understanding of what visions need to be brought to life. From our timeless styles to our lifelong durability, you’ll find the freedom you need to build inspired.

Featured: Sociale™ Porcelain Tile Sociale is made in the USA.

market edited by Rebecca Thienes text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes

fashion

ready to hang Spotted on the streets of SoHo during New York Fashion Week: the accessory of the moment, Clasp. Available in a polished-chrome or matteblack finish, the cast-iron frame, er, mirrors the detailing of a handbag’s metal clasp. Measuring 32 inches high and 20 wide, the looking glass is the latest from Jeffrey Renz and his Brooklynbased line, Ready to Hang: fun, design-forward mirrors sold at accessible prices, the name a play on ready-to-wear. “We intend to blur the line between fashion and home,” Renz says. Clasp is a case in point. ready-to-hang.com

CLASP

ROSHAN JACOB, DIRECTION BY LAURA GALU

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Konstantin Grcic for Laufen

Antonio Citterio for Duravit

Daniel Arsham for Kohler

Fabio Calvi and Paolo Brambilla for QuadroDesign

product Val Luminex. standout Translucent cast Santec, a mineral-based material, forms the German designer’s heat-retaining freestanding tub, which offers nine standard settings plus remotecontrolled colors and LED light effects. laufen.com

product Aurena. standout The designer/architect’s dual vanity comprises an aluminum console with integrated towel bars, open storage alongside centered drawers, and ceramic sinks treated with an easy-clean hygienic glaze.

product Landshapes. standout A comprehensive collection by the artist includes dropletinspired vitreous-china vessel sinks, wall-mount faucets with glass handles, an amorphous birch-framed mirror, draped-glass sconces, and recycled-material tiles. kohler.com

product Super. standout Calvi Brambilia introduces a minimalist tapware collection, in brushed stainless steel, that features a showerhead with a distinctive ergonomic “squircle” shape and antilimescale nozzles. quadrodesign.it

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duravit.us

4: EMILIO TINI

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PORTRAIT 6: MATTHEW WILLIAMS; PRODUCT, PORTRAIT 8: STEPHAN LUCIUS LEMKE

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Vanessa DeLeon for Neolith

Michelle Gerson for Artistic Tile

Glenn Pushelberg and George Yabu Ruan Hoffmann for SV Casa for L’Objet

product The Vanessa DeLeon Edit. standout The interior designer and TV personality curates her favorites from the brand, including the uberrealistic marble-effect San Simone and Niagara sintered-stone slabs.

product Slide. standout Honed Azul Cielo, Ming Classico, and Rosa Portogallo marbles plus Vanilla onyx and Lilac stone slip-slide on a Bianco Dolomiti marble ground in the New York designer’s softly colorful waterjet-cut mosaic.

product Ishi. standout Upscale bath accessories by the Yabu Pushelberg cofounders include handy stone catchalls, a tissue box and trash can in PU leather, and a refined bronze-finished stainless-steel soap dish. sv-casa.com

neolith.com

product Ruan Hoffmann bowl. standout Crafted in Portugal, the South African artist’s humble earthenware bowl has a swirling, blue-patterned interior that sharply contrasts with its luxe 24-karat gold exterior. l-objet.com

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“Color is always relative: It’s what you put next to it that defines it”

“A BOX WITHIN A BOX”

ARLECCHINO

TEKLA SEVERIN AKA TEKLAN

market

architectural products

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“At age five or six, my favorite pink carpet was replaced by gray flooring, and I remember how the room’s energy died,” Tekla Severin (aka Teklan) recalls. “It was the first time I unconsciously understood what color and texture could do for a space. Later, I recreated that pink carpet in my bedroom.”

So began Teklan’s now illustrious career as a photographer and designer who specializes in chromatic play. The Swedish colorist’s latest collaboration is “A Box Within a Box,” a Stockholm Furniture Fair booth for Elettra de Pellegrin’s acoustic-products company, Slalom. “I wanted to balance the more neutral tones of Slalom’s acoustic panels, such as Bloom and Woody, with my typically bold approach to color,” Teklan says. “I focused on creating that magical intersection between two- and three-dimensional perceptions, working with layers, drawing inspiration from labyrinths and tiles.”

She also designed a brand-new pattern for the company: Arlecchino, a printed felt alternating sky-blue diamonds with mustard-and-black-striped ones. slalom-it.com

MARIA TERESA FURNARI

slalom

BELT by ilmiodesign

330 West 38th St. Suite 710 New York, NY 10018 USA info@estiluzusa.com / T +1 (646) 454 1285 / www.estiluzusa.com

“The monochromatic palette, pure and intentionally discreet, serves to highlight the colorful feathers that become the rug’s strong point” PLUMARIA

illulian Heard of plumasserie? It’s the centuriesold craft of hand-applying feathers that was once the stock-in-trade of haute couture houses. Maison Février, the last feather atelier located in the heart of Paris, teamed up with Milanese rug company Illulian and Argentine designer/architect Daniel Germani on a crossdisciplinary project to highlight the ebbing art.

Plumaria is the outcome: an irregularly shaped rug in carved white Himalayan wool that becomes the canvas from which frothy feathers spring—the plumes all carefully selected and hand-applied by Maison Février artisans. The quills’ mélange of greens is accented by hints of red, resembling a living wall of tropical foliage. It’s a true tribute to nature and to craft. illulian.com

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LIVE OUTSIDE.

OCEAN MASTER MA X SOL ANOX PERGOL A HORIZON COLLECTION FURNITURE MARQUESA SUN LOUNGES

TUUCI.COM

“We wanted to create pieces that transform, rather than just sit in, a room”

m a r k e t fashion

SPIKY RED-EYE

SPIKY JET LAG

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Chet Lo was fresh out of London’s Central Saint Martins when COVID-19 lockdowns began, and he launched his eponymous label for a simple reason: fashion houses weren’t hiring, and he needed to pay the rent. Fast-forward five years, and the Asian-American knitwear designer’s signature barbed garments, worn by the likes of Dua Lipa, Doja Cat, and SZA, continue to garner hype, with a capsule collection for Tinder debuting last year and now, a foray into furniture. Lending a jolt of his tactile futurism to London-based Rankin Editions’ sinuous silhouettes, the collection encompasses the 6-foot-long Spiky Jet Lag chaise longue (available as a singular piece or modular sofa), 15-inch-square Spiky Red-Eye stool/side table, plus a selection of Italian-milled merino wool throw pillows, offered in red, dark navy, and cream. The resulting mashup of androgynous beauty and technorealism packs a punch. rankineditions.com

COURTESY OF CHET LO AND RANKIN EDITIONS

rankin editions

m a r k e t fashion

“Making furniture is my version of couture: It’s time-consuming, artisanal work made in limited quantities of rare materials, for my favorite client, my better half”

RICK OWENS, MICHÈLE LAMY STAG

rick owens furniture

The fashion designer dubbed the Lord of Darkness and his wife and creative partner, Michèle Lamy, are renowned for their particular brand of occultic minimalism. Owens largely defers to Lamy on Rick Owens Furniture, he explains: “She’s the one directly working on the construction with her craftsman and artisans. It’s about coaxing something special out of a sensitive creative spirit.” To make the pieces, Lamy scavenges the globe for natural materials to recycle—the local butcher shop for bones, Polish swamps for wood, the Vatican for stone, etc. There’s Stag stools made of moose antlers tethered to seats of petrified wood or red-purple porphyry, Curial chairs of steel oxidized to a rust-red patina, and more. References are wide-ranging, from California skateparks to the work of Romanian sculptor Constantin Brâncuši. rickowens.eu 98

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CURIAL

303 733 3404

Design:

aceray.com

Learn More Follow us on:

Studio Carlesi/Tonelli

RIVA

©2025 Aceray

THE LOOK OF SEATING

“We revisited some of our earliest products in the archives”

The Stockholm flooring brand mined the archives for an aptly named collection to fête its 10th anniversary: Ten Years Unfolding. “We truly believe in the power of a rug,” says founder Malin Glemme, who started the company after designing floorcoverings for her own home. “It can serve as the centerpiece that defines a room’s character.” Launched at Stockholm Design Week, the series reimagines three mainstay prints from the company’s early years, in fresh colorways. There’s Op Art–esque Illusion, from 2015, now in mulberry sky, monochrome, or blue sandstone. The thick lines of Letters, in teal umber, recalls ancient labyrinths, and Triangle enlivens successive variants of the titular geometric form in persimmon pink. Rugs are hand-tufted of 100 percent wool for extra plushness.

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us.layeredinterior.com

layered

LETTERS ILLUSION

flooring

ANDY LIFFNER

market

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www.porcelanosa.com/us

VISIT ONE OF OUR 36 SHOWROOMS ACROSS THE UNITED STATES

“Soft, warm tones with finishes that are natural and textured symbolize the beauty of imperfection” m a r k e t fashion

CONIE VALLESE

by malene birger Flowers bloom on vases not from them in Malene Birger’s new collaboration with Conie Vallese, an Argentinian artist who frequent consults for the former's womenswear label. The Danish brand releases five vases

by Vallese, both inspired by and to coincide with its Spring/ Summer 2025 collection.

“To me, flowers represent growth and the ability to bloom—that we are all in a constant state of becoming,” says Vallese, known for decorative objects that explore dreamy grandeur. “I wanted to create a collection that expressed that.” The Murano glass vases, some incorporating filigree and zanfirico, a technique that intertwines thin glass filaments into spiral patterns, anchor lilies that sprout from the sides of the vessels. Bloomin’ fabulous. bymalenebirger.com

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GALAPAGOS DINING TABLE 301 | LUA ARM CHAIR 100

MANSA

“It’s about celebrating the art of living—blending culture, creativity, and community”

usm

m a r k e t fashion

OKINKA

Model turned fashion designer Armando Cabral unveils a collection made from USM Haller modules that fuses the Swiss manufacturer’s precision with West African symbolism. The collection, Nkyinkyim, is named for the Adinkra symbol representing life’s twists and turns. “To me, the modular nature of USM’s designs symbolizes that—the way each component forms a cohesive, functional structure,” Cabral says. The series translates these ideas into the Nkyinkyim bookshelf, Mansa platform bed, and Okinka valet stand, among others. Cabral, primarily a luxury footwear designer, draws from his Guinea-Bissau heritage, balancing vibrancy with restraint. The bed anchors the collection, its chromed-steel frame and powder-coated steel panels available in custom configurations with integral side tables and storage. Those same materials are the foundation for the collection’s other pieces as well, while warm hues of deep green and burnt orange echo the expressive tones of African design. Accent with accessories like slippers and blankets from Cabral’s A Casa line to complete the tableau. usm.com 104

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ARMANDO CABRAL, NKYINKYIM

MANSA

TIMELESS DESIGN E XC E P TI O NAL C R AF TS MAN S H I P

LUXURY WITHOUT COMPROMISE

TAFT KITCHEN FAUCET NEWPORTBRASS.COM

ORME

kast

m a r k e t bath/spa

The U.K.-based bathroom brand (which has been a part of Kohler since 2023) takes colorblocking to the next level with pedestal sinks that conjure the idea of stacked cairns or tiered frosted cakes. Orme’s 3-foot-tall cylindrical base, in ribbed or smooth finish, is topped by a 16-inch concrete bowl, with an optional 22-inch-wide vanity shelf for maximum functionality.

Handcrafted in Nottinghamshire of a concrete mix that incorporates locally sourced Derbyshire limestone aggregate, the playful freestanding plinth-plusbasin can be specified in any combination of Kast’s 28 signature colors, which, thanks to a natural casting process, never appear monotone. Instead, pinholes and other surface variations offer an organic aesthetic that pairs well with a pop (or two) of color. kastconcretebasins.com

“There’s a craving for sensory-rich experiences, and concrete—with its raw, textured surface—brings a grounding quality”

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DISCOVER AIR SYSTEM, THE WALL PARTITION SYSTEM AND DOOR PANEL. DESIGN GIUSEPPE BAVUSO

Rimadesio Showroom New York, Miami, Los Angeles, Chicago info.usa@rimadesio.us

hewi You’d be hard-pressed to find a practical, private space in Barbie’s Dreamhouse. With fuchsia spiral slides and tinted-glass walls, the iconic town house shuns humancentric architecture in favor of the phantasmagorical. But in real life, Barbie embraces inclusivity, with a wide range of skin tones, body types, and disabilities both visible and not. Now, Mattel joins forces with Hewi, the German sanitary brand known for prioritizing intuitive usability and Bauhaus principles, to reimagine the latter’s 477/801 series in a Barbie-inspired palette of pink, with a dash of white and black. Nearly 40 products, from towel holders and soap dispensers to toilet brush sets and folding support rails, are made from durable, ultra hygienic through-dyed polyamide and adhere to universal design tenets. The two-tone hinged seat supports up to 330 pounds; folding support rails are optimally designed with tubular handles for maximum grip strength. Boasting clean lines and smooth monochromatic surfaces, 477/801 proves pink isn’t just for the dolls. hewi.com

m a r k e t bath/spa

477/801

“With a fresh and vibrant color palette, the classic design is transformed into a new dimension”

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What’s Ahead in Design is at

EXPERIENCES

NeoCon 2025 Offering unparalleled access to thousands of product launches from best-in-class brands, visionary speakers, dynamic activations, and a packed schedule of events and celebrations, NeoCon 2025 will be where the biggest ideas emerge and the boldest innovations debut.

Join 50,000 fellow design professionals from around the globe June 9-11 at THE MART for the 56th edition of NeoCon, the premier annual event for what’s ahead in commercial design.

Visit neocon.com to register and find full details on exhibitors, programming, activations, and events.

ART on THE MART Projection

by Perkins&Will Runs nightly starting June 5, 9pm to 9:30pm In alignment with NeoCon, ART on THE MART is thrilled to partner with Perkins&Will to present the firm’s projection titled Currents. This work explores movement and the dynamic and multifaceted flows within the urban context of Chicago, a city renowned for both its urban planning and architecture and access to natural resources like the Chicago River and Lake Michigan.

DesignScene

by SANDOW INTERIOR DESIGN will bring their favorite brands and emerging designers together offering immersive experiences and industry roundtables with leaders and specifying designers discussing the future of design.

Celebrate the best of design and community!

Design Creates Joy Color and design can change communities – creating equity, joy and belonging. Experience Project Color Corps’ mission, history and vision at NeoCon 2025.

Designed by Gensler, Project Color Corps will host a color pop up on THE MART’s First Floor.

Paved States at NeoCon Presented by Sixtysix Magazine This curated showcase unites emerging artists, designers, and publishers, providing industry professionals and the design community with a unique platform at NeoCon for collaboration and discovery. Drawing from Chicago’s Brutalist architecture and material innovations, Paved States highlights makers who work with and reinterpret stone, brick, glass, and iron—creating a compelling dialogue between soft and hard, permanent and ephemeral, industrial and artisanal.

METROPOLIS Sustainability Lab

Haworth DesignLab Exhibit

The METROPOLIS Sustainability Lab returns to offer attendees an immersive exhibit and dynamic hub designed to inspire and empower positive change for people and the planet with the latest sustainable design innovations and resources.

Launched in 2023, DesignLab is an annual initiative established to celebrate new perspectives in the world of design, and looks beyond our industry to create unexpected, emotive, and immersive experiences.

The exhibit provides a platform to recognize and support designers whose work demonstrates exceptional experimentation in form and materials.

NeoCon Podcast Studio and Lounge Powered by SURROUND A lineup of SURROUND Podcast Network shows will be recorded for a live audience throughout the three days of NeoCon. Meet the hosts, enjoy exciting giveaways, and take part in exclusive hospitality.

Happy (Together) Hour Tuesday, June 10, 5-6:30pm It’s back! Get together with friends and colleagues on THE MART’s River Park Tuesday after the show and enjoy complimentary drinks and live music.

All NeoCon registrants welcome!

PROGRAMMING

This year’s powerhouse programming line-up serves as a global stage for visionary and trailblazing industry leaders.

Gain insight and inspiration from a world-class cadre of design and business experts. Plus earn IDCEC and AIA approved CEUs, with dynamic and innovative programs and experiences.

Keynotes:

CEU Education

Featured Presentations

CEUs will be available for virtual, on-demand learning from June 9 – October 1, plus in-person sessions during the NeoCon show. Registrants can choose from more than 50 engaging sessions across various educational tracks, offering plenty of opportunities to learn and grow.

Elevate your expertise and fuel your passion with a series of dynamic Featured Presentations happening daily. With an esteemed lineup of presenters from partners like IIDA, ASID, BIFMA, Fast Company, and Crain’s, attendees will be treated to powerful insights, fresh inspiration, and cutting-edge strategies to stay ahead in their fields.

NeoCon Talks

Monday, June 9 Annie Jean-Baptiste Author, Building for Everyone Designing for Global Innovation Design is the undercurrent to our lives, but how do we create experiences that touch myriad people, with different needs, goals, and interests? Designing inclusive spaces and environments doesn’t happen by accident.

Trailblazing tech executive Annie Jean-Baptise will share how designers of all kinds can leverage lived experiences to fuel innovation, creating more holistic experiences for everyone.

Association Host:

Tuesday, June 10 Alice Rawsthorn Author of Design as an Attitude and Co-Founder of Design Emergency podcast Design as an Attitude Renowned author, podcaster and design critic Alice Rawsthorn, will share her vision of design as a dynamic agent of change. She will explore how design can offer solutions to social, economic, and ecological challenges, and how the NeoCon community can benefit from this concept as our expectations for the spaces in which we work and play continue to evolve.

Association Host:

Wednesday, June 11 Chris Barton Founder and Creator, Shazam Bring Impossible Ideas to Life Technology & A.I. are dramatically changing what’s possible in our world. Our challenge as we create new things is to dislodge from the comfort of what we already know. Tech industry pioneer Chris Barton will help audiences imagine and then create new visions for the future. With jaw-dropping stories about creating Shazam, he will show how innovation comes from not just an idea, but from a series of insights to overcome obstacles along the way.

NeoCon Talks brings together industry disruptors, leaders, and influencers for thought-provoking 20-minute conversations. Presented in partnership with Work Design Magazine, the talks delve into trending topics that challenge conventional thinking and ignite innovation.

No additional registration is required.

Sponsored by:

INSIDE DESIGN Experiences New this year! In partnership with the Design Museum of Chicago, NeoCon attendees are invited to experience INSIDE DESIGN, a curated series of exclusive, design-driven events throughout the city. These immersive experiences will showcase and celebrate Chicago’s vibrant creative community.

Sponsored by:

Association Host:

Produced by:

NEOCON 2025 EXHIBITORS

Explore new products from 400 leading and emerging companies and gain unparalleled access to the latest and most transformative design solutions shaping the spaces where we work, live, travel, learn, and heal.

Visit neocon.com for exhibitor details and updates.

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A. Pomerantz & Co. A. Rudin Access Products Incorporated Acousound AEG Home Theaters Design Studio AHF Products AIS Akouo Acoustics AKU Tech Allermuir ALUR Amazing Magnets Andreu World Anees Furniture & Design Anji Yidartex Weave Technology Co., Ltd. Ann Sacks Aoke Malaysia Sdn. Bhd. APCO Signs Arcadia Arc-Com Area International, Inc. Arktura Arpa USA - FENIX Artistic Tile Aspecta ASSA ABLOY Assembled Works

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Baker | McGuire BauTeam Chicago Behr Paint Company Benjamin Moore Bernhardt Design BERPL Distribution

BIFMA Billionaire Lighting Co., Ltd. Bobrick Washroom Equipment Bold Furniture Borgo Contract Seating Bosch Experience & Design Center Boss Design Botton + Gardner Bradley Corporation Bright Group, The Brizo® Chicago Brown Jordan Buechel Stone Bulo Buzz Seating Inc. BuzziSpace

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Cabot Wrenn CAI Designs CAI Outdoor Calyx by Claridge Cane-line Furniture Carl Stahl Cable Mesh Carlisle Wide Plank Floors CECOCECO Co., Ltd. Century Furniture CF Group - Falcon, Thonet & Shelby Williams CF Stinson Chen Chi Furniture Co., Ltd. Choice Industries Christopher Peacock Cixi Mingye Communication & Electronic Co., Ltd Clarus ClearSpace Design CMS Electracom Concertex Configura Inc. Cowtan & Tout Cyncly

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D5 Render Dacor Kitchen Theater DAEHA Chairs Co., LTD DARRAN Furniture Dauphin David Sutherland Showroom Davis Furniture Dawon Chairs Co., Ltd. deAurora Decca Contract Designers FREE, Inc.

Designers Linen Source DesignHQ Digilock Divine Flooring Division 12 DKE Office Dong Guan Yichang Plastics Textile Co. LTD Dongguan Lihao Technology Co.,Ltd.

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Ebanista ECONYL® by Aquafil Egan Visual Emeco emuamericas, llc Encore Enwork ERG International ergoCentric Ethnicraft Existing Conditions Exquisite Surfaces Extremis

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Fabricut FEEK Ferrell Mittman / Avery Boardman Ferroluce SRL Fi Interiors FlexiSpot Fomcore Formaspace Formica Corporation Foshan Bonai Furniture Co., Ltd. Foshan Haohui Furniture Co., Ltd. Foshan Huayu Times Textiles Co., Ltd. Foshan Kezhimei Furniture Co., Ltd. Foshan OFC Furniture Co. Ltd. Frama-Tech Framery FreeAxez, LLC Frovi Fry Reglet FUNC Furicco Furniture FurnitureLab

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Gaggenau GALLEY, THE GANTNER Garden on the Wall Ghent, a GMi Company

Global Furniture Group Gloster / DEDON Goldsit Office Furniture GRAFF Great Openings Green Hides Gressco Ltd. Gross Stabil Corporation Groupe Lacasse GT CHAIR Guangdong Cosyking Intelligent Furniture Co. Ltd.

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HÅG HALCON Harvest Link International Pte Ltd. HAT Collective Haworth Heller Henglin Home Furnishings Co.,Ltd Hewn Hospitality Hickory Chair Hightower Hirsh Industries HMTX Industries Holland & Sherry HOLLY HUNT Honsit House of Rohl Studio HOWE Hummingbird Collective

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INCISEON INDEAL Indiana Furniture Innovant, Inc. Innovations in Wallcoverings InPro Inspired Closets Chicago Integra Seating Intensa Interior Crafts Interra USA, Inc. Isomi Ltd. Italcer / Devon & Devon

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J. Marshall Design JANUS et Cie Jiaxing Jinmao Aluminum Co., Ltd. John Rosselli & Associates

K

K & B Galleries, Ltd. Kaidi LLC

Kano Global Katonah Architectural Hardware Katonah Architectural Hardware Lighting Furniture KEHONG Keilhauer Kettal Keyless.Co KFI Studios KI KI Wall Kim Knoll Art Koncept Kravet, Inc. Krug Kwalu

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Lapchi Rug Design Studio Legend Office Co., Ltd. LINAK Lintex Loftwall LOGICDATA Luoyang OuZheng

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Mac Chairs and Components Co Ltd Magnuson Group Maharam Mannington Commercial Mantra Inspired Furniture Martin Brattrud Mayer Fabrics Merryfair Metro Light & Power LLC Michael - Cleary Middleby Residential Miele Experience Center Mizetto MOCKETT Modernsolid Industrial Co., Ltd. Moen Design Center Momentum Textiles & Wallcovering Monogram Design Center Chicago MSI Surfaces My Resource Library

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Narbutas | Coronet NARDI National Hardwood Lumber Association Nevins New Style Cabinets

O

Offices To Go (OTG) OfficeSource Furniture OJMAR Okamura OM Seating Osborne & Little

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Pallas Textiles Paris Ceramics Patcraft Patra Paul Ferrante PEDRALI People Signs Phillip Jeffries Pindler PLYCOLLECTION Plymold Poetry Tile Poggenpohl Porcelanosa Tile/ Kitchen/ Bath/ Hardwood Power Construction, Luxury Residence Group Prismatique Designs Ltd. Prostoria

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Qidong Vision Mounts Qingdao Richmat Intelligence Technology Inc. Quadrille Wallpapers and Fabrics, Inc.

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Rakks Architectural Shelving and Hardware Regal Castors Regency & RGS Furniture Richard J. Abrahamson Collection Richard Norton Gallery, LLC Rigidized Metals Corporation Rite-Tech Industrial Co., Ltd. Roland DGA

ROMO Rulon International Runeasy Ergonomic Technology Co., Ltd.

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SAFCO Products Samuel & Sons Sanderson Design Group Sandler Seating SBFI Scalamandré Scandinavian Spaces Scavolini Store Chicago Schiavello Schluter Systems L.P. Schumacher / Patterson Flynn Scott Group Studio Selead Trade and Consulting Pte. Ltd. Sena - FSI Senator Shaw Contract Shenghua Sherwin-Williams Color Studio Sickler, Inc. Signature Kitchen Suite Silen Sisyphus Industries SitOnIt Seating Slalom Acoustics Smith System SnapCab Snowsound USA Soundbox Source International Spacestor Spec Furniture Inc. Spoonflower Stance Healthcare Stark Carpet Corporation Steel Cabinets USA Steel Dynamics Stylex Sub-Zero, Wolf, and Cove Showroom Sunline Office SurfaceWorks Surfacing Solution Swatchbox

thinkspace Three H Tiger Leather TiMOTION USA Inc. Torginol Inc. Trinity Furniture True Residential Tuohy Furniture Corporation Turf Design TUUCI

U

Ultrafabrics US Power Solution Industries, Inc.

V

Vadara + UGM Surfaces Vaseat Venue Industries Via Seating Viccarbe Vicostone Virco Visplay GmbH VS America

W

Waterworks Watson Furniture Watson Smith Carpet Rugs - Hard Surface Well Run Technology Co., Ltd. Wells Abbott West Elm Workplace Wieland Healthcare Wintex Co. Ltd. Wolf-Gordon Wood-Mode Lifestyle Design Center

Y

Yofee Yuno Design Studio

Z

Zhejiang Jiecang Linear Zintra

T

Tai Ping | Edward Fields Takeform Teknoflor The Good Plastic Company Inc. THE MART Art Gallery The Shade Store Thermador Thibaut

Current as of 2/24/25

DESIGN ORGANIZATION PARTNERS

Nienkämper Ningbo Ofitech Business Machines Co., Ltd. Noure’s Oriental Rug, Inc. Novus- More Space System Nucraft Nurus

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c enter fold “Growing up in India, color was woven into saris and scattered in the air during festivals—there is a centuries-old understanding of pigment in that artistry that brings this project to life” 1

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full spectrum An immersive installation by Reddymade constructed for India’s Architecture & Design Film Festival Mumbai celebrated the launch of the world’s largest paint library

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designers, engineers, and builders led by Reddymade founder Suchi Reddy

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COLORS IN ASIAN PAINTS CHROMACOSM

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2,200 colors in the installation

1. and 2. Ancient tantric paintings used to awaken states of heightened consciousness from the Rajasthani book Tantra Song, long an inspiration for Reddymade founder Suchi Reddy, rose into focus as she ideated Chromacosm commissioned

by Indian paint manufacturer Asian Paints for the launch of its Chromacosm architectural color system at the Architecture & Design Film Festival Mumbai earlier this year. 3. Reddy’s early water­ color sketch reimagines paint as a 3D medium that interacts with space, light, and shadow. 4. A still from Asian Paints’s film shows the development of the new system, composed of thousands of shades. 5. and 6. Part of Reddymade’s two-week design process involved creating installation renderings in Rhinoceros, AutoCAD, and Photoshop that show a walkable grove of tall tubular steel rods coated in the myriad Asian Paints colors.

7. Chromacosm the book, depicting the full library, comes out in May.

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c e n t e r fold 1. Chromacosm was constructed over one month on the grounds of the National Centre for the Performing Arts, where the ADFF Mumbai was held January 9 to 12, the Asian Paints colors drawn from Indian craft traditions, such as Ajrakh and Kalamkari block printing. 2. Visitors walked amid the vertical rods, which trans­ itioned from black to vivid hues, symbolizing how color emerges from within the depths of the cosmos. 3. The installation sought to bridge centuries of artisanal expertise with neuroaesthetics, the effect of art and design on thinking and emotion. “People think of paint as flat,” Reddy notes, “but it’s alive—absorbing, reflecting, and transforming depending on the environment.”

—Nicholas Tamarin

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See what’s fluid, ethereal, and effortlessly stylish

ERIC PETSCHEK

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Reflective surfaces—and an eye for fashion—help Ambient Architecture and Róisín Lafferty transform a pair of semidetached houses into a single residence in Dublin

mirror, mirror

text: giovanna dunmall photography: ruth maria murphy/living inside

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“Mirror is not a decorative finish but very much part of how you experience the spaces”

Dublin’s southern suburbs have an enviable stock of handsome semidetached houses—pairs of singlefamily dwellings that share a common wall. A couple living in one of these two-story homes bought its neighbor a few years ago, hoping to combine them someday. Now, with two teenage children and a steady stream of guests, that time had come.

“They’re a hospitable family who loves hosting dinners and having people stay,” begins designer Róisín Lafferty, founder and creative director of her eponymous firm, which collaborated with Ambient Architecture on merging the two properties—but not necessarily permanently. As Ambient’s founder and principal Stefan Hoeckenreiner explains, “The idea was that it could convert back into two separate houses to accommodate different family configurations or even be passed on to the children.” With that in mind, each half retained its entrance and staircase, while openings in the dividing wall were kept to a minimum and made reversible.

An existing one-story extension at the back of the original home was matched by an addition to the new one, “creating a central courtyard that opens up the view to the rear garden,” Hoeckenreiner continues.

For Lafferty, the challenge was achieving “a seamless blend of the two properties” while retaining “a lot of the proportions of the existing houses,” which could have meant “a lot of rooms and a lot of doors,” she says with a laugh. So the designer banished traditional portals, moldings, and baseboards, instead specifying a series of plain floor-to-ceiling doors that integrate seamlessly with the surrounding walls whether open or closed. This, Lafferty confirms, “was one of the biggest investments of the entire project,” but essential for the sense of “free flow” she was adamant the interiors possess. The former front parlors, now connected by a full-height doorway, illustrate the strategy. The back wall of both spaces—dubbed the reading and music rooms, respectively—features a continuous, blue-painted bookcase, making them feel like a single volume

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Previous spread: With its 5-foot-tall print by British artist Elsbeth Shaw, limed-oak flooring and paneling, and boldly upholstered vintage chair, the music room in a pair of semidetached Dublin houses converted into a single residence by Ambient Architecture and Róisín Laffery for a couple with two teenage children exemplifies the project’s overall attention to material, color, and style.

Opposite: A George Nelson pendant fixture and a mirrored door framed in blackened steel help brighten the dark entry hall, one of two in the conjoined properties.

Top, from left: Cezary Zadorożny’s Konko pendant hangs above another vintage chair in the reading room. A mirrored wall enlivens the main bedroom, where Hashira pendants

by Norm Architects flank the bed. Oak flooring changes to polished concrete in the new rear extension, which houses the media room. Bottom: In the kitchen, Brazilian quartzite forms the backsplash and tops the island, faced in patinated brass.

when the door is open. And since the oversize panel is the same color as the shelving, it appears to be part of the built-in millwork when sitting flush against it.

Along with the two front rooms and stair halls, the residence includes a sitting room, dining area, kitchen, and media room on the ground floor, plus four bedrooms, a homework room, and an office upstairs—4,400 square feet in all.

Another priority was “maximizing views of the garden from the main living spaces,” Lafferty continues. What might have ended up a narrow corridor at the rear was ingeniously turned into the airy sitting room. A deep book-lined recess, outfitted with a built-in sofa, faces an imposing marble fireplace, flanked by glass walls framing the verdant backyard vista. “We knew it was premium real estate for looking at the garden,” the designer observes. “But it was also the point of connection between the houses, and we wanted to celebrate that.” This included cladding the room’s upper walls and ceiling with bronze-tinted mirror—an unexpected choice that creates a feeling of height, space, and, by reflecting the outdoor greenery, being in nature. Lafferty admits the clients weren’t convinced at first, fearing “mirror would be too glitzy,” but she persuaded them to stay the course.

“For me, mirror is magic,” she says, and in fact uses it throughout to enlarge rooms or bring in natural light. “It’s not a decorative finish but very much part of how you experience the spaces.”

The base palette is fairly neutral: floors of polished concrete or limed oak, also found on some walls; subtle greens, blues, and taupes, especially in the main bedroom suite, which Lafferty describes as “an oasis of calm.” But in many areas, the chromatic intensity is deliberately turned up.

“I was looking to capture the family’s energy and sense of fun with additions of saturation,” she acknowledges. Primary colors and vivid tones appear throughout, sometimes in small flourishes, like the crimson dining table, and sometimes much bigger ones, like a whole room painted a single shade.

“I’m very impressed they allowed me to make the office bright red,” she says of the second-floor

Top: In the old extension, the dining area features vintage Italian chairs around the client’s original walnut table re­ finished in lacquer and topped with Formica. Center: An oil on canvas by Irish artist John Redmond inspired the color and geometrics of the lacquered built-ins enveloping the upstairs office. Bottom: Velvet blackout curtains surround Francesco Binfaré’s Standard sofa, Sebastian Herkner’s Pipe armchair, and Ransom and Dunn’s Venus II floor lamp in the media room.

Opposite: A deep recess with a built-in sofa transforms the narrow rear corridor connecting the houses into a sitting room, where the fireplace and floor are Verde Alpi marble and bronze-tinted mirror clads the ceiling and upper walls.

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Top, from left: A stone plinth by Roisin Lafferty Essentials, the designer’s furniture brand, joins a built-in vanity in the daughter’s bedroom. In the son’s room, a Candy Big Circle sconce by Maria Gustavsson surveys a biomorphic mahogany sculpture by Hartoyo. The powder room’s polished-plaster walls complement the Brazilian quartzite flooring and custom sink. Bottom: Gio Ponti’s Luna Sospensione pendant overlooks an acrylic tub in the main bathroom, where patinated brass fronts the custom sink vanity capped with Brazilian quartzite, the same stone used for the floor.

Opposite: Another Nelson pendant supplements the headboard’s Simone & Marcel Luno sconce and adjoining flush-mounted Keta reading light in the daughter’s room.

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workspace, a true study in scarlet. In the main bathroom, however, hues and textures are layered: The swirling reds, browns, and coppers of the Brazilian quartzite sink and floor are complemented by ochretoned polished-plaster walls and patinated-brass cabinetry.

Artworks enliven several spaces, not least the music room, where a large print by British artist Elsbeth Shaw is a commanding presence. A pixelated image of a model in a catwalk show, its symmetry, palette, and style consciousness all spoke to Lafferty. “I think art, fashion, and interiors are all super connected,” she says. “Fashion is about color combinations and sculptural forms, but also about contrasts and playfulness, which informs my work.” She concedes that the ethos of couture is reflected in how the project’s details and finishing touches are as carefully considered as its larger, more architectural elements. The combined layout shows rock-solid planning, but the splashes of levity, novelty, and boldness are never an afterthought.

PROJECT TEAM AOIFE SHINE; IMAD HUSAR: RÓISÍN LAFFERTY. O’GORMAN JOINERY: MILLWORK. P.D. MARLOW: PLASTERWORK. MILLER BROTHERS: STONEWORK. M.J. DUNCAN & SONS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT NINE: SIDE TABLE (MUSIC ROOM). SAZERAC STITCHES: SCONCE. RUGVISTA: RUGS (MUSIC ROOM, READING ROOM). THROUGH ACQUIRED: CHAIRS (MUSIC ROOM, READING ROOM), TABLE LAMPS (MUSIC ROOM, SITTING ROOM), CHAIRS, RED VASE (DINING AREA), ARMCHAIR (SITTING ROOM). ROCHE BOBOIS: CONSOLE (ENTRY). LIGHT COOKIE: SCONCE. ROCK HILL: VASE (ENTRY), CHAIR (OFFICE). HAY: PENDANT FIXTURE (ENTRY, DAUGHTER’S ROOM). ANOUR: LINEAR PENDANT FIXTURE (KITCHEN). RÓISÍN LAFFERTY ESSENTIALS: VESSELS (KITCHEN), PLINTHS (MEDIA ROOM, DAUGHTER’S ROOM). DAVIDE GROPPI: PENDANT FIXTURE (DINING AREA). LOFTLIGHT: PENDANT FIXTURE (READING ROOM).

AUDO COPENHAGEN: PENDANT FIXTURE (MAIN BEDROOM). MOROSO: ARMCHAIR (MEDIA ROOM). KAVE HOME: COFFEE TABLES. CC TAPIS: RUG. EDRA: SOFA. RANSOM AND DUNN: LAMP. NEMO LIGHTING: SCONCE (OFFICE). PULPO: GLASS SIDE TABLE (SITTING ROOM). EERO AARNIO ORIGINALS: WOOD SIDE TABLE. SERAX: VASE (DAUGHTER’S ROOM). SIMONE & MARCEL: SCONCES. SWEDISH NINJA: SCONCE (SON’S ROOM).

ETHNICRAFT: SCULPTURE. GHIDINI 1849: SCONCES (POWDER ROOM). GRANLUSSO: TUB (BATHROOM). HOTBATH: TUB FITTINGS, SINK FITTINGS. TATO ITALIA THROUGH 1STDIBS: PENDANT FIXTURE. KAIA: SCONCES. THROUGHOUT TRUNK FLOOR: OAK FLOORING, OAK PANELING. STONE SEAL: CONCRETE FLOORING. FLEETWOOD PAINTS: PAINT.

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in their element

With a visit to the Arc’teryx ReBird Service Center at a popular ski destination in Jilin City, China, outdoor enthusiasts can slalom right into the circular economy text: jen renzi photography: yuuuun studio

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Previous spread: For its first site-specific “in-the-field” location, a ski destination in Jilin City, China, a pop-up tent by Still Young houses the Arc’teryx ReBird Service Center, which invites patrons to bring in used merchandise to repair for continued wear or donate for store credit, the latter revived for resale or repurposed as textile scraps to fashion into one-of-a-kind creations, including elements for this project.

Top: Upholstered custom seating units are warmed by a gas fireplace. Bottom: The curves of the paneling, surfaced in a wood grain–print film, echo the surrounding topography.

Opposite top: A waterproof tarpaulin crafted of upcycled Arc’teryx scraps caps the 10-sided, steel-framed tent. Opposite bottom: Translucent film on windows mimic the effect of rippling water as seen from above.

The apparel industry has come a long way over the years, with ever more fashion houses embracing sustainable initiatives to keep worn garments out of landfills. In-store textile recycling and resale programs have become increasingly prevalent, as outfitters pursue clever ways to reduce environmental impact without cutting into their bottom line.

Arc’teryx exemplifies this evolution—a label dedicated to helping consumers connect with nature, and now helping them save it, too.

Based in North Vancouver, Canada, a city abutting mountainous terrain, Arc’teryx manufactures technical clothing tailored to alfresco activities ranging from hiking and climbing to skiing and snowboarding.

Leveling up its longstanding sustainability efforts, a few years ago the retailer launched ReBird, a comprehensive program that extends the product lifecycle. ReBird invites patrons to bring in their used merch either to repair for continued wear or donate for store credit. Arc’teryx revives the donated items for resale or, when more appropriate, repurposes them as scraps to fashion into one-of-a-kind creations.

These “re-wilded” jackets, shells, and pants are priced significantly less than new products, making the company’s high-performance wares more accessible to a wider range of budgets and effectively expanding its customer base.

ReBird, which first appeared as shop-in-shops throughout North America, has steadily expanded and now includes a handful of overseas service centers. Now, the British Columbian brand unveils its first outpost “in the field,” so to speak: a pop-up at a popular ski destination in Jilin City, China. The strategic slopeside location, 130

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“Outerwear that originally protected just one person has been transformed into a shelter, carrying greater meaning”

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by Shanghai firm Still Young, places sustainability efforts directly in the natural environment that Arc’teryx products are conceived to explore and protect, and broadens brand awareness in a market experiencing surging growth since the country hosted the 2022 Winter Olympics.

Open for ski season only, the pop-up embodies ReBird’s core concepts of repurposing, upcycling, and waste reduction. The 10-sided, steel-framed yurt sits lightly on the land, minimizing environmental impact. The vibrant coloration of its tarpaulin top stands out against the surrounding snow; “skiers can see the tent as they zoom down from the mountaintop,” Still Young founder Eric Ch explains. Brand loyalists slaloming past will recognize the illuminated logo at the tent’s peak: the skeletal fossil of the archaeopteryx, a winged and feathered Jurassic-era dinosaur from which the company derives its name. Both the colorful tarp roof and the service center’s 20-foot-tall sign, in the shape of a supersized jacket, are crafted from an angular patchwork of repurposed Arc’teryx textile scraps, elevating the individual purpose of clothing into a collective one, Ch notes: “Outerwear that originally protected just one person has been transformed into a shelter, carrying greater meaning.”

Still Young was an apropos choice for the project, having previously teamed with the client to conceive four Arc’teryx stores throughout China, including the 9,500-square-foot Beijing flagship featured in the February 2024 issue of Interior Design. The studio has built a rep­ utation as a retail and rollout specialist, creating shops and cafés that put a regional spin on global conglomerates like McDonald’s and Nike. “Our current focus is the localization of international brands and the modularization of commerce,” Ch says. Here, that meant channeling the natural features of the surrounding Changbai Mountains and Songhua Lake.

Top: Guests can have their Arc’teryx-branded clothes professionally cleaned and dried per manufacturer’s recommendations at operable washing machines.

Bottom: Appointments can be made for the workshop to repair garments, from zipper replacement to adding new insulation.

Opposite top, from left: The molded resin forming the bar and sculptural element it encircles is meant to resemble ice. Sinuous apertures routed into paneling are lined in weathered stainless steel to create the effect of window frames. Opposite bottom, from left: The service center is located at the base of a mountain, acces­ sible to skiers as they descend. A closeup of the bar reveals its layered composition, created via a mold.

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Top: The lounge area, with custom seating, offers a view of the gondolas and ski slopes beyond. Bottom: The base of the bar is a wood-plastic composite, as is the floor.

Opposite top: Custom product displays showcase Arc’teryx merchandise, although nothing is for sale. Opposite bottom: A steel skeletal fossil of the archaeopteryx, a winged and feathered Jurassic-era dinosaur from which the company derives its name, crowns the 1,755-square-foot center, open only during ski season.

Inside the 1,755-square-foot Arc’teryx ReBird Service Center, as it’s officially called, is a VIP lounge and a workshop space offering on-site repair and refresh services. A bank of washing machines invites shoppers to get their gear laundered, while technicians use sewing machines and specialized tools to replace zippers, patch holes, and restore insulation to extend each garment’s lifespan. While waiting, guests can relax and enjoy coffee beverages decorated with custom latte art—the brand logo, a faithful depiction of the tent—rendered by a 3D printer.

Sips are served from a central bar-in-the-round partially crafted of molded resin formed to resemble stacked snowflakes or shattered ice— a nod to the winter environment. Completing the cabinesque decor are a campfire-style gas firepit that encourages gathering, and wood grain–print paneling and product displays carved into organic shapes to echo the terrain outside. Windows are veiled by translucent film illustrating a birds-eye view of rippling water, waves radiating outward like the aftermath of a pebble tossed into a pond.

A testament to creative reuse, the project represents a flipped approach to retail: highlighting typically back-of-house operations to create immersive, customer-facing experiences that demonstrate and celebrate eco-friendly values. “It’s a full-service store without any commercial retail purpose,” Ch says. “The aim is to educate outdoor enthusiasts on environmental protection concepts and provide a place for them to rest and relax.” By choosing the location of a working ski resort, Arc’teryx connects its sustainable practices directly with the outside activities its products are designed for, creating a prescient circular narrative that reinforces the retailer’s commitment to protecting the natural world its clientele cherishes.

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See page 139 for Carolina Herrera Resort 2025, where ready-to-wear pieces, such as this silk gown, were presented at the Museo Anahuacalli in Mexico City. Photography: courtesy of Carolina Herrera.

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vivid focus From sand and flax to a disco ball and Murano glass, we can’t stop staring at the catwalks and couture from recent fashion weeks across the globe text: wilson barlow and lisa di venuta

BRUNELLO CUCINELLI Although the designer’s sartorial stylings can be seen on TV, in the HBO series Succession, the set for the Milan Fashion Week unveiling of Anamnesis, the label’s Fall/Winter 2025 menswear collection, was meant to evoke a vintage radio station, one where classic silhouettes in cashmere, chevron knits, and garment-treated leathers met saturated colors, redefining quiet luxury. Photography: courtesy of Brunello Cucinelli.

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CAROLINA HERRERA The bright, saturated color of the label’s Resort 25 women’s wear line, a collab between creative director Wes Gordon and Mexican artisans, as well as that of the catwalk, backdropped by the Museo Anahuacalli, derived from the luminous sunsets of Mexico City, where the show was held. Photography: courtesy of Carolina Herrera.

ZEGNA Creative director Maria Grazia Chiuri showed her latest collection in the classical Place de la Concorde in Paris, under the gaze of an installation by Mariella Bettineschi featuring archival portraits of women with double-sets of eyes, a feminist commentary. Photo­graphy: Kristen Pelou.

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ZEGNA In addition to models donning the tailored Spring/Summer 2025 menswear collection, sustainable flax fibers not only were the focus of the Milan runway but also compose the brand’s signature linen fabric, Oasi Lino. Photography: courtesy of Zegna.

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SANTONI For its half-century milestone, the luxury footwear brand mounted “Meraviglia–Makers of Beauty for 50 Years,” an immersive exhibition also in Milan honoring the house’s artisanal legacy via portraits by renowned lensman Jack Davison, culminating in a tribute collection that embodies the label’s enduring pursuit of beauty. Photography: courtesy of Santoni.

ZEGNA In addition to models donning the tailored S/S25 [menswear] collection, sustainable flax fibers not only were the focus of the Milan runway show but also compose the brand’s signature linen fabric, Oasi Lino. Photography: courtesy of Zegna.

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THOM BROWNE For his ornithology-inspired FW25 collection during New York Fashion Week, thousands of origami doves fluttered around the runway, while a recitation of Emily Dickinson’s poem “‘Hope’ is the Thing with Feathers” and a chorus of birdsong pumped through speakers. Photography: Dan Lecca and Gregoire Avenel.

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ACNE STUDIOS A cohesive set of pillowlike soft furnishings seemingly strewn on canvas-covered bleachers, punctuated by a giant deconstructed disco ball, all by Austrian artist Lukas Gschwandtner, conjured a mood of “after-hours liberation” for the brand’s SS24 women’s wear collection at Paris Fashion Week.

Photography: courtesy of Acne Studios.

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DOLCE & GABBANA Toasting the house’s 40th anniversary this year was “Du Cœur à la Main,” a 12-act tableau vivant exhibited through March at Paris’s Grand Palais where curator Florence Müller outfitted three floors in hundreds of one-off Alta Moda embroidered-silk gowns, original artworks, and handmade accessories, as well as baroque furnishings, gold-leaf paneling, and Murano glass chandeliers. Photography: Eric Laignel.

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Photography: courtesy of Prada.

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deliberately creased and patinaed garments and exaggerated proportions amidst Milan’s Deposito of the Fondazione Prada, a meandering dreamscape by AMO, OMA’s research branch.

PRADA For their SS25 menswear collection, co-creative directors Miuccia Prada and Raf Simons examined perception and reality through

HERMÈS Glossy riding boots, layered leather, felted wool, and zippers aplenty comprised the FW25 Paris Fashion Week women’s wear presentation at Garde Républicaine, the sand-covered floor by French studio Villa Eugénie mimicking that of a stable, a reference to the house’s equine roots.

Photography: Zoe Joubert.

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walk the talk NBBJ’s addition to the Seattle headquarters of ethos of inclusive activity, community, and

Brooks Running emphasizes the sneaker brand’s connecting with nature text: rebecca dalzell APRIL.25

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How do you bring a sense of movement to a modern office building? That was the central challenge NBBJ faced when conceiving an addition to the Seattle headquarters of sneaker manufacturer Brooks Running.

After all, the brand’s mission, underscored by its new tagline “Let’s Run There,” is to inspire everyone to be active. Furthermore, the 113,200-square-foot site would support the development of innovative gear.

A static space would not be a good fit. “We centered our concept around the belief that a run can be trans­ formative,” NBBJ partner Ryan Mullenix begins. “Our part of the workplace is intended to evoke the experience of a great run and showcase the process that goes into making that run fantastic.”

Even the location—by a popular trail on Lake Union—speaks to that philosophy. Brooks moved there in 2014 but its staff has since doubled in size, requiring a second building. The company expanded into a fivestory property by Weber Thompson across the street, and the headquarters now houses more than 500 employees. The energy-efficient, mass-timber building is part of a local sustainability initiative that requires using healthy materials; NBBJ ensured that 95 percent of those incorporated are free of Red List chemicals.

Brooks tasked NBBJ with creating a flexible, collaborative office that would attract top talent and include sewing and materials libraries, a prototype lab, and shoe-testing areas. “It was critical to show off not only what they create but also how they think,” Mullenix continues. Additionally, he and his team had to formulate an elite environment worthy of hosting top athletes and capture the Brooks culture.

Starting with the layout, NBBJ considered how the building could foster a sense of community within the company. Mullenix installed a welcoming café on the ground floor, where employees can meet for breakfast

“NBBJ wove in running references, both literal and subtle, throughout”

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Previous spread: For a five-story, 113,200-square-foot expansion to the Seattle headquarters of Brooks Running, a leading U.S. manufacturer of running footwear, NBBJ created references to the sport, like a corridor’s custom wallcovering with trail-like graphics in the brand’s signature blue; photography: Sean Airhart/NBBJ. Opposite: In reception, the custom desk is upholstered in backlit Xorel Amalfi, a fabric that mimics running-shoe mesh, the wood wallcovering alludes to stacked shoeboxes, and the 3-D column logo is concrete-look painted acrylic; photography: Ty Cole.

Top, from left: Along the stair connecting the first and second floors, shoebox-size white-oak rectangles strung on cables at different angles, their perimeters painted blue or orange, form a screen meant to evoke a run along the water at dawn; photography: Ty Cole. Shoelaces, in 8-foot lengths, sourced from the Brooks Running factory in Vietnam backdrop reception; photography: Sean Airhart/NBBJ. A gallery wall of items from the company archives highlights the brand’s history; photography: Sean Airhart/NBBJ. Bottom: Track lines and linear LEDs add rhythm to a corridor floored in polished concrete; photography: Sean Airhart/NBBJ.

after a morning jog, and a gym and learning center on the second level. But most of the action happens on floors three to five, which house workstations and product-development areas. The latter faces the street, so passersby can see staffers creating sneakers; the quieter part in the back is for focused work, with collaboration spaces in between. NBBJ conceived a three-story atrium of sorts, made of glue-laminated spruce-pine-fir, to animate the interior, provide sightlines between floors, and host events and all-hands meetings.

“Our idea was to make you feel connected the moment you step off the elevator,” Mullenix says.

There’s no elevator vestibule; you land in the buzzing atrium. In the surrounding spaces, footwear developers can 3-D print a sole, experiment with different fabrics, and browse designs for upcoming seasons. In the gym, professional athletes test products on treadmills or turf. “They’re constantly pushing the product until it breaks in,” Mullenix adds.

He and his team applied a similar principle to the interior. “Like your favorite shoes, the building will get better with time as you use it,” he explains.

“It had to feel comfortable on day one but be able to change to accommodate more people and new technology.” They developed what they call “infrastructure walls,” thick partitions that house MEP systems and conduits. Other dividers are drywall with no wiring; they can be torn out easily to remove a small conference room or expand a lounge, of which there are five.

NBBJ wove in running references throughout.

Some are literal: The headquarters displays sneakers, motivational graphics in Brooks blue, and, in the café, a 50-foot mural by Seattle artist Shogo Ota inspired by the company’s history. Track lines on the walls and floor provide wayfinding.

But other allusions are more subtle. Mullenix wrapped a pantry kitchen island in resin, adding

Top: A tile-clad banquette backs up into the platform of reclaimed engineered Douglas fir that anchors a lounge; photography: Ty Cole. Center: Custom clocks show the time of day at Brooks offices in Seattle, Indianapolis, and Amsterdam; photography: Sean Airhart/NBBJ. Bottom: Custom casework organizes the materials library; photography: Ty Cole.

Opposite: In the atrium, defined by glue-laminated spruce-pine-fir, flexible LED loops—capped with custom plastic aglets—resemble shoelaces as they drape over a pantry island wrapped in resin, its custom texture nodding to sneaker treads; photography: Ty Cole.

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Top, from left: Open white-oak shelves display sneakers at the building's entry. Stenciled floor numbers throughout evoke track lines. A mural in the café by local artist Shogo Ota depicts runners and references Brooks’ history. Photography: Sean Airhart/NBBJ. Bottom: Near the top floor’s glass-enclosed conference rooms, Hana armchairs

by Simone Bonanni furnish another lounge; photography: Ty Cole.

Opposite: A demonstration showroom is stacked above a design workroom, where products are developed for upcoming seasons, and both face the three-story atrium; photography: Ty Cole.

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a custom texture inspired by the treads of Brooks footwear. Above it hang flexible LED ropes that resemble shoelaces, their ends customized with Brooks aglets (plastic shoelace caps). Downstairs, the backlit reception desk is upholstered in a porous fabric that emulates sneaker mesh. Behind it, 8-foot-long shoelaces form a textured screen. “They make a direct connection to the brand without being too on the nose,” Mullenix notes.

The same can be said of a nearby screen installed along stairs to the second floor, where windows face an unsightly back alley. Mullenix obscured the view with shoebox-size white-oak rectangles hung from vertical cables. Each wood panel has a painted metal shroud that angles out like the lid of a box, revealing shades of blue and orange. “We were looking to capture what it feels like on a morning run along the water, with the sun dappling the trees—and the joy that comes from movement,” Mullenix recalls.

The screen is denser at the bottom, but as the stairs are climbed, the panels turn out to bring in more light. Sun and shadow dapple the stairway in changing patterns throughout the day, energizing what could otherwise be a dead space. Runner or not, you get an endorphin boost.

PROJECT TEAM KELLY GRIFFIN; ALICIA JENKINS; JASMINE MITCHELL; BEN SPICER; MILES STEMPER; EMILY YENSLAND; ERIC LEVINE; ELLIOT RUPESTOCK; CHRISTINA SAKURA; MANDY SEEVER; JONAS KUO: NBBJ. CREO INDUSTRIAL ARTS: CUSTOM GRAPHICS FABRICATION. COUGHLIN PORTER LUNDEEN: STRUCTURAL ENGINEER. BURO HAPPOLD: MEP. GLUMAC: AV, IT. MISSION BELL: MILLWORK. SELLEN: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DREAMSCAPE: CUSTOM WALLCOVERING (HALL). CARNEGIE FABRICS: DESK FABRIC (RECEPTION). KOROSEAL: WALLCOVERING. ANTHOLOGY WOODS: PLATFORMS (LOUNGES). CREATIVE MATERIALS CORP: BANQUETTE TILE (LOUNGE). GRAND RAPIDS CHAIR: TABLE, BENCHES. BLU DOT: PENDANT FIXTURES. FORMICA: CUSTOM CASEWORK (LIBRARY). LUKE LAMP CO.: LED ROPES (ATRIUM). 3FORM: ISLAND (PANTRY).

PEDRALI: STOOLS. LUUM: BANQUETTE FABRIC (CAFÉ). MOOOI: CHAIRS (TOP-FLOOR LOUNGE). THROUGHOUT BENJAMIN MOORE & CO.: PAINT.

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more than black and white Not just wedding dresses anymore, Vera Wang relocates to a Manhattan headquarters

by BMA Architects that’s pared-down, multipurpose, and downright chic

text: jane margolies photography: eric petschek

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Previous spread: The reception area of the Vera Wang headquarters in New York by BMA Architects introduces the minimalist, black-and-white concept for the entire 17,000-square-foot, two-level workplace via a water feature in Absolute black granite standing on large-format porcelain tile before a video wall programmed to illuminate the fashion designer’s logo.

Opposite top: Vera Wang looks out over Park Avenue from her corner office furnished with an Octave sofa by Vincent Van Duysen, a Litt table by Gabriele e Oscar Buratti Architetti, and Gordon Guillaumier’s Pasmore chairs brought from her Los Angeles home. Opposite bottom: The custom reception desk is Cristallo quartzite backlit by LED sheets; the sticklike ’64 chair in the waiting area is by AG Fronzoni.

Top: A 9-by-30-foot video wall in the design and photo studio backdrops a model in pieces from the Haute Spring 2024 ready-to-wear line; photography, art direction: Till Janz; styling: Vera Wang. Bottom: Lobby walls are paneled in matte-stained, wire-brushed white oak.

While other septuagenarians who have had long, successful careers are packing it in, Vera Wang, 75, is making a fresh start. The fashion designer recently sold her namesake company to brand management firm WHP Global in an arrangement that allows her to continue as chief creative officer while being a shareholder in her label as well as in the larger company. Additionally, she and her team have relocated to a polished New York headquarters from which she can oversee the company she founded 35 years ago. What began as bridal wear has grown into a lifestyle brand with licenses for jewelry, home goods, and more, along with designing annual ready-towear lines as well as red-carpet looks for the likes of Ariana Grande and Lady Gaga. “It’s a new chapter,” Wang begins.

Her previous office was on 26th Street, but changes planned for the building she was renting in prompted her to look elsewhere. It was time to move anyway. Her business had evolved from one devoted to producing clothes to one focused on licensing, so she no longer needed thousands of square feet for functions like shipping and receiving. What she needed, instead, was a flexible workplace where she could shoot content to support licensees with a voracious appetite for Instagram posts. An avowed minimalist, Wang was also ready to graduate from a space that was so stripped down as to be “severe” to “something more glamorous,” she continues.

Interestingly, to help bring this evolution to fruition, Wang turned to BMA Architects, a firm more defined by luxury residential than workplace.

The real estate search led Wang to a building that had its own whiff of glamour: the Mad Men–era Pepsi-Cola Building, an aluminum-and-glass landmark on 59th Street completed by Skidmore, Owings & Merrill in 1960. She took 17,000 square feet on the fifth and seventh floors, the former devoted to workplace, the latter for bridal sales, alterations, and VIP fittings. For Wang, a native New Yorker whose first bridal salon was in the Carlyle hotel, moving back uptown was “a full-circle moment,” she notes.

Concepting the interiors was a journey as well. Creating a new workplace “was as personal as building a home,” Wang recalls, so it was perhaps not surprising that she found herself drawn to photos of modernist houses—and their proportion, mix of materials, and warmth—by BMA founder Blaze Makoid. Even though he’d only designed a handful of commercial offices, she arranged to meet him, and they hit it off. Makoid immediately got Wang’s spare, black-and-white aesthetic.

They talked about rooting the project in the four elements of Chinese philosophy: water, wood, steel, and fire (Wang’s parents had immigrated from China in the 1940’s). It also helped that a staff member pulled Makoid aside and gave him a tip: “Vera hates anything round.”

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That’s clear the moment visitors enter reception today and encounter a rectilinear jet black–stone fountain, its water generating a soft hush that makes the street traffic fade away. The design of the feature came easily to Makoid, who has done countless infinity pools for his residential clients, but there were plumbing challenges: “We knew the detailing required to make the water flow over the edge in a way that almost had no movement,” Makoid explains. “But what was complicated was to determine how to get the water there and out.” Behind the fountain is a video wall composed of dozens of screens: On a normal workday, the Vera Wang logo is lit up in a sea of black, but, during an event, the wall can project mood-setting imagery. A luminous desk of backlit Cristallo quartzite and frost-white large-format porcelain floor tile yield a sort of chiaroscuro effect to the entry space.

The center of the workplace is the design and photo studio, where there is a video wall even larger than the one in reception.

Composed of more than 125 screens attached to 10 subframes, it can be programmed to function as a digital version of the mood boards designers have made for decades by pinning polaroids to bulletin boards, or project all the items in a collection, or provide a backdrop for a photo shoot. “That space was probably more important to Vera than her actual office,” Makoid says.

Below: The studio allows for maximum flexibility, with pivoting panels instead of doors and furnishings on castors, including Exo chairs by Burkhard Vogtherr and OE1 tables by Sam Hecht and Kim Colin.

Opposite top, from left: In the design atelier, a drape in progress for an item from the Haute Bridal collection. Chairs by Maarten Van Severen and a mirror from Wang’s previous workplace in an executive office. Opposite bottom, from left: The corridor to Wang’s office. Another look from Haute Spring 2024 RTW; photography: Vera Wang social media; art direction: Till Janz; styling: Vera Wang.

“Clean-lined furniture profiles and a contrasting-color theme are found throughout the 17,000-square-foot project”

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Opposite top: Wang adjusts a Haute RTW piece in the atelier, where the sewing machines have been with her company for decades. Opposite bottom: In the café, stools pull up to a custom bar in more backlit Cristallo and Arc laptop tables are by Manel Molina.

Top: ID Mesh chairs by Antonio Citterio and Nigel workstations furnish the open office. Bottom: An off-site photo shoot features Diamond Strings necklaces, part of the 2024 Jared Atelier X Vera Wang fine jewelry collection; photography: Ben Hassett; styling: Alex White.

But her corner office is no slouch either, encompassing the clean-lined profiles and contrastingcolor theme found throughout the project. A crisp white sofa by Vincent Van Duysen, a low coffee table in black-tinted glass, and ecru woven-leather chairs by Gordon Guillaumier that Wang had in her Los Angeles home all stand on ebony nylon broadloom. “The furniture kept getting boiled down to the most minimal geometric,” Makoid says with a laugh. Elsewhere, sleek task seating by Burkhard Vogtherr and Antonio Citterio in the studio and open office area are on castors for flexibility; chairs in the waiting area off reception “appear almost like stick drawings of furniture,” Makoid adds.

They reappear in the café, its intimate size and sculptural backlit bar—“I’ve never built a bar in an office before,” Wang marvels—emitting both residential and hospitality notes. It’s also geared toward flexibility and multifunction: able to host a cocktail party, a one-on-one meeting, or just an employee wanting to take a pause. Instead of doors, the café is fitted with tall pivoting panels in black-stained white oak that can open “the whole reception area into one big show space for an event,” Makoid says.

The panels were too large to fit in the freight elevator and had to be carried up five flights. But the effort has paid off. The office “aesthetically speaks to what Vera values,” Makoid says. Wang concurs: “It reflects the mood we’re trying to iterate with the brand,” she concludes. “I feel an energy we didn’t have before,” sounding ready for years more of creative effort herself.

PROJECT TEAM MATTHEW LABRAKE; CHARLOTTE KALARIS; ELIRA CONDE: BMA ARCHITECTS. SPECTORGROUP: ARCHITECT OF RECORD. ALLERTONFOX CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MOLTENI&C: SOFA (WANG OFFICE). ACERBIS: TABLE. CAPPELLINI: CHAIRS (RECEPTION, CAFÉ). PEDRALI: TABLE (RECEPTION). DAVIS FURNITURE: CHAIRS (PHOTO STUDIO). HERMAN MILLER: TABLES. VITRA: CHAIRS (EXECUTIVE OFFICE, OPEN OFFICE). ROOM & BOARD: STOOLS (CAFÉ). ANDREU WORLD: TABLES. INNOVANT: WORKSTATIONS (OPEN OFFICE). THROUGHOUT COMMODITILE: FLOOR TILE. PATCRAFT: CARPET. BENJAMIN MOORE & CO.: PAINT.

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history in the making Modern building technologies combine with ancient references in a mix of centuries-old and new projects around the globe text: annie block

See page 170 for Maison m-i-d 1985, a department-store boutique in Osaka, Japan, by Curiosity. Photography: Satoshi Shigeta.

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text: peter webster

shades of spring From Toronto to Shanghai, shops and showrooms worldwide embrace the season with a fresh palette of soft greens, deep blues, and sophisticated grays

Studio Paolo Ferrari project Holt Renfrew, Toronto. standout The revamped 20,000-square-foot third floor sees the illustrious flagship’s menswear department, previously located in another building, joining women’s wear, unisex, and multi-brand activation areas in a carefully programmed layout of product vignettes that juxtaposes color, texture, and pattern with several commissioned art installations. Key elements include a cobalt-blue footwear corner, outfitted with a sumptuous banquette; fitting rooms enclosed by curving Douglas fir latticework; and artist Liz Pead’s wall-spanning Fuzzy Gold, a sculptural surface made of upcycled garments that backdrops the accessories section. A new central skylight enhances the open plan, bringing a touch of the natural world to the shopping experience. photography Doublespace Photography.

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“Our aim was to avoid the pitfalls of the all-too-common marble palaces with segmented counters, rows of shelving, and overbearing drywall ceilings”

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“I don’t think this project could have been designed anywhere but New York because here there are no boundaries”

Laura Gonzalez project Printemps, New York. standout After a 36-year hiatus, the fabled Paris department store returns to the U.S. with a 55,000-square-foot, two-level outpost at One Wall Street, spanning the landmarked art deco building and its 1960’s steel-and-glass extension. The French architect honors the venerable retailer’s heritage—glistening mosaics, stained glass, intricate patterns—while modernizing classic materials or inventing new ones. Traditional oak floors are inlaid with stone, art nouveau tiles are a vintage design reimagined, and “marble” tabletops are made of compressed recycled plastic. The result is a whimsical environment of interconnected rooms, each with a distinct identity yet flowing seamlessly into the next. photography Gieves Anderson.

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“The first impression is of a balance between an art installation and a magical space that catches the eye even from a distance”

Curiosity project Maison m-i-d 1985, Osaka, Japan. standout The Japanese fashion brand’s first boutique—a 2,750-square-foot concept space on the fourth floor of Hankyu Umeda Department Store—is a luminous chartreuse aquarium in which the mostly black or white garments float like monochromatic sea creatures. Yellow glass–brick partitions and display modules divide the volume, while the same color glass floor tile is echoed by a metal-slat ceiling grid, through which light is diffused, bathing the shop in a citrus-tinted glow. Comfortable seating allows customers to relax and absorb the unique atmosphere, which skillfully imbues serenity with a touch of the surreal. photography Satoshi Shigeta.

Sò Studio project Avvenn, Shanghai. standout The renovated 2,100-square-foot, two-level street-front store reflects the same blend of elegant restraint and couture-level detail that defines the women’s wear brand it now sells. A subtle conversation between space, objects, and materials, the interior envelope encompasses recycled brick, raw cast concrete—both textured with natural air bubbles—and pink and gray marble.

The last forms some of the sparse yet monumental furnishings, including a serpentine bench and a blocklike cash wrap on the ground floor, while a sage-green wood-veneered display desk and chairs sit under the graceful spiral of a plaster ceiling sculpture on the floor above. photography Wang Minjie.

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“We’ve endeavored to create a strong sense of volume while maintaining an ethereal lightness”

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MuseLab project Aquant, Mumbai, India. standout Dubbed “Sorbet” for its refreshing mint-green walls and berry-toned accents, the 28,000square-foot showroom proves that bathroom fittings and fixtures can be displayed with the same flair as fashion. A network of circular enclosures defines the space, each framing a curated vignette of products presented as art pieces. The dark gray Kota stone floor, laid in jagged crazy paving, contrasts with the softness of display platforms and the curvilinear shapes of custom circular light fixtures and biomorphic soffits overhead, while sections of fluted detailing and mosaic tiling on walls and other surfaces introduce a note of crisp geometry. photography Nayan Soni.

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“Movement is created through a layout of intersecting circles, creating semi-open enclosures hosting product typologies”

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“The building creates a kind of vertical neighborhood with generous outdoor pockets and internal patios that are shifted but interconnected”

Behet Bondzio Lin Architekten project W Mission, Seoul, South Korea. standout The fashion-textile manufacturer, which also produces the WM clothing brand, gets a new 10-story, 102,000-square-foot sculptural building with a curtainlike, undulating brick facade that emulates the fluidity of fabric. Inside, the first three floors comprise a public zone with street frontage, incorporating a café, stores, showroom, lecture hall, workshops, and exhibition areas, centered around a full-height atrium. The floors above house corporate offices. All levels have access to garden space open to the sky—a reflection of the company’s determination that their headquarters embody values of sacredness, sanctuary, and community. photography Roland Halbe.

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c o n ta c t s

DESIGNERS IN SPECIAL FEATURE Behet Bondzio Lin Architekten (“Shades of Spring,” page 164), 2bxl.com.

Curiosity (“Shades of Spring,” page 164), curiosity.jp.

Laura Gonzalez (“Shades of Spring,” page 164), lauragonzalez.fr.

MuseLab (“Shades of Spring,” page 164), muselab.in.

Sò Studio (“Shades of Spring,” page 164), sooostudio.com.

Studio Paolo Ferrari (“Shades of Spring,” page 164), paoloferrari.com.

PHOTOGRAPHERS IN FEATURES Ty Cole (“Walk the Talk,” page 148), tycole.com.

Ruth Maria Murphy (“Mirror, Mirror,” page 120), Living Inside, livinginside.it.

Eric Petschek (“More Than Black and White,” page 156), ericpetschek.com.

Yuuuun Studio (“In Their Element,” page 128), instagram.com/yuuuunstudiooo.

DESIGNER IN CREATIVE VOICES Sophie Smallhorn (“Color Class,” page 49), sophiesmallhorn.co.uk.

DESIGNERS IN WALK-THROUGH AMMOR Architecture (“Perfect Fit,” page 69), ammorllp.com.

BarlisWedlick Architects (“Ode to Joy,” page 63), barliswedlick.com.

Ghislaine Viñas (“Ode to Joy,” page 63), ghislainevinas.com.

Jan Žaloudek Architekt (“Sacred Space,” page 57), janzaloudekarchitekt.cz.

PHOTOGRAPHERS IN WALK-THROUGH BoysPlayNice (“Sacred Space,” page 57), boysplaynice.com.

Garrett Rowland (“Ode to Joy,” page 63; “Perfect Fit,” page 69), garrettrowland.com.

DESIGNER IN CENTERFOLD

Interior Design (ISSN 0020-5508), April 2025, Vol. 96, No. 3, is published monthly with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices.

POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2024 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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YUUUUN STUDIO

Reddymade (“Full Spectrum,” page 115), reddymade.design.

Kick off NeoCon in high style with IIDA and all the creative stars of the industry in attendance.

IIDA’s Premiere Design Celebration Sunday, June 8 Four Seasons Hotel Chicago

Revel in Design is bigger and bolder than ever. We’ll meet you at the Four Seasons Hotel Chicago on June 8 to connect and celebrate award winning design, including the 2025 winners of the IIDA Interior Design Competition and the IIDA Will Ching Design Competition.

Join host, IIDA Executive Vice President and CEO Cheryl S. Durst, Hon. FIIDA, for an unforgettable evening of design celebration and amazing conversation, topped off with delicious food and drink. You may not know what you want to wear yet, but you know you don’t want to miss it!

Scan the QR code to learn more

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Special Advertising Section

THE spec

“It is the process of creative collaboration and discovery that makes for highly personal and well-loved homes”

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“One of my greatest pleasures is to find ways to express the creativity of others,” says Washington, D.C., interior designer Mary Douglas Drysdale. “Every time I meet new clients, I look forward to opening the front door and entering their space. For me, it is a moment of opportunity: first to discover, then to collaborate.”

The Sgarlata project, Drysdale’s home renovation for a couple who appreciates fine art, modern furniture, and a touch of drama, exemplifies her approach. To catapult the clients’ process of aesthetic discovery, Drysdale took them to museums, galleries, and artists’ studios—rather than simply presenting catalogues or websites. “I knew that by commissioning pieces from younger and regional artists, we could create a loftlike space animated by bold color and form.” She suggested a few basic architectural changes to the interior, which boasted nearly 11-foot-tall ceilings, that would add clarity and provide a more cohesive background.

Drysdale kept much of the furniture black or light-neutral, with art and the judicious use of patterns—including wide stripes, checks, and polka dots—in the starring role. Works by Ruri Yi, Maryanne Pollock, Adria Wright, Max Hirschfeld, Julie Wolfe, Anna Beeke, Mira Hecht, and Timoteo Murphy take center stage. Now the clients, social butterflies who previously went out almost every night, prefer to have friends in and cook at home. After all, they note, they have one of the nicest residences in the District.

JOHN COLE; PORTRAIT: ABBY GREENAWALT

Mary Douglas Drysdale Interior Design

Special Advertising Section

partners

JOHN COLE

Special Advertising Section

THE spec

Candelaria Design

“Our biggest strength is understanding what someone wants out of their home and creating a harmonious design that elevates its character and refines its flow”

FROM TOP: ISAAC BAILEY; PEARL BLOSSOM PHOTOGRAPHY; WERNER SEGARRA (2)

For architect Mark Candelaria, the process of designing a home is much more than producing a set of plans. From leading annual tours of Italy and Spain to cooking for his clients and charities, his approach involves celebrating every aspect of living well. “We are masters of designing custom homes tailored to our clients’ lifestyle,” says Candelaria, who runs his firm alongside principals Tim Mathewson and Evelyn Jung. “The challenge is to also keep the design timeless.

It’s a delicate balance, but we achieve it at all scales, from remodels to 20,000-square-foot estates.” Collaboration without ego is key to his team’s approach. “Our biggest strength is understanding what someone wants out of their home and creating a harmonious design that elevates its character and refines its flow,” he explains.

Since 1999, the firm has designed high-end custom residences throughout Arizona and across the country. There’s the ultracontemporary Johnson house, nestled on a steep hillside lot with 270-degree views maximized from every room, and the more traditional Longcross, a French manor–style estate designed for an NFL Hall of Famer. In another project, a highlight is the modernist jewel box of a dining room—glass-encased—that juts out toward spectacular views of sunsets over Camelback Mountain. Its glassand-steel doors are fully operable, opening entirely to the incredible outdoor space beyond.

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partners

KEVIN BROST

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TOP RIGHT: NACHO ERRANDO

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BOTTOM LEFT: ANGUS MILL; BOTTOM RIGHT: ANGEL TUCKER PHOTOGRAPHY

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1. Suchi Reddy and Ekaya Banaras’s Bench 01 of hand-spun and -dyed banarasi silk on a fiddleback eucalyptus frame through Les Ateliers Courbet. ateliercourbet.com 2. Tallet tiled coffee table with glaze that can be matched to any RAL color by Tina Vaia. tinavaia.com 3. Under the Sycamore Tree inlaid wood-veneer mural by Arte International. arte-international.com 4. Sara Khamisi’s King matte-white ceramic vase by Sandro Lopez Milano. sandrolopez.com 5. Pedra bench upholstered in Élitis Intreccio cotton-wool blend by O&G Studio. oandgstudio.com 6. Cairn chair of English oak by Faye Toogood through Friedman Benda. friedmanbenda.com 7. Drocco/Mello’s Boring Cactus coatrack (also on the cover) cast from flexible polyurethane in gray

by Gufram. gufram.it 8. Igbo Sideboard of burned black steel and black oiled oak by Arno Declercq. arnodeclercq.com 9. Gordon Guillaumier’s Pan armchair of steam-bent reeds by Frigerio. frigerio.com APRIL.25

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THE spec

partners

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1. KEILHAUER Hout brings the soft warmth of wood to the modern workplace.

The uniquely curved armrests, constructed in FSC®-certified wood, echo the curvature of the seat to bring both visual harmony and physical comfort.

Available as a lounge chair and a side chair, Hout was designed with sustainability in mind, minimizing the use of materials while achieving maximum impact. keilhauer.com/hout 188 APR.25

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2. KASWELL FLOORING SYSTEMS Since 1972, Kaswell Flooring Systems has been the pioneer in the use of end grain blocks for flooring and millwork across residential, corporate, hospitality, and healthcare interiors. Our Engineered End Grain Wood Flooring (featured above) combines unmatched durability with a simplified T&G installation process. This product is available in a variety of stunning colors to complement any design aesthetic. t. 508.881.1520 kaswell.com

INTERIOR DESIGN

First NeoCon 2025– Apply Now! Returning for 2025, SANDOW DESIGN GROUP, INTERIOR DESIGN and METROPOLIS, in partnership with THE MART, presents First NeoCon—a unique opportunity for select designers to experience NeoCon for the first time and gain exclusive industry insights.

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Design is for everyone May 15–21 New York City's premier celebration of design → Architecture → Interior Design → Industrial + Product Design → Graphic Design → Landscape Architecture → Urban Design → Technology x Design → Art x Design → Entertainment x Design Event hosts can register at www.nycxdesign.org Questions? Contact: office@nycxdesign.org

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whiteout conditions No signage necessary. That could easily be the slogan for White Is Good Shop, a tidy, all alabaster–hued boutique in Louyang, China, that sells high-end cleaning products in minimalist packaging as well as fashion and tabletop items. To underscore its concept, Beijing-based DesignReserve capped the structure with a white-as-snow pitched roof that’s an abstraction of the traditional eaves of the surrounding centuries-old buildings, formed from twin-wall polycarbonate sheets and translucent waterproof fabric. By day, it diffuses sunlight inside; by night, it glows like a lantern. The roof is joined by raw concrete columns in a slightly darker ecru and a logo aglow in frosty neon. “White is not one color,” DesignReserve founder and design director Song Fengzhou states.

That notion is exemplified in the 540-square-foot interior, where Fengzhou and her team crafted a spectrum of subtle tones and textures for such elements as the epoxy-painted floor and modular aluminum-framed display system. “The environment is dominated by white from top to bottom,” cofounder and codesign director Yue Feng adds, “but it’s not monotonous.”

Floor-to-ceiling glass walls dissolve the boundary between store and street, while an extended eave shelters a platform that doubles as a gathering space. Though it was conceived as a pop-up—and, notably, developed on a pop-up budget—White Is Good Shop has proven so popular that the community has elected to keep it in place permanently, creating a dialogue between traditional and contemporary, embodying a shift that’s happening across China today. —Wilson Barlow

i n t er vention

HUAER LIN

APRIL.25

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Breck Seating

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