Interior Design July August 2025

JULY/AUG 2025

the big reveal

Barcelona Barcelona Wall Scape, Wall Scape, Photograph Photograph

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CONTENTS JULY/AUGUST 2025

VOLUME 96 NUMBER 7

ON THE COVER Our special section celebrating Gensler’s 60th anniversary features dozens of projects in four of the firm’s practice areas including cities, exemplified by the amenity center at California’s Burlingame Point office development, its sawtooth facade clad in continuously anodized aluminum panels that reflect the Bay Area’s animated atmosphere across the 18-acre campus. Photography: Jason O’Rear.

features 172 HOT SHOP

by Dan Howarth

For the Zara Nanjing clothing store in China, AIM Architecture coordinates an impactful ensemble of tactile and analog, slick and high-tech.

180 ARCS DE TRIOMPHE

by Ian Phillips

Labscape Studio’s remodel of a Paris residence offers a contemporary take on the City of Light’s ubiquitous arches.

188 THE LONG VIEW

by Lisa Di Venuta

2025

07//08

196 CREATIVE COMMONS

by Rebecca Dalzell

Bakers, painters, product designers, and dressmakers synergize at Houston’s 2910 McKinney, a midcentury former warehouse turned mixed-use hub re-enlivened by fellow tenant MaRS Culture.

204 PLATINUM PASSPORT

by Michael Snyder

At São Paulo’s famously hectic international airport, the BTG Pactual VIP Terminal by Pascali Semerdjian Arquitetos and Perkins&Will offers deep-pocketed travelers a quietly luxe haven.

Climate, connection, craftsmanship—all those and more support Designing Future Society 212 FEELIN’ GROOVY for Our Lives, the theme

by Peter Webster for the more than 100 From Munich to Manhattan, pavilions at Expo bold graphics alive with 2025 Osaka in Japan. swinging ’60’s flair are popping up in shops, schools, offices, and hotels around the globe.

SETH POWERS

172

Material | Profile

Pattern | Deco

Finish | Ready to Paint

3-form.com

07/ / 08 2025

CONTENTS JULY/AUGUST 2025

43

VOLUME 96 NUMBER 7

special giants section Part two of our annual, industry-wide survey reveals where the top firms rank in the hospitality, sustainability, and healthcare sectors.

59

special gensler 60th-anniversary section

63 CROSSLINES Looking Forward

by Jen Renzi

Gensler’s new leaders chart a course for the future.

71 WORK 86 PRODUCTS 91 CITIES 107 LIFESTYLE 125 HEALTH

departments 27 HEADLINERS 31 DESIGNWIRE

by Annie Block 36 PINUPS

by Rebecca Thienes 137 MARKET edited by Rebecca Thienes text by Lisa Di Venuta, Georgina McWhirter, Jen Renzi, Rebecca Thienes, and Stephen Treffinger 167 CENTERFOLD Fun House

by Nicholas Tamarin

Another fantastical Alex Chinneck installation in London not only caused visitors to do a double take but also invited their interaction with it.

222 CONTACTS

CONNIE ZHOU

231 INTERVENTION

by Wilson Barlow

107

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Cindy Allen, hon. IIDA MANAGING DIRECTOR

DESIGN DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

CREATIVE SERVICES

Annie Block

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SENIOR EDITOR

PRINT OPERATIONS MANAGER

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSOCIATE EDITOR

Wilson Barlow ASSISTANT EDITOR

Lisa Di Venuta ASSISTANT TO THE EDITOR IN CHIEF

Nicole Vega

Olivia Padilla SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

digital DIGITAL CONTENT MANAGER

Carlene Olsen WEB PRODUCER

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EDITOR AT LARGE

Elena Kornbluth CONTRIBUTING EDITORS

Stanley Abercrombie Raul Barreneche Mairi Beautyman Edie Cohen Rebecca Dalzell Jesse Dorris Laura Fisher Kaiser Craig Kellogg Jane Margolies Murray Moss Jen Renzi Peter Webster Larry Weinberg

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CONTRIBUTING PHOTOGRAPHERS

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Michael Shavalier

Acoustic solutions that perform beautifully.

Inspiring spaces. Superior sound.

Sustainable design. zintraacoustic.com

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

SANDOW is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling, and specifying architecture, design, and construction materials.

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A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW carbon impact initiative, all publications, including INTERIOR DESIGN and METROPOLIS, are printed using soy-based inks, which are biobased and derived from renewable sources. This continues Sandow Design Group’s ongoing efforts to address the environmental impact of its operations and media plat­forms. We have a partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2025 with verified carbon credits, including the one you hold in your hands.

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e d i t o r ’s welcome

a GIANT of an issue!

Forgive me for rushing things a smidge, summer still summering and all that, but the huge mountain of projects and gale of ideas piling up and swirling around the country house is, well, sooooooo huge, that I have decided—unilaterally and entirely at my discretion and whim (which seems to be the thing nowadays, ha!)—the traditional “back-to-school” work season is now officially open in August! Well, in this summer issue, to be specific…and so, tickety-boo there. ;) Unlike other inky characters, however, I have a good and pressing reason to push things ahead so hard. In this special edition, we join with the rest of the industry to celebrate 60 years of Gensler’s committed service to the business of design—and to us all. In true Gensler style, the firm chose to mark this anniversary with, among other things, brand-spanking-new co-CEOs, and after a meet-and-greet (and yummy lunch) with Elizabeth Brink and Jordan Goldstein, I feel safe enough to bank on this #1 Giant for great things to keep coming.

We chose, in turn, to add to the festivities by presenting a not-so-quick anthology of Gensler’s here-and-now (and future) with oodles of projects broken up by segments that, all told, will be quite useful as a meter of the firm's growth and our industry’s as well. Throughout my Interior Design shift, I have used Gensler as my own personal gauge on the progress of design and the health of our business, in this country and abroad. Invariably, it has been very reliable, through thick and thin. So, industry critter, design junkie, recreational user, or whoever you may be, you should always keep your eyes peeled on Gensler's dos, too!

In addition to the sumptuous coverage of Arthur’s offsprings, Interior Design—being what it has always been, as the fairest show window for the craft—also offers this month a conspicuous plurality of projects from many other giants of design, too…in all shapes and sizes. Some 100 gigantic pavilions showcase climate, connection, and craftsmanship at Expo 2025 Osaka in Japan (now that’s a wowza!). A VIP terminal at São Paulo's Guarulhos International Airport is all about eliminating the huge hassle of travel and instead bringing back well-being with a luxe and tranquil haven (can you say aaahhhh?).

And finally, we showcase BIG with a bold and graphic global roundup of shops, schools, offices, and hotels that clearly make a GIANT statement indeed!

So, grab this issue and get some BIG-time inspo for whatever giant opportunities lie ahead!

BIG hugs, xoxo

Follow me on

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thecindygram JULY/AUG.25

INTERIOR DESIGN

23

and otherworldly forms. This bold, futuristic collection brings a sculptural aesthetic to walls and floors alike. Grounded in possibility, elevated by design and ready for what’s next.

E X P LO R E O U R L AT E ST P O RC E L A I N + C E R A M I C C O L L ECT I O N S O N S H AWC O N T R ACT.C O M

F LO O R | S T E L L A R 1 2 X 2 4 I N N E B U L A A N D WA L L | S T E L L A R 1 8 X 4 8 WA L L PA N E L I N N E B U L A A N D D E S K | S T E L L A R C H E V R O N I N N E B U L A + M E T EO R

Stellar redefines porcelain and ceramic tile with rocky textures

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

THE SIERRA COLLECTION AT L A N TA | N A P L E S | D E N V E R | S C O T T S D A L E | C H I C A G O

w o o d a r d - f u r n i ture.com

Labscape Studio

headliners

“Arcs de Triomphe,” page 180 cofounder, principal architect: Robert Ivanov. cofounder, principal designer: Tecla Tangorra. firm hq: Brussels. firm size: 15 architects and designers. current projects: Villas in Capri, Italy, and Paxos, Greece; Richard Neutra’s Kun House restoration in Los Angeles. honors: Rethinking the Future Award; WT SmartCityAward; Commerce Design Brussels Award. studies: Ivanov and Tangorra each have an architecture degree, from Institut Supérieur d’Architecture Victor Horta in Brussels and Politecnico di Milano, respectively. jobs: Both have worked in New York, Ivanov at Peter Marino Architect and Tangorra at Klingmann. labscapestudio.com

“Our practice is focused on attention to detail, love for noble and natural materials, and the ability to operate on different scales”

NICOLAS SCHIMP/LIVING INSIDE

JULY/AUG.25

INTERIOR DESIGN

27

AIM Architecture “Hot Shop,” page 172 principal, cofounder: Vincent de Graaf. principal, cofounder: Wendy Saunders. firm hq: Shanghai. firm size: 31 architects and designers. current projects: A store in Shanghai; hotels in Taiwan and Antwerp, Belgium. honors: Perspective A&D Award; Elle Decoration China Award; Archello Award. vessel: Before relocating to China in 2005, de Graaf and Saunders purchased and transformed a 115-foot cargo ship into a floating home and workspace in the heart of Amsterdam. craft: Following family tradition, Saunders has her own line of handmade leather goods. aim-architecture.com

MaRS Culture “Creative Commons,” page 196 founder, ceo: Kelie Mayfield, IIDA. firm sites: Houston; Ho Chi Minh City, Vietnam. firm size: 21 architects and designers. current projects: Houston Zoo administrative building renovation; Rice University Brown College renovation in Houston; 2811 Maple luxury apartment building in Dallas. honors: Interior Design Best of Year Award; HiP Awards; Houston Business Journal Most Admired CEO. protractor: Mayfield earned her master’s in architecture from the University of Houston. boomerang: After a stint in Spain at EMBT Architects, she returned to Houston eventually founding MaRS in 2010. marsculture.com

Perkins&Will “Platinum Passport,” page 204 managing director, principal: Fernando Vidal. office site: São Paulo. office size: 20 architects and designers. current projects: UBS Bank in São Paulo; Bank of America in Mexico City; XP Investments in Miami. honors: Interior Design Best of Year honoree; Guardian Top Projects award; Healthcare Environment Award; BLT Built Design Award. lensman: Vidal is an art admirer and photography enthusiast. gamesman: He also dabbles in different outdoor sports. perkinswill.com

Pascali Semerdjian Arquitetos “Platinum Passport,” page 204 principal: Domingos Pascali. principal: Sarkis Semerdjian. firm site: São Paulo. firm size: 14 architects and designers. current projects: Houses in Alagoas and Natividade da Sierra, and the Santo Rei Hotel in Mato Grosso, all in Brazil. honors: Interior Design Best of Year Award; iF Gold Award; Good Design Award. origins: Pascali and Semerdjian met while both working for Interior Design Hall of Fame member Isay Weinfeld. outcomes: The two architects founded their own firm in 2010. psarquitetos.com

FROM SECOND FROM TOP: ASHLEY BESHARA; WESLEY DIEGO EMES; FERNANDO LASZLO

h e a d l i n e rs

Fora PF

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edited by Annie Block

force of nature

COURTESY OF RACHEL HAYES STUDIO

For “Patterned by Nature,” at the Chicago Botanic Garden through September 21, Oklahoma-based artist Rachel Hayes fabricated a pair of site-specific, 45-foot-square canopies for the center’s two outdoor bonsai courtyards. They’re composed of hundreds of panels of water- and air-permeable industrial textiles— ranging from white Polyfab agri­cul­ tural mesh to colored Serge Ferrari sunscreen fabric—that she machinesews together herself and can with­ stand 1,500 pounds of force per cable, D-ring, and eye-hook connection point.

NeoCon hasn’t been the only event drawing throngs to the Windy City this season. “Patterned by Nature,” at the Chicago Botanic Garden, is another must-see for plant as well as design enthusiasts. Flora-inspired installations by mostly women artists are found across the main campus and Farm on Ogden, including Arquicostura Studio founder Raquel Rodrigo’s Future, 10-by-19-foot embroideries of the echinacea flower, and naturally dyed textiles titled Noticing by Field & Gardner’s Kristin Field. Capping both bonsai courtyards is Radiate, large-scale fabric compositions by Rachel Hayes that bring to mind Frank Lloyd Wright stained glass, Frank Stella paintings, or crocheted granny squares. “I organized blocks of color into dynamic arrangements based on grids, not unlike designing a garden into segments,” says Hayes, whose “hybrid forms” synchronize craft-based textiles with mon­ umental, architectural space; appeared in a 2018 collaboration with Missoni at Milan Design Week; and respond to light, wind, and, in this case, fauna: Birds perch on the cables supporting the artwork, which also shades the trees, some of them 1,200 years old. “After all the engineering factors are sorted comes the fun part: a color and balance game of opaqueness, translucency, darks and lights, brightness and contrast.” Upcoming fun for Hayes is her largest commission to date, for the Georgia Museum of Art’s newly refurbished sculpture garden, installed August 23 through July 2027.

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d e s i g n w ire

bright future

Clockwise from top left: Among the 12 handmade pieces appearing in 25-year-old Nick Valentijn’s “Solo Show” at St Vincents gallery in Antwerp, Belgium, through September 20 is his candle and match holder in steel, brass, and walnut; stained-brass bookshelf; long low credenza and side table, both in stripped brass and charred oak; and copper-walnut console, oak stool, and stained-copper bench.

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INTERIOR DESIGN

JULY/AUG.25

ALEXANDER POPELIER

Henri Delbarre and Geraldine Jackman have an eye for talent. Founders of St Vincents, a 9-year-old boutique gallery in Antwerp, Belgium, dedicated to craftsmanship-focused contemporary design and applied arts, they were one of the first to represent Apparatus and Anna Karlin in Europe. They have discovered another rising talent: Nick Valentijn, whom the two met for coffee upon the heels of his graduation last year from the Maastricht Academy of Fine Arts & Design and are now hosting his debut exhibition appropriately titled “Solo Show.” “Nick’s work holds a unique tension,” the gallerists say, “both precise and refined, yet a little unproportionate, bulky, and carefree. It stuck with us.” Us too. The dozen pieces range from an anthropomorphic candle holder that was part of Valentijn’s graduation project to a lowslung, golden credenza, both rendered large-scale and in specially treated metal, so that they’re monumental, sculptural. “I like to see how far I can strip function away,” says Valentijn, who makes all his creations by hand, flowing from sketch to cut to weld, omitting preparatory models, “before an object becomes something else entirely.”

JeLa Chair by jehs+laub Vida Table by hanne willmann

Clockwise from bottom: Breland-Harper and Nikolai and Simon Haas converted a 150-square-foot former trash enclosure in L.A.’s Highland Park neighborhood into an outdoor café for the U.S. debut of Lumen Coffee, founded in Armenia, landscaped with native succulents, yarrow, and blue grama grass.

The order counter composed of a Portuguese marble sill and painted steel window frames and mullions.

The Haas brothers’ facade of 6,000 tiles handmade at Cerámica Suro in Guadalajara, Mexico, and glazed with their signature creatures.

trash to treasure

MICHAEL WELLS

d e s i g n w ire

Good things really can come in small packages. But sometimes that package takes a lot of vision. Fortunately for Los Angelenos, developer Redcar identified a quartet of creatives with boatloads of vision: Breland-Harper architects Michael Breland and Peter Harper and twin artists Nikolai and Simon Haas, who together transformed a tiny former garbage and water pump–booster enclosure into a golden gem of a café and debut U.S. location for Lumen Coffee, founded in Armenia in 2020.

“Intention can produce the unexpected in a dusty corner of a parking lot,” Breland reflects. “It’s as if the building has been folded inside out,” Harper adds, referring to their total interior gut job that encompassed installing a bathroom, sinks, and refrigeration, among other necessities for the establishment to operate, and such exterior improvements as steel window systems framed in bright-red mullions, Portuguese marble sills, and lush plantings (in addition to architecture and interiors, the firm specializes in landscape architecture). “Cool cats floating in coffee,” is how the Haas brothers describe their contribution to the project: cladding the entire facade in thousands of tiles glazed with animated felinelike creatures, some donning L.A.-appropriate sunglasses.

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INTERIOR DESIGN

JULY/AUG.25

p i n ups

by Rebecca Thienes

on repeat A recurring motif at New York design week?

Segmented sconces in unexpected natural materials

COURTESY OF SOFT-GEOMETRY COURTESY OF DEYA

At Hello Human’s Lyle Gallery exhibition, “Outside/In,” Utharaa Zacharias and Palaash Chaudhary of Soft-geometry, a Los Angeles studio, debuted Long Haired, a hirsute sconce that reflects the familial, domestic ritual of hair braiding by pairing a handblown glass orb with modules cast from hemp-lime composite. soft-geometry.com, thelyle.gallery

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INTERIOR DESIGN

JULY/AUG.25

FSC- C135991

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INTERIOR DESIGN

JULY/AUG.25

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of design

gıant

big news

As a companion to our March issue 100 and Rising Giants coverage, this special section spotlights sector-specific rankings—as well as perennial number one firm Gensler, which celebrates its 60th anniversary by leading five categories and more

44 Hospitality Giants 50 Sustainability Giants 54 Healthcare Giants 59 Gensler 60th

EMA PETER

Port of Portland, Oregon, PDX Next Terminal Core Redevelopment, Main Terminal,

by ZGF [Sustainability 12; Healthcare 15].

JULY/AUG.25

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ranking h o s p i ta l i t y giants 2025 RANK

FIRM headquarters / website

(in millions)

(in millions)

$8,170.3

2024 RANK

1 HBA INTERNATIONAL Santa Monica, CA / hba.com

$126.6

2 GENSLER San Francisco / gensler.com

$44.2

2

3 ROCKWELL GROUP New York / rockwellgroup.com

$40.0

3

1

4 AVROKO New York / avroko.com

$20.7

$2.2

7

5

$20.3

$8.1

8

DLR GROUP Seattle / dlrgroup.com

6 FORRESTPERKINS / PERKINS EASTMAN New York / perkinseastman.com

$19.1

6

7 POPULOUS Kansas City, MO / populous.com

$18.9

–

8 JCJ ARCHITECTURE Hartford, CT / jcj.com

$18.5

13

9 WIMBERLY INTERIORS New York / wimberlyinteriors.com

$17.8

5

10

$13.5

$13.0

9

$13.1

$140.0

– 16

BASKERVILL Richmond, VA / baskervill.com

11 STEELMAN PARTNERS Las Vegas / steelmanpartners.com 12 CHAMBERS Baltimore / chambersusa.com

$12.3

$121.0

13 ZEBRA PROJECTS London / zbr.global

$12.2

$487.5

14 PIERRE-YVES ROCHON, PYR Chicago / pyr-design.com

$11.8

18

15 MEYER DAVIS STUDIO New York / meyerdavis.com

$11.8

$0.4

20

16 THE GETTYS GROUP Chicago / gettys.com

$10.5

15

17 ARIA GROUP Oak Park, IL / ariainc.com

$10.2

$218.5

19

18 CHIPMAN DESIGN ARCHITECTURE Des Plaines, IL / chipman-design.com

$8.8

$50.0

17

19 SARGENTI ARCHITECTS Paramus, NJ / sargarch.com

$8.5

$930.0

22 40

11

20 ROTTET STUDIO Houston / rottetstudio.com

$7.8

$3.2

21 EDG INTERIOR ARCHITECTURE AND DESIGN Novato, CA / edgdesign.com

$7.8

$120.0

27

22

DESIGNAGENCY Toronto / thedesignagency.ca

$7.7

$0.9

28

23 LOONEY & ASSOCIATES Dallas / looney-associates.com

$7.6

$1,240.0

24

24 CHAMPALIMAUD DESIGN New York / champalimaud.design

$7.0

14

25 CHIL INTERIOR DESIGN Vancouver / childesign.com

$6.9

32

26

DILEONARDO Warwick, RI / dileonardo.com

$284.1

$6.5

29

27 STONEHILL TAYLOR New York / stonehilltaylor.com

$6.2

$636.0

26

28 B+H Toronto / bharchitects.com

$6.2

$0.6

–

29 JLL DESIGN SOLUTIONS Chicago / jll.com

$6.1

–

30 EOA GROUP Coral Gables, FL / eoagroup.com

$6.1

$2,000.0

31

31 STUDIO 3877 Washington / 3877.design

$6.0

$20.0

30

32

RVD Los Angeles / rodrigovargasdesign.com

$6.0

$210.0

–

33

ICRAVE, A JOURNEY STUDIO New York / icrave.com

$5.9

$201.9

10

34 JEFFREY BEERS INTERNATIONAL New York / jeffreybeers.com

$5.9

$40.0

–

35 HORD COPLAN MACHT Baltimore / hcm2.com

$5.8

$144.7

36

36 DENTON HOUSE DESIGN STUDIO Salt Lake City / dentonhouse.com

$5.6

–

37 PREMIER Dallas / premierpm.com

$5.5

35

38

$5.5

33

39 ASD | SKY Atlanta / asdsky.com

$5.5

39

40 KTGY Irvine, CA / ktgy.com

$5.4

23

41 PGAL Houston / pgal.com

$5.3

HBG DESIGN Memphis, TN / hbg.design

21

PIVOT STUDIO Cincinnati / pivotstudiocreative.com

$5.3

$40.0

–

43 INTERIOR IMAGE GROUP Crown Point, IN / iigdesign.com

$5.3

$400.0

37

42

44 PARKER-TORRES DESIGN Sudbury, TK / parkertorres.com

$5.3

38

45 SHEA Minneapolis / sheadesign.com

$5.2

$85.0

41

46 MANCINI DUFFY New York / manciniduffy.com

$5.2

$145.4

–

47 J. BANKS DESIGN Hilton Head Island, SC / jbanksdesign.com

$4.9

$4.2

48

48 LEO A DALY Omaha, NE / leoadaly.com

$4.9

25

49 LAWRENCE GROUP St. Louis / thelawrencegroup.com

$4.8

55

50 DESIGN DEVELOPMENT COMPANY Agoura Hills, CA / designdevelopment-group.com

$4.3

–

continued 44

FF&C VALUE OF WORK DESIGN FEES INSTALLED

INTERIOR DESIGN

JULY/AUG.25

$30.0

“–” not listed in 2024

collection EMBLEME pattern UNDER THE SYCAMORE TREE

ranking h o s p i ta l i t y giants

continuation FF&C VALUE OF WORK DESIGN FEES INSTALLED (in millions)

(in millions)

2024 RANK

51 INC ARCHITECTURE & DESIGN New York / inc.nyc

$4.2

$699.5

42

52 HATCH DESIGN GROUP / HATCH HOSPITALITY SUPPLY Costa Mesa, CA / hatchdesign.com

$3.8

$285.6

43

2025 RANK

FIRM headquarters / website

53 STUDIO 11 DESIGN Dallas / studio11design.com

$3.5

$4.1

–

54

INTERIOR ARCHITECTS San Francisco / interiorarchitects.com

$3.5

$70.1

–

55

BERGMEYER Boston / bergmeyer.com

$3.2

$22.0

–

$3.1

$208.3

49

56 WALDROP+NICHOLS STUDIO Dallas / waldropnichols.com

$3.1

–

58 PRIVATE LABEL INTERNATIONAL Mesa, AZ / privatelabelintl.com

57

$2.9

$40.0

–

59 MEYERS + ASSOCIATES ARCHITECTURE AND INTERIOR DESIGN Columbus, SC / meyersarchitects.com

$2.9

$30.1

–

60 MKDA New York / mkda.com

$2.6

$180.1

46

$2.6

$79.2

61

ENV New York / env-team.com

SIMS PATRICK STUDIO Atlanta / simspatrickstudio.com

–

62 C+TC DESIGN STUDIO Atlanta / ctcdesignstudio.com

$2.5

63 ARCADIS Amsterdam / arcadis.com

$2.5

–

64 FLICK MARS Dallas / flickmars.com

$2.5

$90.0

50

65 KAY LANG + ASSOCIATES Los Angeles / kaylangassocs.com

$2.1

$88.0

60

66 VOCON Cleveland / vocon.com

$2.0

–

67 LS3P ASSOCIATES Charleston, SC / ls3p.com

$1.9

63

68 SUOMI DESIGN WORKS New York / suomidesignworks.com

$1.9

$443.4

–

69 THE SOCIETY Seattle / welcometothesociety.com

$1.9

$80.0

72

70 HOSPITALITY DESIGN GUILD Dallas / hdesignguild.com

$1.9

$7.0

61

71 THOMPSON, HANCOCK, WITTE & ASSOCIATES Atlanta / thw.com

$1.8

$36.0

–

72 OTJ ARCHITECTS Washington / otj.com

$1.7

– 64

73

59

WORKSHOP/APD New York / workshopapd.com

$1.7

$100.0

74 NICOLEHOLLIS San Francisco / nicolehollis.com

$1.6

$1.7

51

75 LUMINAUT Cincinnati / luminaut.com

$1.5

$301.0

66

“–” not listed in 2024

ERIC LAIGNEL

The E-Wow suite at the W Prague by AvroKO [4].

46

INTERIOR DESIGN

JULY/AUG.25

Your Design.

Our Craft.

At Kimball Hospitality, we don’t just manufacture furniture—we bring visions to life.

Our collaboration with Hotel Nickel Plate Fishers embodies this commitment, delivering custom-crafted casegoods that reflect the hotel’s unique blend of historic charm and modern appeal. Inspired by the surrounding Nickel Plate Trail and local culture, every piece seamlessly integrates historical elements with modern functionality.

Discover how our custom capabilities can elevate your next project.

kimballhospitality.com

h o s p i t a l i t y giants

renovation has been trending up

cosmetic refresh 6%

renovation/retrofit 49%

new construction 45%

segment fees and growth predictions

most admired firms

fees*

% of overall sector fees

% of firms predicting growth

Luxury hotel

$159.5

21%

59%

Restaurant/bar

$126.1

16%

51%

Boutique hotel

$103.9

14%

59%

Resort/spa/country club

$120.8

15%

57%

Mid/economy hotel

$45.9

6%

37%

Mixed-use

$43.3

6%

54%

Gaming

$37.4

5%

19%

Senior living

$13.0

2%

58%

Condo-hotels/timeshare

$6.9

1%

18%

Cruise ship

$3.8

1%

9%

Micro-hotel

$0.3

0%

14%

Other

$32.4

4%

–

* in millions

2 3 4 AvroKO

Rockwell Group

Meyer Davis Studio

Yabu Pushelberg

snapshot 2024 hospitality design fees

$600M $22.4B FF&C value

FF vs C

47/53%

7,532

projects 2023

2024

increase

HBA

$100.5

$126.6

$26.2

Rockwell Group

$34.5

$40.0

$5.6

Denton House Design Studio

$0.1

$5.6

$5.5

JCJ Architecture

$13.6

$18.5

$4.9

Steelman Partners

$8.4

$13.1

$4.7

Populous

$15.1

$18.9

$3.9

Mancini Duffy

$1.6

$5.2

$3.6

IA Interior Architects

$0.1

$3.5

$3.4

Meyer Davis Studio

$8.6

$11.8

$3.2

DLR Group

$17.3

$20.3

$3.1

* in millions

48

INTERIOR DESIGN

JULY/AUG.25

Crescent Hotel in Fort Worth, Texas, by Rottet Studio [20].

ERIC LAIGNEL

firms with the most fee growth*

ranking s u s ta i n a b i l i t y giants 2025 RANK

FIRM headquarters / website

1

GENSLER San Francisco / gensler.com

(in millions)

(in millions)

DESIGN STAFF SIZE

2024 RANK

$843.4

2,946

1

2 PERKINS&WILL Chicago / perkinswill.com

$301.7

982

2

3 HKS Dallas / hksinc.com

$165.4

150

3

4 CANNONDESIGN New York / cannondesign.com

$145.0

12

5 AECOM Dallas / aecom.com

$115.9

$11,592.0

460

4

6

$105.3

$2,000.7

344

–

7 HDR Omaha, NE / hdrinc.com

$104.6

$2,531.4

126

6

8 CORGAN Dallas / corgan.com

$99.0

$3,240.0

400

7

9 PAGE Washington / pagethink.com

$89.3

$3,864.2

749

5

10 JACOBS Dallas / jacobs.com

$88.2

$8,490.0

1,269

–

11 SMITHGROUP Detroit / smithgroup.com

$68.0

261

8

12 ZGF Portland, OR / zgf.com

$65.4

10

13 DLR GROUP Seattle / dlrgroup.com

$44.5

$8.1

1,115

17

14 SKIDMORE, OWINGS & MERRILL New York / som.com

$43.2

100

14

15 NBBJ Seattle / nbbj.com

$39.0

5

9

16 PERKINS EASTMAN New York / perkinseastman.com

$35.5

$2,000.0

299

50

17

$33.0

$710.0

80

15

ARCADIS Amsterdam / arcadis.com

TED MOUDIS ASSOCIATES New York / tedmoudis.com

$11,173.6

18 TPG ARCHITECTURE New York / tpgarchitecture.com

$29.3

175

–

19

$29.2

111

11

20 FLAD ARCHITECTS Madison, WI / flad.com

$28.6

$5,270.0

305

22

21 HLW New York / hlw.com

$24.7

$3,792.1

130

–

22 E4H ENVIRONMENTS FOR HEALTH ARCHITECTURE Fort Worth, TX / e4harchitecture.com

$24.6

$730.0

118

18

23 RSP ARCHITECTS Minneapolis / rsparch.com

$22.2

$679.3

72

20

HGA Minneapolis / hga.com

24 STANTEC Edmonton, CA / stantec.com

$21.1

236

21

25 CO ARCHITECTS Los Angeles / coarchitects.com

$21.0

$21.0

85

19

26 EWINGCOLE Philadelphia / ewingcole.com

$20.0

$1,262.9

138

13

27 MANCINI DUFFY New York / manciniduffy.com

$19.0

$385.0

81

25 –

28

$17.8

267

29 RMW ARCHITECTURE & INTERIORS San Francisco / rmw.com

GRESHAM SMITH Nashville, TN / greshamsmith.com

$13.4

59

–

30 HMC ARCHITECTS Ontario, CA / hmcarchitects.com

$13.2

121

16

31

SMMA Cambridge, MA / smma.com

$12.3

74

41

32

BALLINGER Philadelphia / ballinger.com

$763.0 $140.0

$12.1

92

26

33 STEELMAN PARTNERS Las Vegas / steelmanpartners.com

$11.5

128

51

34 KASIAN ARCHITECTURE, INTERIOR DESIGN AND PLANNING Vancouver / kasian.com

$10.0

172

–

35 FXCOLLABORATIVE ARCHITECTS Brooklyn, NY / fxcollaborative.com

$9.9

58

35 28

$140.0 $211.0

36 CBT Boston / cbtarchitects.com

$9.7

51

37 HED Royal Oak, MI / hed.design

$9.2

193

–

38 PGAL Houston / pgal.com

$9.0

224

30

39 STUDIOS ARCHITECTURE Washington / studios.com

$8.6

197

27

40 KZF DESIGN Cincinnati / kzf.com

$8.5

$628.0

66

32

41

$8.1

$1,315.0

782

33

M MOSER ASSOCIATES Hong Kong / mmoser.com

$316.0

42 CBRE DESIGN COLLECTIVE Atlanta / cbre.comservices/design-and-build/design

$7.9

538

–

43 MG2 Seattle / mg2.com

$7.2

103

70

44 HORD COPLAN MACHT Baltimore / hcm2.com

$7.1

$265.7

36

42

45

$7.0

$100.0

15

–

46 DESIGN REPUBLIC New York / designrepublic.us.com

$6.6

$375.0

44

81

47 DYER BROWN & ASSOCIATES Boston / dyerbrown.com

$6.4

31

53

48 CETRARUDDY New York / cetraruddy.com

$6.2

$320.0

37

–

49

VIDA DESIGN Portland, OR / vida-design.com

$5.7

$15.6

55

–

50 THE SWITZER GROUP New York / theswitzergroup.com

$5.3

$800.0

40

23

MOJO STUMER ASSOCIATES Greenvale, NY / mojostumer.com

continued 50

FF&C VALUE SUSTAINABILITY OF WORK FEES INSTALLED

INTERIOR DESIGN

JULY/AUG.25

“–” not listed in 2024

teknion.com

ranking s u s ta i n a b i l i t y giants 2025 RANK

FIRM headquarters / website

51

LMN ARCHITECTS Seattle / lmnarchitects.com

continuation SUSTAINABILITY FEES

FF&C VALUE OF WORK INSTALLED

(in millions)

(in millions)

DESIGN STAFF SIZE

2024 RANK

$5.1

$247.3

56

36

52 HENDY Newport Beach, CA / hhendy.com

$5.0

$0.2

25

–

53

45

$4.8

$518.5

4

54 CHAMBERS Baltimore / chambersusa.com

LEGAT ARCHITECTS Chicago / legat.com

$4.8

$121.0

33

61

55 HOK St. Louis / hok.com

$4.6

$6,035.0

339

49

56 DESIGN DEVELOPMENT COMPANY Agoura Hills, CA / designdevelopment-group.com

$4.3

9

–

57 THE MILLER HULL PARTNERSHIP Seattle / millerhull.com

$4.2

$72.0

25

–

58 SSHAPE Washington / sshapedc.com

$4.2

$105.0

49

52

59 PRIVATE LABEL INTERNATIONAL Mesa, AZ / privatelabelintl.com

$4.2

$45.4

8

56

60 BASKERVILL Richmond, VA / baskervill.com

$4.2

$228.7

74

44

61 RULE JOY TRAMMELL + RUBIO Atlanta / rjtrdesign.com

$3.8

$178.4

41

48

62 MEYER DAVIS STUDIO New York / meyerdavis.com

$3.6

$4.3

84

55

63

$3.5

$1,900.0

44

29

64 IN STUDIO DESIGN Toronto / instudiocreative.com

$3.5

$200.0

23

60

65 JCJ ARCHITECTURE Hartford, CT / jcj.com

$3.5

108

34

66 HUNTSMAN ARCHITECTURAL GROUP San Francisco / huntsmanag.com

$3.2

$130.0

55

65

67 FIGURE3 Toronto / figure3.com

$3.2

$259.0

50

–

68 RATIO DESIGN Indianapolis / ratiodesign.com

$3.1

$99.0

101

–

$150.0

29

37

62

67

CID DESIGN GROUP Naples, FL / cid-designgroup.com

69 HENDRICK Atlanta / hendrickinc.com

$3.1

70 PIERRE-YVES ROCHON, PYR Chicago / pyr-design.com

$3.0

71 PARTNERS BY DESIGN Chicago / pbdinc.com

$3.0

$525.5

39

74

72 RAPT STUDIO San Francisco / raptstudio.com

$2.9

$882.0

35

–

73 CHIPMAN DESIGN ARCHITECTURE Des Plaines, IL / chipman-design.com

$2.8

$37.5

120

66

74 KLAWITER AND ASSOCIATES Los Angeles / klawiter.com

$2.8

$35.0

17

76

75 ENV New York / env-team.com

$2.7

$88.2

79

–

76 STUDIOSIX5 Austin, TX / studiosix5.com

$2.6

$400.0

39

31

77

$2.5

$809.6

218

72

78 CLARK NEXSEN Virginia Beach, VA / clarknexsen.com

VOCON Cleveland / vocon.com

$2.5

$90.0

128

46

79 ARCHITECTURE, INCORPORATED Reston, VA / archinc.com

$2.4

$123.8

13

–

80 MEYERS+ASSOCIATES ARCHITECTURE AND INTERIOR DESIGN Columbus, OH / meyersarchitects.com

$2.3

$30.2

24

–

81 MEAD & HUNT Middleton, WI / meadhunt.com

$2.2

$3.0

403

–

82

CUSHING TERRELL Billings, MT / cushingterrell.com

$2.1

$706.9

53

63

83

WARE MALCOMB Irvine, CA / waremalcomb.com

$2.0

$1,251.1

302

87

84

MEYER Ardmore, PA / meyerdesigninc.com

$2.0

$190.0

58

–

85 RYAN YOUNG INTERIORS National City, CA / ryanyounginteriors.com

$2.0

$12.7

42

98

86 LEO A DALY Omaha, NE / leoadaly.com

$1.9

197

99

87 SPACESMITH New York / spacesmith.com

$1.8

$95.0

30

83

88 FLOSS BARBER Philadelphia / flossbarber.com

$1.7

$10,200.0

8

–

89 CARRIER JOHNSON San Diego / carrierjohnson.com

$1.7

$0.4

32

84

90 KAY LANG + ASSOCIATES Los Angeles / kaylangassocs.com

$1.7

$88.0

12

75

91 STG DESIGN Austin, TX / stgdesign.com

$1.6

$94.8

82

–

92 ELKUS MANFREDI ARCHITECTS Boston / elkus-manfredi.com

$1.5

$600.0

121

43

93 SARGENTI ARCHITECTS Paramus, NJ / sargarch.com

$1.5

$275.5

97

88

94 DAS ARCHITECTS Philadelphia / dasarchitects.com

$1.4

$250.0

11

–

95 STUDIO G ARCHITECTS San Jose, CA / studiogarchitectsinc.com

$1.3

$250.0

42

89

96 EDG INTERIOR ARCHITECTURE AND DESIGN Novato, CA / edgdesign.com

$1.3

$120.0

27

–

97 STUDIO 3877 Washington / 3877.design

$1.3

$25.0

37

95

98 ARRIS, A DESIGN STUDIO Baltimore / arrisdesign.com

$1.2

$200.0

28

78

99 HIXSON ARCHITECTURE, ENGINEERING, INTERIORS Cincinnati / hixson-inc.com

$1.2

$40.0

10

77

100 STONEHILL TAYLOR New York / stonehilltaylor.com

$1.2

$792.0

43

90

“–” not listed in 2024 52

INTERIOR DESIGN

JULY/AUG.25

Crafted with Purpose®

Dapper Dialogue | Modular Carpet manningtoncommercial.com

ranking h e a lt h c a r e giants 2025 RANK

FIRM headquarters / website

FF&C VALUE OF WORK DESIGN FEES INSTALLED (in millions)

(in millions)

2024 RANK

1 HKS Dallas / hksinc.com

$113.1

2 PERKINS&WILL Chicago / perkinswill.com

$112.5

$1,880.9

2 1

3 HDR Omaha, NE / hdrinc.com

$99.4

$1,518.8

3

4 CANNONDESIGN New York / cannondesign.com

$95.0

4

5 SMITHGROUP Detroit / smithgroup.com

$52.9

5

6 STANTEC Edmonton, Canada / stantec.com

$50.0

9

7 PERKINS EASTMAN New York / perkinseastman.com

$40.2

8

8 E4H ENVIRONMENTS FOR HEALTH ARCHITECTURE Fort Worth, TX / e4harchitecture.com

$38.9

7

9 GENSLER San Francisco / gensler.com

$37.4

15

10

PAGE Washington / pagethink.com

$924.6

$37.3

$2,328.0

6

11 HOK St. Louis / hok.com

$35.1

$1,009.0

10

12 NBBJ Seattle / nbbj.com

$32.0

12

13 HGA Minneapolis / hga.com

$29.7

13

14 AECOM Dallas / aecom.com

$27.8

15 ZGF Portland, OR / zgf.com

$21.3

$1,808.4

11 14

16 LEO A DALY Omaha, NE / leoadaly.com

$16.1

17

17

$14.8

$434.9

23

EWINGCOLE Philadelphia / ewingcole.com

18 CO ARCHITECTS Los Angeles / coarchitects.com

$14.5

$500.0

19

19 FLAD ARCHITECTS Madison, WI / flad.com

$14.0

$1,060.9

16

20

NK ARCHITECTS Morristown, NJ / nkarchitects.com

$12.2

24

21 HMC ARCHITECTS Ontario, CA / hmcarchitects.com

$11.0

20

22 GRESHAM SMITH Nashville, TN / greshamsmith.com

$10.3

–

23 LAWRENCE GROUP St. Louis / thelawrencegroup.com

$9.3

22

24

CORGAN Dallas / corgan.com

25 LITTLE DIVERSIFIED ARCHITECTURAL CONSULTING Charlotte, NC / littleonline.com

$8.4

18

$8.0

25

$51.0

26 BALLINGER Philadelphia / ballinger.com

$7.3

27

27

$6.7

$330.0

28

28 ARRAY ARCHITECTS Conshohocken, PA / array-architects.com

$6.3

$600.0

29

$5.5

26

STUDIOSIX5 Austin, TX / studiosix5.com NELSON WORLDWIDE Minneapolis / nelsonworldwide.com

–

30 SARGENTI ARCHITECTS Paramus, NJ / sargarch.com

$5.0

32

31 ANKROM MOISAN Portland, OR / ankrommoisan.com

$4.9

41 31

32 LS3P ASSOCIATES Charleston, SC / ls3p.com

$4.2

$550.5

33 MEYER Ardmore, PA / meyerdesigninc.com

$3.9

$79.8

–

34 HORD COPLAN MACHT Baltimore / hcm2.com

$3.8

$34.7

35

35

$2.9

$700.0

44

36 WARE MALCOMB Irvine, CA / waremalcomb.com

$2.8

$105.4

33

37 ANDERSON MIKOS ARCHITECTS Oakbrook, IL / andersonmikos.com

$2.8

$655.1

29

$53.9

45

B+H Toronto / bharchitects.com

38

MANCINI DUFFY New York / manciniduffy.com

$2.7

39

PGAL Houston / pgal.com

$2.4

34

40 TRICARICO ARCHITECTURE + DESIGN Wayne, NJ / tricarico.com

$2.0

$48.0

–

41

$1.9

$381.4

40

42 KKT ARCHITECTS Tulsa, OK / kktarchitects.com

$1.9

$397.8

39

43 ARRIS, A DESIGN STUDIO Baltimore / arrisdesign.com

$1.5

$5.5

46

RULE JOY TRAMMELL + RUBIO Atlanta / rjtrdesign.com

44

GALLUN SNOW Denver / gallunsnow.com

$1.4

$42.8

42

45 ICRAVE, A JOURNEY STUDIO New York / icrave.com

$1.4

$43.9

–

46 ARCHITECTURE, INCORPORATED Reston, CA / archinc.com

$1.4

$18.1

47 JLL DESIGN SOLUTIONS Chicago / jll.com

$1.1

47

48 ELKUS MANFREDI ARCHITECTS Boston / elkus-manfredi.com

$0.8

49

49 GH2 ARCHITECTS Tulsa, OK / gh2.com

$0.7

$1.2

–

50 JRS ARCHITECT Mineola, NY / jrsarchitect.com

$0.7

$1.3

–

–

“–” not listed in 2024 54

INTERIOR DESIGN

JULY/AUG.25

Rondo

ERG INTERNATIONAL

SUMMER 2025 NEW PRODUCTS

fees*

% of overall sector fees

% of firms predicting growth

Acute-care hospital

$498.9

48%

55%

Outpatient procedure/surgery center

$128.3

12%

70%

Health clinic

$98.3

10%

55%

Mental-health facility

$71.1

7%

70%

Assisted/senior living

$39.4

6%

57%

Rehabilitation facility

$49.2

5%

30%

Health & wellness/fitness center

$36.2

4%

40%

Doctor/dental office

$29.2

3%

23%

Skilled nursing facility/hospice

$3.2

0%

17%

Telehealth

$3.1

0%

-

Other

$45.5

4%

-

* in millions

snapshot 2024 healthcare design fees

$940.9M

most admired firms

FF vs C

22/78%

$21.7B 6,910

projects

FF&C value

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UC Health Emergency Department in Cincinatti by CannonDesign [4].

1.Perkins&Will

4.ZGF

2.NBBJ

5.HDR

3.CannonDesign

6.HKS

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Congratulations, Gensler, on six decades of design innovation and global impact.

Celebrating 60 years of bold ideas, transformative spaces, and sustainable leadership. Material Bank is proud to be a part of your journey, and what comes next. materialbank.com

g e n s l e r 6 0 TH

JASON O’REAR

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L O S AN G EL ES SH O WR O O M

NEW YORK SHOWROOM

8650 Melrose Avenue, West Hollywood, CA 90069

225 E 59th St, New York, New York 10022

(323) 486-3491

(212) 464-7131

CONTRACT

B E N S O LE I M A N I . C O M

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Celebrating 60 Years of Gensler

GREAT SPACES INSPIRE GREAT WORK

Gensler co-CEOs Jordan Goldstein and Elizabeth Brink.

looking forward Gensler’s new leaders chart a course for the future

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On the occasion of Gensler’s 60th anniversary—a milestone that speaks to its enduring influence—the firm has even more to celebrate than longevity alone. The multidisciplinary global powerhouse once again claims the top spot in the Giants of Design rankings, a position it’s held for decades as the industry’s most profitable practice. Such sustained dominance reflects Gensler’s continued geographic expansion and diversification across new practice areas—not to mention its commitment to nurturing creative leadership from within.

Speaking of which, today Gensler celebrates another pivotal moment: one year into the tenure of new co-CEOs Elizabeth Brink and Jordan Goldstein. This marks only the second leadership change in the company’s history. The duo assumed their roles from Andy Cohen and Diane Hoskins, who, after two decades at the helm, have transitioned to serve as global cochairs of the 6,000-person, 57-office practice (see our interview with them on page 66).

Brink and Goldstein bring substantial institutional knowledge to their positions, boasting 21 and 29 years at Gensler, respectively. “That kind of experience gives us an understanding of the history of the leadership that’s come before us—and from whom we’ve learned and who continue to be incredible mentors,” Brink explains.

While deeply respectful of the firm’s heritage and the legacy of industry icon Art Gensler, the co-CEOs maintain a decidely forward-looking perspective.

In their first year, Brink and Goldstein have already established their own C-suite style, characterized by accessibility and authenticity—qualities they believe are essential for drawing out the best ideas from teams tackling complex global challenges. “We’re serious about the work, but we want to have fun doing it, and we’re comfortable in our informality,” Goldstein notes. Interior Design sits down with the pair to hear about the transition—and their vision.

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Gensler has long embraced a co-leadership model. What’s your take on it?

workplace strategy. All those threads came together in design, which uses all my interests.

Elizabeth Brink: We model strong collaboration through the entire organization, from projects to studios to offices to practice areas—all the way up to the executive-level leadership.

JG: I’ve been a commercial designer since the beginning, with a focus on digital design, which Gensler has been very proactive about.

Jordan Goldstein: It reflects Gensler’s belief that design is not a solo art. So, how do we make sure that all voices resonate? As leaders, we see ourselves in the role of conductors—of a symphony of different voices around the table.

What new digital tools are impacting the practice today?

Something we want to push forward is developing the next generation of creative leaders across the firm.

Helping people become the best designer, strategist, or leader they can be is about meeting each individual where they are. We’re investing in that at the ground level by teaching our leaders to be better mentors and our young people how to find and communicate their voice—and how to engage with clients in ways that allow deep conversations.

For a new workplace pitch, for instance, we created the character of a prospective client of the company and demonstrated what their experience would be like coming to and navigating the space. When we shared it with the client, there were tears, because they really engaged with the story. That’s very different than the design presentations of old!

Your career trajectories and backgrounds are quite different. Elizabeth, you actually started out in communications?

JG: Another example is a sports arena we are currently repositioning. Those types of projects can take years to build, but the client wants the fans to understand what’s happening—and they need to sell seats. Using this new technology, we were able to

EB: Yes, and then urbanism—which is really thinking about how people move through space—followed by 64

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That technology must have some interesting applications beyond just client presentations.

JEFFREY DURKIN

EB: Creativity at a firm of this scale requires such a diversity of viewpoints, perspectives, and talent.

JG: Something we’re excited about is a new AIdriven storytelling technology we’re using for presentations. We can now do full character de­ velopment, with spatial effects, to take clients on an immersive journey through a proposed design.

Clockwise from opposite: IQHQ Research and Development District in San Diego. Eleven50, an Alexandria Real Estate Equities life science building in Seattle. Western Oregon University’s Student Success Center, located in Monmouth, Oregon. The Ironworkers Local 63 training center in Broadview, Illinois. Bold environmental graphics at LinkedIn, San Francisco.

quickly build an immersive experience center that walks fans through the venue so they can sample what the future will be like. It’s super effective.

What regions are you eyeing for expansion?

EB: There’s incredible growth happening in Latin America. Our Costa Rica office is tremendous, with lots of young creatives driving innovation. We talk a lot about investing in our growth regions, putting our research resources into those communities.

JG: The launch of our Kansas City office last summer has allowed us to get closer to great talent there, which is especially important in light of our growing sports and entertainment practice. We’re also excited about India. We already have locations in Bangalore and Mumbai and are looking to open one more this year. The project opportunities there span the spectrum, from retail and hotels to new education buildings and great workplaces.

What do you hope people see in you as leaders?

Do any recurring themes come up in those conversations?

EB: That we are people focused, future focused, and collaborative. That we want to jump in and experiment, explore, and empower. That we are real people! As leaders, it’s important we’re accessible and making time to connect with people and provide a platform for them to convey their ideas, so that we are growing the future together. Every time we visit an office, we conduct open-mic fireside chats so people can ask us about anything—the direction of the firm, projects, our own experience.

JG: We hear a lot about people wanting to express creativity and bold visions, not just on everyday projects—which, obviously, we encourage!—but also by solving broader societal pain points like mental health or the water crisis in a certain region.

JG: Taking a page from academia, we’ve also started Zoom office hour sessions. We’ve found these informal forums set up a really interesting leadership dialogue. People reach out to us beyond their everyday work situation—to give their thoughts on how they can help with the next decades of the firm, to talk about life journeys.

EB: Everything comes up, from multigenerational living to challenges in our cities. There’s a lot of interest right now in mixed-use districts, creating opportunities for people to connect with one another in different ways. There’s so many challenges for design to solve—and so many exciting opportunities. We’re beyond optimistic for the future.

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CLOCKWISE FROM TOP LEFT: HEYWOOD CHAN (2); TOM HARRIS; JASON O’REAR

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From top: Diane Hoskins and Andy Cohen, Gensler’s global cochairs. The firm’s own San Francisco workplace.

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different level. We see advanced technologies and applied research as an important part of design in the future. Our clients are looking for ideas, trends, proof, evidence, analytical models. That’s different than 20 years ago, where clients basically knew what they wanted, and you as the designer were the person who helped them realize that.

What is taking up your headspace?

AC: I spend a lot of time thinking about strategies around climate change—the business and moral imperative of our time—and shaping the future of cities. Some 75 percent of the world’s population lives in cities; 80 percent of the global GDP is from cities. Our research institute surveyed 65 cities around the world to understand them on a granular level—everything that goes into making them dynamic.

moving on up Diane Hoskins and Andy Cohen helped grow Gensler to a nearly $2 billion behemoth during their two decades as co-CEOs. We get the scoop about what they’re focused on next in their new positions as firm global cochairs

Tell us about your new roles.

Care to name names?

AC: Healthcare is fascinating right now. So much has changed in the last seven years. We were already on a path to more wellness, higher design—and then the pandemic pushed the sector into an innovation hotbed. We are working with the a clinic now on a predictive medicine facility, a vertically integrated model that’s completely changing how we are designing health environments.

In sports, technology is allowing us to create much more immersive, interactive experiences for fans, who can now have at their fingertips all the information happening real time at that event. Technology is 66

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also radically changing aviation—not only in terms of security but also the ability to cater to unique needs and preferences. The future of travel is much more individualized, the passenger experience more intuitive. Our designs impact millions and millions of people around the world—how they live, work, play, their health—but then we’re all our individual selves with individual needs, so it’s an interesting balance.

DH: Also, workplace is back! A lot of what we’ve been talking about regarding the destination workplace— as a cultural center and a place of innovation—has really caught on. Attendance has steadily grown to the point where now we’re hearing from a lot of companies in a lot of markets that they undersized and are out of space.

I want to ask about AI, since I’m both psyched about and scared of it.

AC: I just go to where it helps create a better world.

As a design tool it’s allowing us to quickly iterate and show clients the future of their industry. It’s the biggest breakthrough tool I’ve seen in my career— really abetting the human creativity behind it, allowing us to quickly and efficiently go from blueprints and models to this almost cinematic work, where we’re like filmmakers.

Are you hiring new types of talent these days?

DH: We’re talking about growing the number of data scientists at the firm because we want to make that available to every single project team at a whole

What’s your elevator pitch for co-leadership?

DH: I don’t know how firms do it any other way! If you believe in collaboration, you have to model from the top. People cannot be creative in an environment where they’re nervous. When you have top-down leaders, that plays out all the way through the ranks: Everybody in a leadership role acts like they’re the general in charge. That hierarchical way of operating does not create a sense of safety and the trial and error and serendipity that great design comes from.

Building people’s confidence requires letting them have room to experiment. We believe in a more servant leadership that supports others.

Co-leadership also grows you. Because solo leaders don’t always get the feedback; you don’t have those demands to prove what you’re saying or argue your points. As coleaders, that’s what we do. And it’s to the benefit of the firm. Sometimes the bigger a firm gets, the less creative it gets. At Gensler, we’ve gotten more creative. —Jen Renzi

FROM TOP: CADE MARTIN; JASON O’REAR

Diane Hoskins: Being global cochairs is a lot about leading the board, which has become a more prominent part of Gensler’s governance over the last 10 years due to our scale and the magnitude of decisions needing to get made. Our time is divided between stewarding the firm’s strive toward excellence every day and visioning and planning for the way-out future: Where are we headed, and what decisions and investments do we need to make today to unlock that future? We have to be realistic about what it takes to get there and the level of change required. Our current scale is the result of a lot of smarts about how change occurs, listening to our people, and a ton of market intelligence.

Andy Cohen: A big part of our growth strategy has been diversification of our practice areas, many of which have experienced tremendous expansion.

Product Shown: Nutopia 2.0 Collection

Celebrating 60 Years of Gensler Mohawk Group congratulates Gensler on six decades of shaping the future of design. Your leadership in innovation and sustainability has redefined what responsible design can achieve.

We’re proud to have collaborated with Gensler on the design of Nutopia 2.0, which now has a new, lower Global Warming Potential of 4.92 kg of CO2 emitted per meter2, making it a transparent choice for sustainable buildings.

Here’s to your legacy and the path forward.

CARPE T TILE | BROADLOOM | WOVEN | LV T | RESILIENT SHEE T | L AMINATE | HARDWOOD

DESIGNS BY CHARLES POLLOCK

CONGRATULATIONS GENSLER

Honoring 60 years of positive change through innovative design.

Happy anniversary, Gensler!

The Broad

Los Angeles, California lutron.com

gensler60TH

work

Gensler visionaries from across the globe share their forecasts for the sector that built the firm’s foundation—one it’s now recasting for the future of work.

“By 2030, the workplace will function as a truly adaptive ecosystem.

No longer a static space, it will evolve in real time, guided by data, intelligent systems, and a deeper understanding of human behavior. Design will shift to creating environments that make people feel something authentic, bringing emotion, meaning, and purpose into everyday experience.”

—Todd Heiser, principal and co-regional managing principal, Chicago

“Demand for hospitality-led workplace design and spaces with a lived-in feel are reshaping the corporate landscape, leading to the rise of sustainable procurement, which embraces reuse, upcycling, and repurposing.”

—Philippe Paré, principal and managing director, Paris

“There’s a renewed focus on the all-hands meeting, as companies recognize you can’t encourage alignment through screens alone. Leaders are rediscovering the effect of face-to-face connections, and spaces that allow for in-person engagement—auditoriums, flexible lobbies, conference centers—have become the heartbeat of high-performing organizations and where company culture really takes shape.”

—Laurent Lisimachio, principal and design director, New York

“Workplace design is being shaped by a powerful truth: People thrive in spaces that are flexible, inclusive, and grounded in evidence. The best workplaces aren’t just beautiful, they’re also backed by data.”

—Megan Dobstaff, senior associate and design director, London

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ALEXANDER SEVERIN

“Focusing on flexible, efficient workspaces, employee amenities, and client collab space ushers in a new era for the company”

blue chip project: ibm flagship at one madison avenue location: new york Anchored by terrazzo flooring, reception seating is composed of a custom banquette upholstered in Suzanne Tick’s Adage polyester blend and Tom Dixon Fat chairs, all backed by white-oak millwork and artwork by IBM Blue Studio.

On the heels of Gensler completing IBM’s Toronto office, the tech company tapped Gensler New York for the interiors of its Manhattan headquarters. This project—270,000 square feet across five floors, large enough to bring together 10 teams, formerly in separate offices around the city, under one roof—showcases IBM’s ethos and goals plus myriad instances of cobalt, the corporate color.

“It serves as a model for uniting business units to foster teamwork, innovation, and a future-focused culture,” Gensler senior associate and studio director John Budesa says.

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Clockwise from top left: Steelcase Simple chairs, John Pawson’s Trestle table, and Lievore Altherr Molina’s Montara650 café tables enable meetings or meals in a flex space, where a mural by IBM Blue Studio backs RBW’s Witt 5 pendant fixtures. The balu­strades and terrazzo treads and risers of the custom staircase connecting the ground and second floors are in the corporate color. Gensler’s Crew table, Bolia’s C3 chairs, and recycled-nylon carpet tile furnish an open collaboration area. White oak envelops a client work lounge, where the carpet and the rebus AI wall phrase are custom.

Quantum Wave, a 40-foot-long light fixture also by the Blue Studio, greets staff and visitors in the lobby.

of the company’s technological prowess. Similarly hued, a terrazzo staircase links the ground-floor lobby with the second floor, where the Blue Bar offers coffee by day, cocktails after hours, and the client-centric innovation studio contains a range of work lounges. Floor 10 is devoted entirely to amenities: a full-service kitchen, café, 300-seat auditorium, and 25,000-square-foot, Internetenabled terrace—New York’s largest—that contains power outlets and 40 species of live plants.

Throughout, furnishings buck the recent trend of being overly soft and loungelike; rather, all are conceived to be both comfortable and efficient, from custom banquettes upholstered in Suzanne Tick fabric to Tom Dixon chairs. “Seating elements are functional no matter where they are in the building,” Budesa notes. Lighting is likewise practical and ambient: Antoni Arola’s Palma globes over tables, for instance, provide focused yet more diffuse illumination than typical overhead lighting. For some contrast in materials, wood and stone elements skew organic, while reflective surfaces and polished metals lean more futuristic.

There are now more than 2,000 employees working at this IBM. To accommodate various modalities, areas are divided into zones for focused tasks or collaboration, plus flex spaces that allow for relaxation and conversation. High-top tables, phone pods, and booths, grouped in neighborhoods of 20 to 30 inhabitants, enable a more individualized “design your day” approach, ensuring the flagship not only meets the needs of current employees but also anticipates those of future talent.

—Stephen Treffinger

PROJECT TEAM AMANDA CARROLL; JOHN BUDESA; JOHN MULLING; MATT TRIEBNER; SUZY HENRY; MATT M C KEE; JENNY PEI CHANG; ANDREW DAVIS; NICOLE VILCHEZ; ALEX DIAZ. PRODUCT SOURCES FROM FRONT LUUM TEXTILES: BANQUETTE FABRIC (RECEPTION).

TOM DIXON: CHAIRS. STEELCASE: CHAIRS (FLEX SPACE), LONG TABLE (LOUNGE). VICCARBE: LONG TABLE (FLEX SPACE). COALESSE: CAFÉ TABLES. RBW: PENDANT FIXTURES. HALCON: TABLE (COLLAB­ ORATION), BENCHES (LOBBY). BOLIA: CHAIRS (COLLABORATION).

INTERFACE: CARPET TILE. AURA CUSTOM LIGHTING: CEILING FIXTURE. WEST ELM: CHAIRS (LOUNGE). BLU DOT: ROUND TABLES. VIBIA: PENDANT FIXTURES. BENTLEY MILLS: CUSTOM RUG. EVENTSCAPE: CUSTOM LIGHT FIXTURE (LOBBY). LINDNER: ACOUSTIC CEILING. THROUGHOUT SYNERGI: CUSTOM STAIR. PLATINUM: TERRAZZO FLOORING, TREADS, RISERS. MILLER

ALEXANDER SEVERIN

BLAKER: MILLWORK.

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high interest rate project: financial office location: los angeles

PROJECT TEAM DENISE ZACKY-POPOCH; KARIN NELSON; LEE PASTERIS; JULIA PARK; COLIN THOMPSON; CINYA WEN; GRETCHEN BUSTILLOS.

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JASON O’REAR

Gensler has a history with this global investment manager. Almost two decades worth. That’s when the studio first created the finance company’s corporate headquarters in Los Angeles. Its recent move down the street to a 1964 concrete structure entails 206,000 square feet across eight floors for 860 people, its concept, by Gensler L.A., led by principal and design director Lee Pasteris, centered on connectivity and transparency.

Pasteris began with cues from the base building, exposing intrinsic elements and selecting refined materials as complements. Next, she and her team cut immense holes through floor plates to accommodate two stacked stairways, one connecting levels three through six, the other 10 to 14. Each stair landing adjoins a unique lounge reflecting an L.A. archetype: The art gallery, for example, has pedestals displaying vessels by California artist Nick Schwartz; Alex Fernández Camps’s cloudlike Mediterrània pendant fixtures hang over a beachy white outdoor Scacco sofa by Ludovica Serafini + Roberto Palomba in coastal; and the terrace has cabanalike booths and a focal wall in the client’s corporate cobalt.

Ascent and descent are quite a trip. Backdropped by a towering expanse of preserved moss by Garden on the Wall, the lower stairway skews earthy, while the upper boasts commissioned Windy Chien pieces, four of the office’s 70 artworks. The workplace proper comprises a 70/30 open-closed ratio. Offices have glass fronts and, compared from previous quarters, are all uniformly sized. “We’re moving toward a future-focused design driving solutions,” Pasteris cites the overarching goal. “With every company, we’re searching for the secret sauce.” —Edie Cohen

“Newly pierced floor plates accommodate stacked stairways, off which lounges provide connectivity and SoCal environs, from beachy to gallery”

JASON O’REAR

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office solutions project: 200 park location: san jose, california

PROJECT TEAM BENEDICT TRANEL; BERT DEVITERBO; NAOMI MOTOMURA; BOB PERRY; MELISSA O’REAR; CHRISTOPHER PAYNE; STEPHEN KATZ; SHUANG XU; ANNA PERICAS; MARWA ISTANBULI.

On a burgeoning corner in downtown San Jose, California, a 19-story office building with a sprawling average floor plate of 54,000 square feet could kill the city vibe. But Gensler San Francisco had a solution. Six of what senior associate and technical director Christopher Payne calls “solar canyons” are carved vertically into the structure, breaking up the mass of 200 Park and making the high-rise more respectful of its urban context. “They also provide scaled neighborhoods between them and give access to terraces that allow a tenant’s business unit to have its own character.” The double-height terraces, or “sky bridges,” offer each leasable floor three outdoor spaces with views over downtown and the valley and bring natural light into the core.

Inside, Gensler’s hospitality-inspired environments offer a warm counterbalance to its facade of embossed stainless steel. Ash-veneer paneling in the elevator lobby morphs into textural ceiling slats, while indirect lighting grazes a chiseled limestone feature wall. “As you go up, the finishes become more saturated and punchier,” Payne says. Rift-cut white oak envelops much of the fifth-floor fitness studio; colorful, curvy furnishings—turquoise Nanimarquina ottomans, an expansive Lemmy sectional from Jardan, Anthony Dickens’s Tekiò circular pendant fixture— add whimsy in the neighboring social club.

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That’s not all. Totaling 1.4 million square feet, the LEED Gold–certified, all-electric building is the first project in California to use SpeedCore construction, where prefabricated steel-plate panels do double duty as concrete formwork and structural members. The system shaved off three months in construction and reduced wall thicknesses by 20 percent, adding valuable square footage inside. —Wanda Lau

JASON O’REAR

“The innovative ‘canyons’ not only redefine the cityscape but also change how people experience their workspace”

Italian timeless furniture lemamobili.com

Feel at Home

swipe and sí

“The concept incorporates elements inspired by Mexican culture and spaces that encourage interaction”

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Mexico City has become a hot destination for remote workers, drawn by its arts, affordability, mild climate, and expat community. Embracing the trend, Tiktok set up a satellite office there and hired Gensler CDMX to infuse its 130,000 square feet across four floors with a vibrancy that matches that of the metropolis.

“We organized the journey around a central circulation path that mimics the flow of a gallery,” senior associate and design director Edgardo Cáceres-Álvarez says. It looks like a gallery, too, courtesy of a pair of large-scale abstract murals in vivid blues and oranges, one by Guadalajaran graphic artist Rocca Luis César that emphasizes inclusivity, the other by local creative RILO, aka Riley Miller, its glyphinspired characters enjoying a Mexican celebration. A collaboration area’s curated display of traditional masks is another homage to the country’s heritage.

Materials reflect the region, as well, such as reception’s rounded desk of locally sourced volcanic stone and floor of encaustic tile. In the creator’s lounge, above Patricia Urquiola’s Oru chairs and Alfredo Häberli’s Giro sofa, the ceiling skews Aztecan, its acoustic-felt pyramidal forms made of pre-consumer recycled PET. In a similar commitment to sustainability, Cáceres-Álvarez and team’s use of natural light and research-based solutions reduced the office’s energy consumption by 20 percent. —Wilson Barlow

BENNY CHAN/FOTOWORKS

project: tiktok location: mexico city

g e n s l e r 6 0 T H work PROJECT TEAM BAHAR AFSHAR; EDGARDO CÁCERES-ÁLVAREZ; EFREN OBREGÓN; MELANIE EUGENIO; ALAN HAQUET; ANGÉLICA TOVAR; MARIANA VÁSQUEZ-COLMENARES; CARLOS MORENO; GRETCHEN BUSTILLOS; SOUNIA GMIRA.

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honing their craft project: etsy location: dublin

For a global marketplace focused on keeping commerce human, it’s fitting that Etsy’s Dublin office, which serves as an EU hub, is anchored by the rich cultural and geographic fabric of the Republic of Ireland. “We rooted the con­ cept in the country’s natural terrain,” says senior associate and design director Megan Dobstaff, who works out of Gensler London, which oversaw the project.

“Then we passed it to the hands of makers.”

The 12,700-square-foot workplace features materials and spatial zones representing coastal edgescapes, wetland landscapes, and forest woodlands.

Millwork, particularly the ceilingscape, is a species of oak native to Ireland.

Greenery, contained in planters of the same wood, is live. Flooring is polished concrete. Layered on this is an array of handmade craft, much by Irelanders.

In reception, Open Mosaic Belfast’s brilliant blue ceramic wall tiles back a Jan Hendzel Studio desk in olive ash. In a meeting room, a stained-glass installation

by Etsy-ite Hay Ditte draws inspiration from the Burren on Ireland’s west coast.

Enclosing lounges throughout are cream woven-wool screens by born-and-bred Dubliner Pearl Reddington that nod to the Aran Islands, famous for its knitted fisherman sweaters.

“It was important for Etsy to feature people making things,” Dobstaff adds.

As was flexibility: While there are around 50 workstations, the office can host numerous visitors from Europe, the Middle East, and Africa. Plug-and-play power in alternative work points and multipurpose spaces supports collaboration and celebrations of all sizes. —Katie Weeks PROJECT TEAM MEGAN DOBSTAFF; ANDREW STERN; ARIELLE LEVY; VERONICA PANTIN; DORI LERNER; TAYLOR LIM; NAOMI SAKOMOTO.

RUTH MARIA

“Handmade elements are woven in throughout the office”

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growth curve project: harbin bank international plaza site: beijing

FENFANG LU

“Every decision was guided by the goal of creating a harmonious, productive environment”

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Founded in northeastern China in 1997, Harbin Bank has become one of the country’s major financial institutions. Opening an office in Beijing was an important milestone, so Gensler was retained to conceive a suitably distinguished building. “It was a regional bank moving to the capital. The chairman needed the architecture to elegantly reflect its more international stature,” begins Gensler London–based principal and studio director Russell Gilchrist.

After several iterations, he and the Gensler Beijing team landed on an elliptical glass form that made the chairman’s eyes light up: “He likened it to a bulging wallet,” Gilchrist laughs. The 16-story, 700,000-squarefoot structure is also energy-efficient, its double-skin facade helping to moderate interior temperatures by isolating heat and cooling loads.

Led by senior associate and studio director Jessica Shen, the interiors channel the bank’s values of warmth, connection, and trust and forward-thinking ethos. “The spaces should feel inviting and inclusive, encouraging teamwork,” Shen says. In the soaring lobby, lights dot wood-veneered walls, evoking a forest full of fireflies; overhead, abstract lilac motifs in the ceiling and chandeliers reference the city flower of Harbin. The top floors host executive suites appointed with fabric wallcoverings in the brand’s signature orange and arced elements that reference its logo. A sculptural spiral staircase widens as it rises, alluding to expansion. —Rebecca Dalzell PROJECT TEAM RUSSELL GILCHRIST; JERRY HUNG; SU CHEN; SINGJOY LIANG; JOE FAN (ARCHITECTURE). DOUG WITTNEBEL; JESSICA SHEN; YUJIANG LU; JOJO ZHU; KOHN LI (INTERIORS).

FENFANG LU

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furniture forward Innovative intros developed in collaboration with Gensler as product design consultant

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1. Ambi modular work collection for in-person and virtual

collaboration in open-plan spaces by Stylex. stylexdesign.com 2. Habana powder-coated steel cabana with daybed and woven

outdoor-fabric canopy that, turned on its side, acts as a space divider, by iSiMAR. isimar.es 3. Gensler x Ben Soleimani Collection Large Grid rug of 85 percent New Zealand wool blended with 15 percent nylon, in Ivory, by Ben Soleimani. bensoleimani.com 4. Growth collection of Polygood surfacing composed of recycled plastic waste including from discarded refrigerators, washing machine enclosures, and consumer electronics, in Frost, Pumice, Oyster, Pebble, Midnight, and Gossamer, by The Good Plastic Company. thegoodplasticcompany.com 5. Stellaris surface- and stem-mounted luminaire by Lucifer Lighting. luciferlighting.com 6. Solari benching system with sound-absorbing partition panels and hidden wiring system by IOC Project Partners. ioc.it 7. Canopy workstations with privacy hoods by KFI Studios. kfistudios.com

8. OH door lever in stainless steel and white oak by pba. pba.it

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To our friends at Gensler

You’ve been with us since Turf was small and scrappy. Today, we’re less small — and slightly less scrappy — and your trust and partnership continue to mean the world to us.

We’re proud to celebrate 60 years of creative excellence at Gensler. Here’s to the next 60!

Let’s keep shaping artful acoustics and welcoming spaces together.

Happy birthday,

President

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gensler60TH

cities This category spans multiple typologies, from mixed-use to aviation, but remains rooted in the urban fabric. Designers across disciplines reflect on a project that reanimated its setting with intention.

“We’re transforming outdoor spaces across multiple airports, turning them into restorative, city-facing environments that are anchored in nature, intuitive to navigate, and supportive of neurodiverse experiences.”

—Terence Young, principal and design director, Los Angeles

“The master plan for Dubai International Financial Center marked a significant shift from prevailing development trends, emphasizing walkability and a human-centric urban experience. Two decades later, DIFC has evolved into one of Dubai’s most vibrant districts and a model for future neighborhoods.”

—Ian Mulcahey, principal and strategy director, London

“Our research has found the most powerful urban transformations begin with how people feel.

Jobs, affordability, and safety bring people in; belonging, pride, and joy make them stay.

These intangibles often escape traditional metrics and are re­ defining how we view success in urban design.”

—Sofia Song, global cities lead, New York

“We look beyond individual projects, aiming to shape the entire built environment. This requires vision, trust, and strong collaboration across civic, private, and community partners. From neighborhooddriven initiatives like Englewood’s Agro-Eco District in Chicago to the revitalization of San Francisco’s Flower Mart, our work focuses on creating more balanced, equitable cities.”

—Andre Brumfield, principal and design director, Chicago

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Yantai, a city in eastern China, was a simple fishing village until not long ago. Now, it’s a major port and economic powerhouse. As part of a new tourism initiative, the local government asked Gensler Beijing to create a cultural facility that celebrates the region’s economic growth and spurs future development.

“The client aimed to project a forward-looking vision, inspiring local pride and attracting visitors and investors,” senior associate and design manager Bob Xu recalls. The resulting 269,000-square-foot complex encompasses exhibition and event spaces, lecture halls, and a library, and serves the public as well as researchers and industry professionals.

The site is opposite the city center on a 70-acre island in the Huang-Bohai Sea, and the architecture reflects its location both practically and symbolically.

In anticipation of storm surges and sea-level rise, Xu and his Gensler team ensured the structure was resilient and incorporated seawalls, robust landscaping, and rainwater-harvesting systems. The design draws on maritime themes throughout and highlights the connection between city and sea.

The architects found inspiration in a Chinese idiom about “100 boats vying for the lead,” a metaphor that captures the competitive nature of development in

sea change

BLACKSTATION

project: yantai huang-bohai sea new area industrial culture center location: china

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g e n s l e r 6 0 t h cities The waterfront center’s four sculptural blocks have facades of local white granite and curtain walls of insulated low-e glass, a composition intended to resemble racing boats.

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“The concept honors Yantai’s maritime heritage through a bold yet poetic expression”

the area. “We translated this concept into four interlocking sculptural blocks, each representing boats racing forward,” Xu says. They rotate slightly to align with urban landmarks across the bay, creating a visual dialogue with the cityscape. Made of local granite, the structures have dramatic water-facing glazing that offer panoramic views and bring in natural light.

When illuminated at night, Xu notes, the center resembles “a lighthouse for the new city.”

Inside, Gensler provided concept design for key public spaces; Suzhou His Design & Construction Co. led the rest of the interior design and execution. In the lobby, Gensler conceived a curved ceiling reminiscent of traditional boat construction and a skylit triple-height atrium that is the heart of the complex.

The firms also partnered on the library, where floorto-ceiling bookshelves frame water views and sun dapples auditorium seating. Elsewhere, immersive exhibitions tell the story of Yantai’s humble origins, industrial transformation, and its latest innovations.

As a beacon of progress, the building itself reinforces this narrative. —Rebecca Dalzell PROJECT TEAM AGUS RUSLI; JERRY HUNG; HONG TIAN; BOB XU; ANDY CHEN; YI ZHANG; DAVID ZHAI; LISA LIU; XUAN GUO; SIMON SONG: GENSLER. YANG ZHOU; ZE CHEN; RUI WANG: SUZHOU HIS DESIGN & CONSTRUCTION CO. PRODUCT SOURCES FROM FRONT MITSUBISHI: ESCALATOR (LOBBY). THROUGHOUT XIANGHUANGQI RISHENG MINING CO.: FACADE STONE. TG TIANJIN GLASS CO.: CURTAIN-WALL GLASS.

From top: The lobby’s triple-height atrium is the heart of the complex. A ceiling of wood-look aluminum tubing brings warmth to the library, its design a collaboration with Suzhou His Design & Construction Co. The 269,000-square-foot complex is surrounded by Huang-Bohai Sea, its resilient construction anticipating storm surges and water rise by incorporating seawalls and rainwater harvesting.

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project: woolsey hall, barton school of business, wichita state university location: kansas

bridge to the future

From the start, administrators at Wichita State University in Kansas envisioned Woolsey Hall, Barton School of Business, as more than an academic facility. It would be a threshold between the original campus and the innovation campus, where aerospace companies like Airbus have research facilities. “The request was to build a masterpiece,” laughs principal and comanaging director Brian Vitale, who’s at Gensler Chicago, which oversaw the 125,000-square-foot project, from strategy, branding, and experiential design to the architecture and interiors, the latter two developed in collaboration with GastingerWalker& in Kansas City, Missouri. Encompassing classrooms, event spaces, faculty offices, and a café, Woolsey had to be refined enough to host CEOs yet feel welcoming to a first-generation college student.

Drawing on shared workplace experience, the teams delivered a three-story building that resembles a corporate headquarters. Vitale and associate and senior interior designer Sara Catania conceived a flexible, efficient floor plan with many of the hallmarks of today’s offices, like huddle rooms and shared workstations. At its heart is a triple-height atrium anchored by all manner of seating—bleacher, lounge, one-on-one—formulated to promote connection, its undu­ lating sides ensuring clear sightlines across the space.

Vertical oak rods form the atrium’s balustrades, a subtle reference to Kansas wheat fields, while blackened-steel handrails nod to the industrial precision of the local aviation industry—“The interplay between organic and manmade is both grounding and sophisticated,” Catania notes. Outside, a 300-foot-long pedestrian bridge leads to the innovation campus, symbolizing the transition from academia to the professional world. —Rebecca Dalzell

“The materials palette nods to the region’s rich aerospace legacy and beauty of the plains”

JASON O’REAR

“The material palette nods to the region’s rich aerospace legacy and beauty of the plains”

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g e n s l e r 6 0 T H cities PROJECT TEAM BRIAN VITALE; MEGHAN WEBSTER; BRIAN WATSON; RYAN DEPERSIA; SARA CATANIA; KATIE SMITH; CARLI PAPP; LETICIA MURRAY; HEY J MIN: GENSLER. KEVIN HARDEN; ANDREA SHADRACH: GASTINGERWALKER&.

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In winter, Gunnison, in central Colorado, is one of the coldest places in the U.S. For air travelers, its harsh weather means frequent flight delays—and long hours at the GunnisonCrested Butte Regional Airport. Gensler Denver renovated and expanded the outdated facility to improve the passenger experience and increase energy efficiency. Now, the twostory, 48,000-square-foot structure is all electric and incorporates solar panels, geothermal systems, and upgraded insulation to achieve a net-zero energy load, which significantly reduces the county’s operating expenses. It’s also a very nice place to wait for a plane.

g e n s l e r 6 0 T H cities

top flight project: gunnison-crested butte regional airport location: colorado

—Rebecca Dalzell PROJECT TEAM BRENT MATHER; JONAS PHILIPSEN; CASEY JOHNSON; BECCA FAULL; SARAH BUSCARELLO; REBEKAH WAGONER.

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RYAN GOBUTY

The team conceived lodgelike interiors that channel the two communities GUC serves: Gunnison, a working mountain town, and the quirky enclave of Crested Butte. “People should know where they’ve landed,” says Casey Johnson, Gensler associate and senior designer. Replica stag heads, cowhide rugs, and tufted-leather paneling bring a warm Western vibe, while the second-floor bar’s original ceiling of tongue-and-groove cedar has been painted bright colors, nodding to the building exteriors in downtown Crested Butte’s Elk Avenue district. Works by local artists appear throughout, including a detailed linoleum-stamp landscape print, overlaid on a map, by John Fellows that stretches the length of the security line. A feature wall, made of reclaimed Douglas fir, resembles a log cabin, and exterior columns have pops of orange like blazes on a hiking trail.

“The terminal captures the essence of the community and extends the vacation feel”

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“The Bay Area’s animated atmosphere is reflected across the campus thanks to the facade” g e n s l e r 6 0 T H cities

weather report

project: amenity center at burlingame point location: california

At 27,310 square feet, the two-story amenity center is not the largest building at Burlingame Point, an 18-acre California office development

by Kylli, a major Bay Area real estate company, with Meta Reality Labs as its sole tenant. Still, the compact structure may well be the waterfront property’s jewel, courtesy of Gensler San Francisco, which oversaw the architecture of the expansive project. As senior associate and design director Bob Perry notes, “The center was intentionally positioned as a destination within the campus.”

Designed to include fitness and childcare facilities on the ground floor, a terraced water-view restaurant on the second level, and a rooftop garden with enviable shoreline vistas, the concrete-frame building features post-tensioned, long-span beams that allow for a flexible, easily adaptable interior. No less alluring than the amenities inside is the structure’s striking exterior: a sawtooth facade clad in continuously anodized aluminum panels that reflect the area’s ever-changing weather conditions. “The unique finish gives it a chameleonlike quality,” Perry observes, “while the angled orientation intentionally directs interior views toward the waterfront.”

Composed of prefabricated elements, the folded envelope limits glazing to 43 percent, reducing solar heat gain while filling the interior with indirect natural light. Given the LEED Gold–certified building’s success at balancing sustainability, durability, and aesthetics, it’s no surprise the center recently received an AIA San Francisco Honor Award for Architecture. —Peter Webster PROJECT TEAM BENEDICT TRANEL; ELLIE WANG; SAMANTHA BUCKLEY; CHRISTOPHER PAYNE; JAY WILSON; BOB PERRY;

JASON O’REAR

LINZY GRISWOLD; CHRISTIAN POPPELL; JIYOUNG LEE; GUNWOOK NAM.

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the peak of chic project: bank of america plaza location: atlanta

The 55-story Bank of America Plaza, designed in 1992 by Kevin Roche John Dinkeloo and Associates, remains Atlanta’s tallest and—courtesy of its signature ziggurat-shaped spire—most iconic skyscraper.

But lower down, on the ground level, the property hadn’t aged quite as well, with an under-activated lobby dressed in pinky-red granite and dated mirror-gold trim. To make the 24,000-square-foot space more enticing to today’s tenants, building owner CP Group tapped Gensler Atlanta for a hospitality-inspired revamp.

The new scheme subtly winks to but totally modernizes the original PoMo-meets-deco flourishes.

The gray-and-rust veins of the Italian marble flooring echo the tones of black Venetian-plaster walls and the champagne brass–finished aluminum panels that arc overhead to form the vaulted ceiling.

Burnished metals thread throughout, from accent tables to the amoebic copper-painted fiberglass reception desk. The team also forged a stronger connection to the outdoors via greenery-filled planters that anchor floating banquettes—one of a multipurpose mix of seating types that support activities ranging from meetings to focus work. The hot spot, however, is the tenant café, appropriately dubbed the Spire. “It’s tucked away from the core,” Gensler interior designer Catherine Harter explains, “but great for quiet conversation despite how open and grand the lobby is.” —Jen Renzi PROJECT TEAM

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KEVIN SONGER; MICHAEL LUTZ; GAIL MALONE; CATHERINE HARTER; JONATHAN PARK; DEYSY CRUZ ESCOBAR; JEFF WILSON; TRICIA WEBER; VAL DOBREV.

CLOCKWISE FROM TOP RIGHT: ALEX ARNETT (3); WENDELL WEITHERS/GENSLER

“The amenity-driven lobby renovation reactivates the property and connects tenants”

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Bravo to on a soaring 60-year journey of mesmerizing design.

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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Gensler Congratulations

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life style This category spans genres from residential to retail, hospitality to sports/entertainment—all growth areas for the firm. Experts break down the trends and ideas impacting those dynamic verticals.

“Lifestyle design is increasingly flexible, experience-driven, and culturally rooted. Spaces are conceived to adapt across time—shifting from day to night, season to season, and purpose to purpose. They prioritize storytelling and a strong sense of place, blending local materials, culture, and community needs to create environments that feel personal and memorable.”

—Lori Mukoyama, principal and design director, Chicago

“Leisure is evolving from a passive indulgence to an active engagement, and travel from fleeting consumption to an opportunity for cultural immersion—connecting with others through a shared, in-person experience.”

—Siobhan Barry, principal and design director, New York

“The lines between residential, hospitality, and retail continue to dissolve, supporting the rhythms of modern life. The value of time has become a new imperative; people crave experiences that are intuitive, effortless, and leave space for discovery.”

—Lara Marrero, principal and global retail and consumer experience leader, London

“Technology-driven, personalized experiences sit at lifestyle’s core, seamlessly infused with local culture and wellness aspects as well as bespoke brand and marketing activations.

A prime example is the emergence of sports and entertainment districts, which go beyond venues to include hotels, shopping, dining, and green spaces—offering year-round appeal and community-wide engagement.”

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home from work project: pearl house location: new york From top: Helmut Scheufele’s textural Anga rug runs beneath Josh Greene’s Yosemite tables in the lobby lounge of the officeto-residential conversion, on which BHDM Design collaborated.

Glossy ribbed ceramic tiling fronts the reception desk.

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From the street, Pearl House still resembles many of its neighbors—a typical 1970’s curtain-wall office building, albeit with a spruced-up facade—located between Manhattan’s Financial District and South Street Seaport. But that nattily refreshed exterior only hints at the massive transformation Gensler’s New York studio oversaw inside, turning the 480,000-square-foot former workplace into a 588-unit apartment tower—the second largest office-to-residential conversion in the city to date. Such makeovers address two of the most pressing challenges facing many urban areas: a glut of underused downtown office space thanks to the rise in remote and hybrid work, and a chronic shortage of available housing.

Gensler was able to grow the tower from 24 to 30 stories by running three empty shafts through the building’s core—the darkest, least residential-friendly part of the floor plate—and transferring the sealed-off square footage upward to add new penthouse levels. These include the clublike Sky House, a full floor of coworking, JULY/AUG.25

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Clockwise from opposite: Composed of bronze rods with a patina finish and a balustrade and walls sheathed in oak-effect HPL panels, the custom stair connects the lobby to the basement, where a gym, spa, game room, and other social areas are located. Vertical panels of fluted dichroic glass and honed terrazzo flooring delineate the mail room. In the party room, Antoni Arola’s Flamingo pendant fixtures are an airy complement to moody glazed ceramic tile backsplash and custom velvet-upholstered sofas. The spa offers a hot tub and a cold-plunge pool. Bertjan Pot’s Heracleum III linear fixture hangs above the billiard table in the game room.

social, recreational, and terrace spaces, ranging from a screening room with a 12-foot video wall to outdoor seating areas with firepits. “Our team crafted over 30,000 square feet of hospitality-inspired amenities to create a lifestyle-centered residential experience,” says Gensler principal and design director Peter Wang, who collaborated with BHDM Design on accessory styling and furniture in the public zones and apartments, which include a mix of studios and one- and twobedroom rental units—all light-filled and airy, thanks to the upgraded curtain wall’s operable double-pane windows.

Residents also enjoy a luxury hotel–worthy lobby: Featuring a sleek tile-fronted reception desk, fireside lounge, and coffee bar, the block-long double-height volume is anchored by a custom stair. This sculptural structure—a ribbon of terrazzo treads and risers spiraling around a fountainlike column of bronze rods that rises to the ceiling—leads to the basement level, where more five-star amenities await: gym, spa, bowling alley, and billiard and party rooms, among others. Not that it’s all fun and games. “We made an existing building 30 percent more energy efficient from code baseline,” Wang notes, “while saving 20,000 metric tons of carbon and landfill.” No surprise that in May the project won the NYCxDesign Award for best residential lobby and amenity space. —Peter Webster PROJECT TEAM ROBERT FULLER; PETER WANG; AMBROSE ALIAGA-KELLY; JOE LO; HENRY HONG; LINA AYALA; JUN PAK; TONYEE NG; HARRISON STURNER: GENSLER. DAN MAZZARINI; JOHN DOYLE: BHDM DESIGN. PRODUCT SOURCES FROM FRONT WALTER K.: RUG (LOUNGE). DOWEL FURNITURE: COFFEE TABLES. RESTORATION HARDWARE: SOFAS. TOWN & COUNTRY SURFACES: DESK TILE (RECEPTION). EESTAIRS AMERICA: CUSTOM STAIR (LOBBY).

FORMS+SURFACES: STAIR RODS. DURITE TERRAZZO COMPANY: FLOORING (MAIL ROOM). MC GRORY GLASS: DICHROIC GLASS. VIBIA: PENDANT FIXTURES (PARTY ROOM). ANN SACKS: BACKSPLASH TILE. COMPOSITION HOSPITALITY: CUSTOM SOFAS. ÉLITIS: SOFA FABRIC. LULU & GEORGIA: ARMCHAIRS. PIERRE FREY: ARM­ CHAIR FABRIC. TREND GROUP: MOSAIC STAIR TILE (SPA). MOOOI: PENDANT FIXTURE (GAME ROOM).

THROUGHOUT ARBORITE: HPL PANELING.

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“The project breathes new life into an aging structure and establishes a new standard for office-to-residential conversions”

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“The concept is more than retail—it’s an architectural experience shaped by light, form, and intention”

mile high style project: adorn location: denver

The interior design of your project is completed and installed. . .now what? Adorn in downtown Denver provides an ingenious next step: a curated place that offers both styling services and a collection of unique items that together help the A&D trade as well as the public achieve personalized end results. The 2,800-square-foot emporium was conceived by Gensler Denver as a collaborative destination where design professionals and everyday shoppers can explore special objects—from Rachel Griffin’s Kink vases to George Nelson’s Ball clock—and experience community events under one roof. “This is retail through the lens of architecture—a space where design tells the story and every detail invites discovery,” senior associate and design director Lindsay Malison says.

She’s referring to the bright, airy layout, which, beyond the white-brick facade, is divided into vignettes conceived to take customers on a journey. Punctuating arches connect ceiling elements, all in crisp white-painted drywall, to a central vignette, where custom modular oak boxes can be easily reconfigured for changing product displays, into larger flat surfaces on which to lay out artwork, or into seating for small events—the latter two capabilities utilized for a recent workshop with watercolorist Steve Griggs. Flanking them, vivid green, yellow, and orange walls define individual product areas. Comfortable furniture pieces from Miller Knoll and Duracryl’s Durabella seamless terrazzo flooring contribute to the modern, welcoming vibe. Adds Malison: “It’s unlike anything else in Denver.” —Stephen Treffinger PROJECT TEAM MICHELLE LIEBLING; GLENNA TYNDALL; LINDSAY MALISON; LAUREN HUCEK; MARC PELLETIER; BECCA FAULL; HARRY SPETNAGEL; SARAH HARRISON; CHRIS FATO.

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g e n s l e r 6 0 T H lifestyle

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g e n s l e r 6 0 T H lifestyle

southern comfort

CONNIE ZHOU

project: signia by hilton atlanta

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“Approachable luxury combines with global and local touches for an experience that suits today’s traveler”

CONNIE ZHOU

Atlanta is the South’s busiest metropolis—and its nucleus is the Georgia World Congress Center, a sprawling convention hall near Centennial Olympic Park. An integrated, new hotel, Signia by Hilton Atlanta—the fourth in the upscale brand’s 2019-launched portfolio tailored to the discerning business traveler—now offers amenity-rich lodging and a raft of meeting areas to the visitors that walk its halls, with architecture, interiors, and wayfinding all led by the local Gensler office.

Rising 42 stories and encompassing 1.25 million square feet, the 976-key, LEED Gold–certified property is the city’s largest ground-up hotel in decades.

To temper that scale, Gensler principal and regional hospitality leader Robert Fischel says, “The vision was to weave southern hospitality into the fabric of the design.” He and his team took cues from regional architecture, flora, and craft traditions: Enveloping curves, for example, evoke the comfortable surrounds of a front porch; in the double-height lobby, a ceiling installation by Atlanta-based Formations Studio composed of color-changing light tubes, metal, and extruded polymer is reminiscent of crape myrtle, a popular plant in the area. “We see it as a southern magnet,” Fischel adds. Guests have plenty of opportunities to feel the pull of this charm. From the multiple F&B options and terraces to the 112 conference and ballroom spaces plus breakout lounges furnished with Studio Paolo Ferrari’s plush rolled-back chairs, the Atlanta Signia is equally suited for board meetings and multiday summits—all while providing the warmth and welcome befitting the Georgia capital. —Lila Allen

PROJECT TEAM ROBERT FISCHEL; DOUG SCHUETTE; PETE CHALFANT; LUIS SANTI-MERAYO; JAMES KRYGEL; ANDY VOGT; KAITLIN KASAY; MATTHEW HEYL; SARAH VANDERHOOF; JENNIFER KILPATRICK.

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getting the word out project: oregon museum of science and industry location: portland Engaging Northwesterners has long been a focus of the Oregon Museum of Science and Industry, founded in 1944 to inspire interest in science, technology, engineering, and mathematics. When current OMSI administrators sought to reach a broader audience—particularly underserved com­ mu­nities—they turned to Gensler Seattle to help reposition the institution’s brand identity. “We invited partners across the state to participate,” senior associate and design director Krista Reeder says, the goal being to represent a range of perspectives and develop a concept that would reflect that diversity of voices. Her team and OMSI went on to establish a committee of individuals from LGBTQ, BIPOC, Native American, and rural communities. Their involvement included initial visioning sessions to explore brand positioning as well as subsequent design reviews to ensure that everything was as inclusive as possible. The results encompass unique individ­ ual letter forms that create unified word marks and open-source typefaces accessible to everyone, all in a palette drawn from the Oregon thunder egg, an intricate rock formation that contains a rainbow of colors. Gensler also worked with OMSI to identify local creators from those communities to contribute to marketing campaigns, photograph products and events, and even temporarily display their work at the museum.

—Stephen Treffinger PROJECT TEAM KRISTA REEDER; FRANCI VIRGILI; RYAN COLLIER; SARA THOMPSON;

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CLOCKWISE FROM TOP LEFT: KRISTA REEDER; COURTESY OF GENSLER (4)

PETER MULLER; NATASHA FIELD-RAHMAN.

CRAFTSMANSHIP YOU CAN FEEL.

Embarcadero Conference Center San Francisco, CA Architect: Gensler | Product: Flat Panels Rulon International | Custom Wood Ceilings and Walls rulonco.com | Photo: © Jason O’Rear

game changer project: phoenix mercury training facility

Like other women’s sports teams, the WNBA’s Phoenix Mercury is growing in popularity. But until recently, its players lacked a dedicated place to practice. The team hired Gensler to transform a 1960’s former Coors Brewing distribution center into a world-class training facility equal to any in the NBA. During the discovery phase, senior associate and design director Elizabeth Pritchett and the firm’s Los Angeles office took time to understand the unique needs of female pro athletes, who are also mothers, mentors, or brands. “They blend personal and professional life 24/7, and they expect their space to support all their endeavors,” Pritchett says.

Gensler created a 58,000-square-foot facility that delivers a “whole player” experience and includes not only basketball courts but also meditation rooms, hot and cold plunge pools, and a great room that serves as a family lounge. Lockers designed in concert with the Mercury players have ample storage for shoes, bags, and hair tools, plus vanities and built-in benches where they can sit and create content for fans. A separate athletes’ entrance and reception reinforces the team’s identity, with artwork showing an abstracted image of the planet Mercury. “The space highlights and supports the strength and camaraderie of the team,” Pritchett adds. Clear sightlines and open areas foster spontaneous connections and ensure player safety, while soft lighting, curved ceilings, and wood details create a warm, comfortable, feminine atmosphere.

—Rebecca Dalzell PROJECT TEAM MARTHA ABBOTT; ELIZABETH PRITCHETT; SUSAN HAN; JAY SILVERBERG; PATRICK MAGNESS; MEGAN M C DONNELL; STEVE CHUNG; BOBBY STROBEL; YUKO UTO; RITA MOUCHI.

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“It’s no wonder DIFFA and Gensler’s partnership spans decades”

making a difference project: diffa: design industries foundation

Last year was big for the nonprofit formerly known as Design Industries Foundation Fighting AIDS: its 40th anniversary. Executive director Dawn Roberson and associate director Steven Williams took the milestone as an opportunity to reevaluate everything, from its name and scope to fundraising strategies. For help with the latter, DIFFA: Design Industries Foundation’s New York chapter enlisted Gensler NYC, specifically its brand design studio.

Peppering the year with three events, instead of one annual one, required distinct fundraising brands. The patchworklike 40th-anniversary package for the gala inspired a four-piece quilt set made of recycled textiles that was auctioned at the event, which raised more than $500,000. “For that, we leaned on bold visuals and striking colors to inject fun and whimsy,”

Gensler senior associate and design director Jessica Beck recalls. A series of thematic digital announce­ments for emails, @diffanational, and the website promoted the debut of Après Ski, a retro chalet-and-hot-cocoa winter event held at the Bryant Park ice rink. Messaging for Night at the Museum, another new initiative that was hosted on the Civilian Hotel’s rooftop and celebrated Gotham’s cultural institutions, channeled Vincent van Gogh’s The Starry Night. “Our shared passion for design and community impact,” Beck continues, “allowed us to think outside the box.”

—Stephen Treffinger PROJECT TEAM JESSICA BECK; LAUREN BLALOCK; SARAH BLACK; BETH NOVITSKY.

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COURTESY OF GENSLER

g e n s l e r 6 0 T H lifestyle

Honoring Gensler's 60-Year Legacy∙ Proud to Be Part of the Story∙

Visit our showrooms New York ∙ New Jersey ∙ Dallas ∙ Washington ∙ Atlanta ∙ Nashville stonesource.com

Congratulations on 60 years of inspirational design

PICTURED: Bobrick Los Angeles HQ, as designed

by Gensler bobrick.com

g e n s l e r 6 0 TH

he alth In just a few years, the firm has gone from an upstart to a disruptor—and top 10 Giants—of a sector it’s now innovating. Thought leaders discuss how a focus on human- and patient-centered design is redefining the conversation around wellness.

“We create spaces that truly support those who use them by identifying and resolving friction points through empathy mapping and immersive workshops.”

—Alanna Carter, healthcare leader, Houston

“We’re designing through a radically human approach—one that responds to the emotional, physical, and technological needs of patients, families, clinicians, and researchers—to create more connected, resilient environments.

Informed by deep expertise and cross-industry insight—from science and digital experience to hospitality and education—we’re moving healthcare beyond convention toward meaningful, people-first innovation.”

—Jim Crispino, principal and global healthcare leader, New York

“Human-centered design is transforming healthcare by balancing clinical efficiency with empathy and cultural sensitivity.

Thoughtful tech integration enhances care without overwhelming patients or staff, fostering dignity and trust.”

—Randy Guillot, principal, co-global healthcare leader, and design director, Chicago

“The one-size-fits-all approach is giving way to personalized ex­per­i­ences that consider whole-person needs. These experiences increasingly begin in the comfort of home and include novel integration of specialists and services to optimize health or treat complex conditions. Amenities are becoming core-to-care plans, with curated environments designed to calm, restore, and heal.”

—Bonny Slater, senior associate, co-global healthcare leader, and design director, Washington JULY/AUG.25

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good flow

Patients check in and out at the touchstone, the hospital’s reception lobby, where an LED-lit soffit clad in wood laminate appears to float over solid-surfacing desks, served by Noé Duchaufour-Lawrance’s Charlotte armchairs.

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RAFAEL GAMO

project: hospital for special surgery location: paramus, new jersey

g e n s l e r 6 0 t h health Patients at the Hospital for Special Surgery’s new orthopedic outpatient center in Paramus, New Jersey, often arrive in pain. They suffer from hip injuries, torn ligaments, broken ankles, and other conditions that limit mobility. Gensler New York kept this context top of mind when conceiving the two-story, 30,000-squarefoot facility. “People come in very stressed out. It’s a challenge just to get here,” senior associate and design director Ju Hyun Lee begins, “so we sought to minimize unnecessary movement.”

HSS Paramus is in an existing office building, so Gensler first had to retrofit the floors for healthcare. Lee and her team added two central elevators so the physical therapy clinic upstairs can be easily reached and installed electromagnetic shielding for the MRI room. But the overarching goal was to create a calming,

welcoming environment that puts patients at ease. “The key aspect was to streamline their journey and the flow of movement,” Lee continues. The center’s previous location had been fragmented and hard to navigate, causing patients undue strain. Gensler devised a centralized layout with clear wayfinding and grouped all patient-facing administrative functions in one spot in the lobby referred to as the “touchstone.”

Visitors check in and out at the touchstone, a sculptural, circular cluster of desks, their solid-surfacing composition able to withstand knocks from wheelchairs, crutches, and walkers. Screens, made of resin in HSS blue and fabricwrapped acoustic panels in varying heights, add a layer of privacy for sensitive conversations, and semimatte terroxy flooring ensures nobody slips. Overhead, JULY/AUG.25

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an open-cell ceiling surrounded by a stretched system with a reflective finish creates the illusion of height in an area that had felt cramped. An illuminated soffit appears to float beneath, its undulating form inspired by the body’s movement.

Furniture is equally pleasant, ranging from residential-esque walnut-framed upholstered armchairs to healthcare-specific yet still handsome high seating.

Exam rooms are organized in rows with care teams accessible between them.

They bisect circulation corridors, their ceiling and circular light fixtures providing subtle wayfinding, Lee explains: “When a patient sees those details, they know it’s a staff area.” Upstairs, the PT clinic feels like a high-end gym, with warm wood accents and a south-facing window wall through which sunlight streams. Such uplifting gestures are important: They help the injured find joy in movement again.

—Rebecca Dalzell

“The lobby clarifies navigation and immediately sets a calming, patient-first tone” g e n s l e r 6 0 T H health

Clockwise from top left: The lobby’s 9-foot ceiling appears taller thanks to its open-cell configuration. The ceiling changes to wood-look metal in circulation corridors to provide subtle wayfinding beside exam rooms. The Axis Sketch pendant system and rubber flooring define the physical therapy clinic.

Resin and fabric-wrapped screens add privacy at reception.

PROJECT TEAM JAMES CRISPINO; VALENTIN LIEU; STEPHEN HEGEMAN; JU HYUN LEE; MATT LEONARD; AMY CARTER; MARGARITA DI MODUGNO; SCARLETT ZHAO; JHANVI JAGANI; BECCA BLODGETT. PRODUCT SOURCES FROM FRONT BERNHARDT: ARMCHAIRS (RECEPTION). ARMSTRONG: OPEN-CELL CEILING. NEWMAT: STRETCHED CEILING. WILSONART: DESK COUNTER. CARNEGIE: DIVIDER PANEL FABRIC. 3FORM: DIVIDER RESIN. KRUG: PATIENT CHAIRS (LOBBY). USG: CEILING (HALL).

(PHYSICAL THERAPY). CORONET: PENDANT SYSTEM. THROUGHOUT FORMICA: LAMINATE. TERRAZZO & MARBLE SUPPLY: TERROXY FLOORING. TEKNOFLOR: FLOOR TILE.

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RAFAEL GAMO

BETA-CALCO: LIGHT FIXTURES. SPARTAN SURFACES: FLOORING

H ALCO N H ALO offi ce | Des i gn co n sul tant G ens l er

G E N S L E R , C O N G R AT U L AT I O N S O N 6 0 R E M A R K A B L E Y E A R S O F D E S I G N E X C E L L E N C E A N D I N N O VAT I O N .

g e n s l e r 6 0 T H health

On the third floor of Telus Sky, a 60-story, mixed-use tower in Calgary, Canada, Gensler Seattle has transformed 16,000 square feet into the Telus Health Care Centre, which separates itself from the typically sterile medical environment by integrating hospitality notes with clinical efficiency. “Our client sought to get outside the standard, to create something inspiring and bold,” senior associate and studio director Tessa Levine-Sauerhoff recalls.

To wit, upon arrival to the two-story site, visitors are welcomed by a wall of oakveneered slats housing a luminous screen that displays gentle rhythms of digital biophilia. Nearby, the visualization hub, where four additional screens explain medical procedures and provide personalized health data, features a constellation of colorful

Bocci pendant globes, Alfredo Häberli’s Dado modular seating upholstered in coordinating hues, and oak floor planks. Patient pods and MRI and ultrasound/DEXA rooms employ “smart ambiance”: The lighting, temperature, music, and scent can be personalized to patient preference to help comfort.

Projections on curved walls or screens arcing down from the ceiling immerse them in such soothing settings as underwater seascapes, forests, and the Northern Lights. Throughout, woven-vinyl flooring and carpet tile maintain warmth while ensuring cleanability. —Wilson Barlow PROJECT TEAM TESSA LEVINE-SAUERHOFF; MARIANNE STARKE; KRYSTIAN GARDULA; STEVE WOODS; DAICHI YAMAGUCHI; MICHAEL SCHUR.

healing nature

“The hospitality-driven approach infuses serenity into what can be a stressful experience” 130

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JOEL KLASSEN

project: telus health care centre location: calgary, canada

Congratulations

to Gensler!

We are proud to be part of your 60-year legacy.

calyxbyclaridge.com

project: nationwide children’s hospital location: columbus, ohio

JAMES STEINKAMP

a walk in the park

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Can data centers generate community? Yes, say Nationwide Children’s Hospital and Gensler Chicago. The latter oversaw the architecture and interiors of the Columbus, Ohio, facility’s ground-up, 87,000-square-foot building, which brings together data and conference centers, offices, coworking spaces, and medical simulation labs in an inviting five-story hub focused on engagement and education.

“From the beginning, our client was intentional about the place they were creating,” Gensler principal, co-global healthcare leader, and design director Randy Guillot recalls. With “hospital in a park” as the guiding theme, visitors pass through a landscaped plaza encountering a custom fritted glass facade. Once inside, the lobby is like a breath of fresh air, with a 26-foot, wood-slat ceiling, crisp terrazzo flooring, Anders Klem’s Scandi-style A Conversation Piece lounge chairs, and tall mobile panels that, courtesy of Flavor Paper wallcovering, display what appears to be a metallic, monochromatic forest. When opened, the panels reveal an auditorium under a custom dropped ceiling that’s akin to sitting beneath a tree canopy. “People understand immediately that they are welcome,” Guillot adds. Nearby, a cantilevered stair leads up to the mezzanine and second floor, where the offices and coworking spaces are. The data center is tucked away on the building’s top two floors; below grade, the state-of-the-art simulation center connects to the hospital’s tunnel network. —Katie Weeks PROJECT TEAM RANDY GUILLOT; JACKSON METCALF; KAITLIN BECKHAM; PRINCE AMBOOKEN; JILL MAHANEY; CLAYTON WITT.

g e n s l e r 6 0 T H health

“When approaching the building, the naturelike interior is an incredible magnet”

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“The calming environment prepares patients for transformative healing experiences and guided spiritual journeys”

high design project: bill richards center for healing location: rockville, maryland Gensler was in uncharted territory when it conceived the Bill Richards Center for Healing in Rockville, Maryland: It was one of the country’s first purpose-built spaces for psychedelic ther­ apies, where cancer patients with depression and others who qualify for clinical trials would come for psilocybin-assisted therapy. “We were defining a new prototype for care,” senior associate, co-global healthcare leader, and design director Bonny Slater says. The setting would be a crucial part of treatment.

Slater and her team at Gensler Washington began the 2,500square-foot project with a visioning session that brought together physicians, patients, scientists, artists, and experience designers.

“We had to understand the careful choreography of the therapies and how spaces can impact the outcomes—in other words, how to avoid a bad trip,” Slater says. The resulting environment is tranquil, comfortable, and safe, avoiding visual triggers or overstimulation, with slate-look resilient flooring and vertical white-oak slats curving along walls.

At the entrance, a warm common area with lounge furniture helps patients relax before sessions; it can also host yoga classes or group workshops. Neutral, residential-style therapy rooms feel welcoming and familiar, with blackout drapes for light sensitivity. Cove lighting emits a soft glow throughout, with one exception: At the end of the therapy corridor, a large circular fixture reminds patients to focus their intentions before the trip. —Rebecca Dalzell PROJECT TEAM TAMA DUFFY DAY; BONNY SLATER; ALEJANDRA DELGADO; KARLA SEPULVEDA;

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HALKIN MASON

VAL DOBREV; PATRICK FOLEY.

WHEN PERFORMANCE MATTERS The original high performance real wood flooring.

Built with pride in Pennsylvania since 1968.

nydreeflooring.com

DESIGNED FOR DAYDREAMS.

OCE AN MA S TER MA X BOLERO : OMBRÉ BLOSSOM PAR A SOL MARQUESA DOUBLE SUN LOUNGE

TUUCI.COM

edited by Rebecca Thienes text by Lisa Di Venuta, Georgina McWhirter, Jen Renzi, Rebecca Thienes, and Stephen Treffinger

market A globe-trot through recent furniture trade shows in Milan, Copenhagen, Chicago, and New York

icff

noiro studio

CAPSULA

Founder Myrto Grigori nabbed Best in Lighting at the Female Design Council Awards at ICFF for Capsula. The collection of curiously shapely lamps was inspired by—and makes tangible—invisible forces of metaphysics: “gravity, organic growth, and the curvature of space-time,” she explains.

Pieces are crafted in New York, where Grigori is based, of locally sourced materials—mouth-blown glass, powder-coated or brushed stainless steel, hand-carved onyx—via processes that minimize waste. The resulting forms, as much art objects as luminaries, “draw from both cosmological theory and the tactile language of sculpture,” Grigori notes.

Attuned to spatial proportion, the pieces also reflect her architectural background working on high-end hospitality, retail, and residential projects across Europe and the Middle East—experience Noiro now builds upon with a just-launched interior design and creative consulting arm. noirostudio.com

JOE KRAMM

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product Unwound. standout Layers of semitransparent ink create a shifting plaid effect in the company founder’s wallcovering, part of a collection sparked by natural ephemera such as pyrite glistening in a stream. thatcherstudio.com INTERIOR DESIGN

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Hannah Bigeleisen of H. Bigeleisen

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product Stack. standout A pyramid, sphere, and cube combine into a totemic lamp that’s become a bestseller for the designer, with a pink-fringe shade that contrasts with green-stained and natural white oak. hbigeleisen.com

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Mary Ratcliffe of Mary Ratcliffe Studio

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product Knox. standout Her young son’s indoor jungle-gym antics (think clambering, sliding) inspired the utterly unique base shape of the Canadian designer’s timber dining table. maryratcliffe.studio

Nik Bentel of Nik Bentel Studio

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product Loopy. standout Like a doodle drawn on the margin of a page during a particularly tedious Zoom, this 2019 chair made from a single winding fiberglass tube is now thicker, glossier, and available in multiple colors. nikbentel.com

PORTRAIT 1: LEAH VERWEY; PRODUCT 2: DANIEL COCHRAN; PORTRAIT 2: SETH D. CAPLAN; PRODUCT 3: RYAN MCCOY

Avery Thatcher of Thatcher

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m a r k e t s c a p e icff

David Rockwell for Stackabl

Enrico Fratesi and Stine Gam for Ligne Roset

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product Tilt, Shift. standout Felted-wool rounds and LED discs top a cork base made of wine-stopper waste in the Interior Design Hall of Famer and Rockwell Group founder’s lamps, which stack from 6 to 46 inches high. stackabl.shop

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product Rewrite. standout GamFratesi’s petite solidwalnut desk sports a cavelike cocoon, upholstered in Kvadrat Steelcut Trio wool, that establishes a distraction-free study bubble. ligne-roset.com

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Cory Grosser for Bernhardt Design

Hanna Anonen of Hanna Anonen

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product Sunset. standout The California designer nods to Italian postwar molded-foam furniture—and the spirit of the ’70’s— with modular seating characterized by large, rounded corners and gener­ ous seat cushions. bernhardtdesign.com

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product Bouclé. standout Painted circular elements informed by the texture of bouclé fabric punctuate the New York– and Helsinki-based designer’s wall-mount walnut coatrack, which debuted at ICFF’s Launch Pad. hannaanonen.com JULY/AUG.25

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“I believe in things having meaning and things having a long life” m a r k e t nycxdesign

KEVIN WALZ

NUMINO

ralph pucci

A sensitivity to light and the nuances of color honed during Kevin Walz’s early-career background as a painter pervade his Walzworkinc. furnishings. The Interior Design Hall of Fame member’s latest collection, Numino, fabricated at the Ralph Pucci factory in New York, highlights translucent yet color-rich resin. Tabletops shaped like a lima bean or artist’s palette and propped on thin steel legs have a subtle lip, creating a tray effect that keeps objects secure.

Simpatico seating elements, including a settee, a sofa, and a lounge chair, have an echoingly generous silhouette and upholstery specifiable in a two-texture scheme: nubby on top and velvet on bottom. One may observe that the tables seem slightly small in scale, while the seating appears oversized in comparison— and thus extra cosseting. That was intentional.

“I wanted to make the furniture feels like it’s taking care of you,” Walz remarks. ralphpucci.com 140

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Market Gallery Advertorial

NeoCon KEILHAUER Midcentury-inspired Unifi, a Best of NeoCon Gold winner designed by EOOS for Keilhauer, moves as fast as the modern workplace. Available as a lounge or side chair, the chairs can be grouped to create communal benches with the help of a built-in handle on the back. keilhauer.com

ALEX DELBELLO

“The collection reimagines elements of the beach—which has always held a special place in my heart—in textile form” RIPPLE, WING, SPLASH

WING

m a r k e t icff

allybello SCALLOP

Painter and interior designer Alex DelBello explores organic beauty with Coastal, an oceanthemed collection of rugs featuring compositions pulled from her paintings. Dreamed up in Westchester, New York, and handmade by weavers in Bhadohi, India, the works are crafted of durable New Zealand wool. Patterns derive from the colors and forms of nature: textured feathers for Wing, oceanside rock formations for Bluff, seashells for Scallop. Ripple’s design comes from the wavy sand striations made by tides, and Splash recalls a stylized version of airborne water. (Drop, Pebble, and Lull round out the line.) With eight patterns total, each available in six carefully considered colorways, the collection is certain to make waves. allybello.com 142

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CORRINA DAY

BLUFF

Market Gallery Advertorial

NeoCon KIMBALL INTERNATIONAL Inspired by designer Brad Ascalon’s deep connection to music, Kithara by David Edward offers up a harmonious suite of hardwood-frame lounge seating and occasional tables that showcase master craftmanship, from hand-stitched details to elegant mortise and tenon joints. kimballinternational.com

“Conceptually blending folklore with formalism, Knock on Wood is a poetic exploration of one of design’s oldest materials” m a r k e t nycxdesign

HILLARY PETRIE, CRYSTAL ELLIS, STEPHANIE BEAMER

FORTUNE

ELM BY RICK YOSHIMOTO

ROBINS

egg collective Ancient pagan cultures believed spirits lived in trees and that touching trunks could ward off bad luck— hence the phrase “knock on wood.” New York studio Egg Collective presented an exhibition named after that superstitious idiom, showcasing novel designs in timber by contemporary creatives. Among them were the Anthropomorphic valet chair of stained Douglas fir by South Korea–born, New York–based artist Minjae Kim and the sculptural Elm table by septuagenarian Rick Yoshimoto, once a collaborator of late sculptor JB Blunk. Work in different mediums came from Egg Collective itself, such as the wavy Fortune console and shelf, both in polished or brushed stainless steel; the Hornbake sectional, with interlocking puzzle-piece seat cushions and half-moon throw pillows; and sinuous Robins, an armchair with a serpentine powder-coated steel frame, displayed in an old-world floral upholstery. As both curators and designers, Egg founders Stephanie Beamer, Crystal Ellis, and Hillary Petrie go from strength to strength.

HORNBAKE

ANTHROPOMORPHIC BY MINJAE KIM

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CLOCKWISE FROM TOP LEFT: COURTESY OF EGG COLLECTIVE; NICOLE FRANZEN (5)

eggcollective.com

Market Gallery Advertorial

NeoCon PATCRAFT Eighty years ago, Patcraft entered the trade by making tufted chenille bedspreads—before later evolving into soft flooring. Exploring this foundational history is Modern Finds, a carpet tile collection of five styles in various constructions that digs into the origins of handcrafted design by way of familiar tufted textures and rich fibers. patcraft.com

Yusuke Kawai for Pedrali

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Meike Harde for Vibia

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product Kawara. standout The collection includes a pendant (available in horizon­tal or vertical configurations) of terra-cottahued aluminum, inspired by and named for the roof tiles of buildings in Kawai's native Japan. pedrali.com 146

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Francesca Lanzavecchia for Foscarini

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product Knit. standout A warm LED glow shines through the nubby rib-knit Lycra sleeve of the multidisciplinary German designer’s pendant fixture, mimicking the shape and texture of sea urchins. vibia.com

Patrick Norguet for Lodes

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product Tilia. standout Capped by frosted borosilicate diffusers, a chandelier by the Italian designer borrows the branching form (in Rose, WarmWhite, or Octane-Blue metal) of leaf veins and coral reefs. foscarini.com

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product Focus. standout The lighting brand founded in 1950 makes its outdoor debut with a collection for which the French designer cribbed leitmotifs from the world of professional photography. lodes.com

PORTRAIT 3: GUIDO STAZZONI

m a r k e t s c a p e euroluce at salone del mobile

PORTRAIT 5: LORENZO DE BON; PORTRAIT 6: FREDERICO SCAGLIA; PORTRAIT 8: GABY GERSTER; PRODUCT 8: MIDGARD LICHT/FOTO P.FEHRENTZ

Daniel Rybakken for Luceplan

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product Markis. standout The aluminum frame of this triangular linear suspension lamp—available in three finishes and three recycled fabric options— terminates in T-shape ends that allow for easy ganging. luceplan.com

2050+ for Fabbian

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Júlia Esqué for Santa & Cole

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product Intimate Strangers. standout Rows of PMMA diffusers accenting the interdisciplinary Milanese studio’s slim-bodied brushed-aluminum indoor/ outdoor table lamp evoke a game of Connect Four. fabbian.com

Sebastian Herkner for Midgard Licht

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product Alterna. standout Light-filtering polyester shades pulled taut over rectangular frames distinguish this modular pendant and table lamp series, a collab between the two Barcelonabased entities. santacole.com

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product Loja. standout With a paper shade above a glass cylinder, these floor and table lamps (named for Eero Saarinen’s mother) assemble sans glues, render­ ing components easy to replace— down to the LED unit. midgard.com JULY/AUG.25

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PORTHOLE, MODULE WILLO PERRON, AXEL SÖDERBERG

Swedish gallery Nordiska Galleriet, otherwise known as No Ga, started life in 1912 selling antique furniture and modern cars; it soon ditched the vehicles and today concentrates on collectible art and design under the auspices of current owner Axel Söderberg.

At the Capsule Plaza off-site show, No Ga showcased its first collection with French-Canadian creative director Willo Perron, a multihyphenate tour de force best known for major stage productions and runway shows for the likes of Beyoncé and Chanel (respectively) and retail spaces for brands such as Skims and Stüssy. But he’s also a dab hand at sleek modular furniture, as evinced by his high-gloss molded-fiberglass Porthole mirrors and Module coffee tables, which were displayed alongside biomorphic cork-top cocktail tables that architect Paul T. Frankl originally designed in the late 1940’s and ’50’s for Michigan-based Johnson Furniture Company—and now reproduced by No Ga Projects. no-ga.com

m a r k e t milan design week

“I’ve always been fascinated by how the molded-cement panels of 1960’s and ’70’s high-rises repeat in a modular way” 148

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CLOCKWISE FROM TOP RIGHT: ERIK LEFVANDER; WILLO PERRON (2); MICKAËL LLORCA (2)

no ga projects

Market Gallery Advertorial

NeoCon DAVIS FURNITURE Offered as a conference, guest, or multiuse chair, JeLa by jehs+laub combines sophisticated curves and exceptional comfort with upholstery innovation—wrapping the seat, back, and arms in a continuous, tailored form. With multiple base and finish options and a mid- or low-back height, JeLa brings a refined sensibility to offices, lounges, and collaborative spaces alike. davisfurniture.com

cc-tapis The cheekily named Grandma Patterns is a series of five delightfully shaggy rugs by Amsterdam-based artist Rop van Mierlo of Wild Animals studio. The classic prints may riff on tradition, but the design process is anything but. It kickstarts with a wet-on-wet painting technique in which Van Mierlo uses liquid watercolors on moistened paper, resulting in fuzzy, intentionally unpredictable results.

Translated into wool rugs measuring approximately 6.5 by 10 feet, the bold colors and grid lines blur evocatively—he describes them as “patterns of uncontrolled behavior.” Of course, the tousled pelt-like pile only helps amplify the designs’ untamed nature. cc-tapis.com

GRANDMA PATTERNS

“Control—or the lack thereof—is an important part of my work” m a r k e t milan design week 150

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OLLY GEARY

ROP VAN MIERLO

Market Gallery Advertorial

Chicago Design Days ALLSTEEL Allsteel's best-selling task chair, Evo, coveted for its intuitive controls and automatic weight-activated mechanism, is now even more sustainable, with an eco-friendly quilted knit back made from recycled marine litter and carbon-neutral credentials on select models. allsteeloffice.com

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Chen-Yen Wei and Hung-Ming Chen Pablo Alabau and Laura Alandes for Division Twelve for Wolf-Gordon

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products Rae, Luna, Beam standout The table lamps by the cofounders of San Franscisco-based Prowl are 3D-printed on demand from a plant-based material (namely non-GMO sugarcane sourced from Thai farms) that is biodegradable and renewable. haworth.com

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product Crux. standout Stockholm studio Afteroom introduces a stackable café chair with arms (plus other variants) that, courtesy of its mixed-media sculpted wood back and tubular-steel frame, proves opposites attract. division12.com

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product Solis. standout The early black paintings of Frank Stella and the intricate geometric patterns of Pompeiian mosaics were the influences behind Studioestudio’s ubergraphic wallcovering pattern. wolfgordon.com

Patricia Urquiola for Andreu World

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product Nina. standout Launched in the Spanish company’s expansive new Mart showroom were indoor and outdoor versions of the Interior Design Hall of Famer’s voluptuous foam armchair, which stands out for its smooth, continuous shape. andreuworld.com

PORTRAIT 3: KUOHENG HUANG

Lauryn Menard and Baillie Mishler for Haworth

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Paul Crofts of Isomi

PRODUCT 7: CHARLIE SHUCK; PORTRAIT 7: MARK DELLAS

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product Knit One. standout Featuring a minimalist metal frame dressed in a swath of 3D-knitted ribbed Camira upholstery, the manufacturer’s latest lounge chair eschews foam padding for open air, making it ideal for flatpack shipping. isomi.com

Fernando Ramirez and Justin Beitzel for BuzziSpace

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Emanuela Frattini Magnusson for Momentum Textiles & Wallcovering

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product BuzziChicle. standout A nod to the chew­ing gum, Common Object Studio’s acoustic light fixture reimagines chiclets as candy-colored beacons in recycled fabric cloaking a core of mostly post-consumer denim and cotton fibers. buzzi.space

Maaike Evers and Mike Simonian for Davis Furniture

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product Frattini Stripe. standout Kick up your heels with this collision of vertical and horizon­ tal stripes, engineered through advanced jacquard weaving: Each colorway has up to 13 different yarns to nail the exact hues envisioned.

product Horizon. standout The evenly spaced backrest slats of San Francisco studio Mike & Maaike’s go-anywhere chair, available in 15 outdoor-rated powder-coats, emulate the steady calm of the horizon line.

momentumtextilesandwalls.com

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WOODY

slalom Ingeniously combining FSC-certified wood with recycled-plastic fibers, the award-winning Woody series of sound-absorbing wall panels is crafted using a patent-pending thermoforming technology.

Conceived by company founder Elettra de Pellegrin, the existing oak, birch, Bolivar, and Canaletto walnut finishes, with their grooved and perforated surfaces evocative of mid-century design, will soon be joined by a fresh palette of colors and patterns broadening options. Panels are lightweight and easy to install, requiring no substructures, which the company hopes will encourage reuse and a second life—typical of all its acoustic finishes. The panels’ thinness also contributes to their minimal environmental impact.

“The fusion of PET fibers with wood veneer ensures a solid but lightweight product with a top-notch ELETTRA DE PELLEGRIN acoustic performance of NRC 0.9”

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Market Gallery Advertorial

NeoCon OM SEATING The evolved OM5 offers versatile options for any space: eight vibrant mesh colors, two flexible sizes (in polymer or cushioned), and a tool-free swappable seat. Plus, the weightactivated mechanism automatically responds to the user’s movements, delivering intuitive, hands-free adjustment for optimal comfort and support. omseating.com

market fulton market design days

“For every project, I mix my own colors and make my own materials, models, and maquettes. By doing so, I arrive at new forms—things I couldn’t possibly develop on a computer”

LIJN

CAROLE BAIJINGS

“I think beauty is underrated these days,” muses Amsterdam-based designer Carole Baijings. Her first collection for Geiger, Lijn, encompassing a side chair, armchair, and stool, revels in that quality of loveliness. Lijn means “line” in Dutch, drawing attention to the timber form’s shapely balance of straight and curved profiles, which can be dressed up in textiles, leathers, and even belted quilts. Baijings is known as a trend-setting colorist, so naturally she developed five new veneer stains for the chair: Sunshadow, Fawn, Nordic Blue, Red Clay, and Ivy. (There’s also a natural beech version.) “Color is my truest passion,” she notes, “so creating new wood hues came naturally. It allows for the design of different atmospheres: light and airy, modern, or warm and moody, but always sophisticated.” Find the collection at Geiger DatesWeiser and MillerKnoll dealers starting this fall. geigerfurniture.com

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Market Gallery Advertorial

HANOVER ARCHITECTURAL PRODUCTS The U.S. distributor debuts the largest Italian ceramic slabs available on the market, Optimum Surfaces porcelain, measuring an impressive 72.5 by 130 inches. This supersized option offers seamless, ultra-durable stone- or concrete-look designs for myriad applications, from kitchens and bathrooms to outdoor walls. hanoverpavers.com

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Stefano Panterotto and Alexis Tourron for Raawii

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Lise Vester for Muuto

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product AB019. standout A space-conscious, wallmounted desk by the Danish designer, with an oiled oak or laminate surface and optional solidoak stash drawer, is an exercise in warm yet concise minimalism.

product Signal. standout Crafted of clay in Portugal, the jaunty traffic light– esque lamp by the founders of Swiss studio Panter&Tourron is now offered in a mellow saffron shade and a medium-size format.

carlhansen.com

raawii.eu

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Sam Hecht and Kim Colin for &Tradition

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product Dream View standout The silhouette of the Danish designer’s indoor/outdoor bench mimics a body leaning back to gaze skywards, while its polished stainless-steel construction softly reflects surrounding colors.

Through DWR. dwr.com, muuto.com

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product Rombe. standout London studio Industrial Facility’s debut for the Danish brand is an ever-expandable modular system of shelves—in oak or walnut veneer or powder-coated steel—upheld by aluminum supports and brackets. andtradition.com

PRODUCT 2: THOMAS DEGNER; PORTRAIT 3: CECILIE JEGSEN

Anker Bak for Carl Hansen & Søn

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Kersten Geers, David Van Severen, and Fien Muller and Hannes Van Severen for BD Barcelona

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product Rasters. standout Belgian studios Muller Van Severen and Office KGDVS collaborated on modular cabinetry, featuring colorful powder-coated metal doors that perk up the naturalfinished beech grid at its heart. bdbarcelona.com

Ana Magalhães Ilharco and Matilde Cortez de Lobão for Frama

Ronan Bouroullec for Vaarnii

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product 016 Maasto. standout The Finnish-pine dining and armchair models just got comfier courtesy of cushioned seats and backrests upholstered in Kvadrat textiles—including the French designer’s own Alle wool. A black finish is also new. vaarnii.com

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product Ratio. standout Crafted in Lithuania, the freestanding birch storage solutions—including a console, chest, side table, and trolley—by the Ilo founders come stained and lacquered a warm brown. framacph.com

Luca Nichetto for Astep

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product Upglas. standout Table lamps from the Italian-born, Sweden-based designer exhibit a marbled appearance that ingeniously results from a doughlike cast “clay” made of powdered Murano glass remnants and biodegradable resin. astep.design JULY/AUG.25

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KUSHEDA MENSAH

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ERIK WÅHLSTRÖM

High five! Inspired by the curves of the human body, Palma ottomans represent British-born, Londonbased Ghanaian designer Kusheda Mensah’s first collaboration with Swedish company Hem, which just celebrated its 10th anniversary. The concept for Palma originated from Mensah’s earlier work, Mutual I: handlike structures introduced as residential and public sculptures that explored design as a tool for connection in the Internet Age. The playful “paws” encourage socially generous behaviors like closeness, interaction, and conversation, and Mensah notes the range of two-to-five-digit ottomans is “a real milestone in my journey as a Black woman in design.” Constructed of plywood topped with polyurethane foam, the 17-inch-high units are available in a variety of covers, including tactile bouclé or supple leather, and in three sizes ranging from 26 to 47 inches across. hem.com

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NeoCon THREE H FURNITURE Effortlessly scalable to suit interior spaces great and small, the Hudson office system has a commanding architectural presence and thoughtful details like height-adjustable desks, integrated planters, and storage with streamlined recessed pulls—not to mention the ability to adapt to any modality, from focused individual work to collaboration. threeh.com

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m a r k e t 3daysofdesign reissues

Mario Bellini

by Hay

Paavo Tynell

by Gubi and Garro Éditions

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product Amanta. standout The 90-year-old icon’s low-slung sofa modules on ball feet, designed in 1966, now feature a sustainable shell, made from at least 99 percent post-consumer recycled ABS, and cushions with 94 percent biomass-balanced foam. hay.com 162

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Nanna Ditzel

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product 9602 Special Edition. standout The late artist Henry Moore’s pen-and-ink drawing of horses—sketched in 1956 during a circus visit with his daughter—now adorns the pleated linen shade of the Finnish lighting designer’s floor lamp. gubi.com, garro-editions.com

Erik Rasmussen

by Montana Furniture

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product Bench for Two. standout In 1989, Ditzel launched a double seat embellished with concentric circles and a single red dot. Now, the maple-veneer reissues comes in the original colorway plus yellow, pink, and red versions with a black dot. fredericia.com, apetersen.dk

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product Paradigm. standout Previously known as the Paustian modular sofa, this sleekly blocky design from 1969 lives on under another moniker, its form made of fire-resistant foam in new fabric options, including textiles from Kvadrat and Gabriel. montanafurniture.com

PORTRAIT 2: ANDREA FERRARI; PRODUCT AND PORTRAIT 4: COURTESY OF MONTANA FURNITURE

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Market Gallery Advertorial

NeoCon FRAMERY Framery One Lounge offers a new interior layout option for the popular office pod, with comfy seating for a more relaxed atmosphere. This popular go-to for focused tasks and calls swaps out the standard stool and adjustable desk for an ergonomic sofa and fixed-height table, rendering it versatile enough for both concentrated work and essential pauses. framery.com

fritz hansen The first collaboration between Michael Anastassiades and the Danish brand is pared back yet well-executed— characteristics common to both the London-based Cypriot designer’s work, which has typically been lighting, and that of the 153-year-old maker. The After series, named for the art-world term used to reference the source for or inspiration of a piece, encompasses a solid-ash chair and table—the latter with a Rosso Levanto marble top—their minimal appearance belying the exacting cabinetmaking techniques involved.

“The joinery has to be so good, so stable,” Anastassiades says of the chair’s curved backrest and perfectly squared legs. To that end, the wooden pieces are matched to the millimeter— and small details such as a gentle scoop to the seat are “subtle gestures that make the chair.” Seats come with a hard-wax oiled finish that highlights the natural grain or a richer, darker Burgundy Lazur that Anastassiades notes resembles the patina of the aged brass often used in his light fixtures. fritzhansen.com

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“The form builds on Danish design heritage and bring my own layer of simplification and thinking”

Market Gallery Advertorial

NeoCon NUCRAFT The popular Flow Conference table by Joey Ruiter can now be specified in two new base styles that lend a bold, contemporary, and considered vibe to meeting spaces: Rounded Rectangle and Tapered, both available in a range of material combinations including veneer, acrylic, fabric, and leather. nucraft.com

Solid brass hardware & accessories Handmade in England since 1929

armacmartin.com Featuring our Cotswold Gallery Shelf Rail and Handsworth Shelf Bracket

“I look to challenge our understanding of familiar objects and materials, to expand the perception of what’s physically possible”

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Another fantastical Alex Chinneck installation in London not only caused visitors to do a double take but also invited their interaction with it

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designers, engineers, and specialized contractors led by artist Alex Chinneck

7,000 BRICKS

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1,049 feet of repurposed structural steel

44 FEET LONG FROM TOP: COURTESY OF ALEX CHINNECK STUDIO; MARC WILMOT (3)

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1. Known for his playful architectural interventions, many resembling building facades slumped to the ground or peeling away from their framing, British installation artist Alex Chinneck modeled his A week at the knees, shown here in a sketch, on the Georgian architecture that surrounds it in Charterhouse Square, a landscaped public space at London’s Charterhouse, which was founded in 1371 as a Carthusian monastery and is now a residence for resource-challenged seniors. 2. The steel used to make the serpentine frame was repurposed by Cleveland Steel from the former U.S. Embassy in London. 3. The four-story brick structure included seven windows, a door, and even a drainpipe. 4. It was fabricated by steel rollers and bricklayers at Chinneck’s farm in Kent, then transported to the site in three sections on a flatbed truck.

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c e n t e r fold 1. Designed with interaction in mind, Chinneck incorporated a tunnel in A week at the knees for visitors to walk through.

2. The 18-foot-tall facade was a mere 6 inches wide.

3. The tunnel was 8 feet high. 4. Produced in collaboration with Chiltern GRC, Crittall Windows, FabSpeed, and Michelmersh Brick Holdings, the installation was created for Clerkenwell Design Week, which began May 20, and was up through early July. —Nicholas Tamarin

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ROLAND HALBE

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hot shop For the Zara Nanjing clothing store in China, AIM Architecture coordinates an impactful ensemble of tactile and analog, slick and high-tech text: dan howarth photography: seth powers

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Previous spread: Among retail-experience innovations at the Zara Nanjing flagship in China by AIM Architecture is Fit Check, a high-tech studio developed in collaboration with with Spanish digital firm Bagel Affairs where shoppers can capture and livestream their own fashion campaigns while wearing new outfits; photography: Studio Zara.

Left: A monumental staircase of local red brick fitted with custom tables doubles as a communal gathering and seating area at the center of the two-level store. Right, from top: The exterior of the existing glass tower has a new canopy of steel panels sprayed with a textural sand composite extending over benches of the same brick as the stair. The double-height entry atrium serves as a pop-up gallery for local artists, such as Juju Wang’s tapestries.

Opposite: Polished and raw concrete composes the flooring, wall, struc­ tural column, and ceiling tiles in the atrium.

While physical retail in the West has slowly shifted closer to an experiencedriven model, many stores in China are ahead of the game, formulating immersive, multifunctional spaces where customers can do more than simply peruse the racks. Realizing a need to up the ante in the region to remain competitive, Spanish fashion brand Zara called upon Shanghai studio AIM Architecture to reimagine its Nanjing flagship and create a new concept for this tricky market.

With satellite offices in Antwerp, Belgium, and Chicago, AIM’s founding in Shanghai in 2005 by work and life partners Dutch architect Vincent de Graaf and Belgian architect Wendy Saunders has enabled the firm to gain invaluable insights into Chinese consumer behaviors, while still bringing a European sensibility to its work—an ideal combination for this project.

AIM, which stands for authentic immersive matters, understands that to provide real impact, any retail space should improve its wider context and offer services beyond the primary product: in this case, clothing.

“We saw it as an opportunity to explore a new direction for Zara, one that connects architecture, technology, and community in a very integrated way,” de Graaf begins.

The 37,000-square-foot store in Xinjiekou, Nanjing’s central business dis­ trict and shopping hub, occupies the ground and second levels of an ex­ist­ing glass tower, with a protruding shiny red sphere for feng shui purposes and a long facade stretching out beside a busy thoroughfare. Here was a chance to improve the adjacent streetscape by providing shelter and seating, connecting Zara with the public realm to draw in passersby. AIM installed an exterior canopy and brick benches, creating a shaded area for shoppers to pause beneath, and clad the facade in a sinuous, warm beige com­position of 3D-curved steel panels sprayed with a textured sand aggregate.

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Meanwhile, a monumental staircase in the same brick as the benches and positioned in the center of the flagship spills out through the glazed facade into the street. “It was conceived as a mountain rather than a staircase, with activity on all sides,” de Graaf continues. The bleacher-style steps rise in pyramidal form before switching to a single flight to the upper floor, providing both circulation and an informal seating area for Zacaffe, a collab with Art Recherche Industrie for Zara’s first in-store café concept outside of Spain. Housed within a hut-style structure modeled on traditional local buildings, the café kiosk also straddles the interior and exterior to serve customers on both sides.

The reddish-pink hue of the brickwork, which is typical of the region, reappears as product displays throughout the store. These contrast the largely monochromatic palette of raw and polished concrete and matte stainless steel. Overall, there’s more emphasis on texture than color, yielding a neutral yet tactile backdrop for the constantly changing product offering for which Zara is renowned. “You need a little bit of rawness to have an impact,” Saunders explains. “Otherwise, it just becomes a canvas for clothes.”

A grid of indented, square concrete panels across the ceilings on both floors is interrupted by sweeping curves around the double-height entry, forming a balcony that overlooks large-scale works by local artists.

Left: On the main sales floor, backed by a vending machine clad in matte non­ directional brushed stainless steel and stocked with Zara T-shirts and acces­ sories, tanned leather strips wind around poles that support clothing rails.

Right: Color-changing LEDs entice shoppers to the Fit Check studio, flanked by paneling in more matte stainless.

Opposite top, from left: The same stair brick forming a shoe display; photo­gra­ phy: Studio Zara. Fit Check’s multiple professional-grade cameras and lighting.

Textural finishes of split-faced white limestone on the main sales floor. Bottom: A 7-foot-tall screen looping videos of Zara collections brings light and energy to a denim retail area on the second floor.

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Clusters of spotlights are integrated into some of the ceiling tiles, while their strict grid layout becomes an organizing framework for vertical partitions in display areas. Elsewhere, details such as leather-wrapped vertical rail supports and door handles add even more texture, while screens are integrated into wall panels and podiums to present Zara’s collections digitally.

The fitting rooms are where things get really interesting, designed as highly experiential salons and each given its own treatment. In one, dappled chartreuse carpeting and chocolate-brown leather seating juxtapose custom mirrors and steel furniture, resulting in a retro-futuristic vibe.

“It’s a hospitalitylike moment that feels intimate, comfortable, and slightly unexpected,” de Graaf says.

In another larger area, the sci-fi aesthetic is pushed further by silvery foil curtains that conceal the entrance to an amorphous booth bathed in coloradjustable LEDs. This hidden space, known as Fit Check, was done in collaboration with Barcelona-based digital studio Bagel Affairs and integrates professional-grade lighting and cameras. Customers can book the space via WeChat, capture their own fashion photos and videos, then download and share their content both during and afterwards. Interactive and hightech, it provides all-important opportunities to drive social media engagement for the brand on such platforms as RedNote and WeChat. An appointment-based personal shopping service is also available in a private salon, for those who desire a premium experience more akin to the luxury sector.

By integrating technology, connecting with the public realm, and developing an entirely new visual language, AIM has delivered a store that’s unlike anything in Zara’s portfolio. The Nanjing flagship provides a blueprint for how Zara’s other stores in China, as well as across the globe, can offer the public more than enough reason to get off the couch and shop for new “fits” IRL. “Customers want to engage with the brand on a different level,” Saunders concludes. “It’s important that they get a sense of adventure and inspiration when they’re shopping. Otherwise, they’ll just buy online.”

PROJECT TEAM MARTA POZO; SACHA SILVA; EWA SZAJDA; ALBA GALAN; DAVIDE SIGNORATO; EMILIO WANG; GABRIELLE LIU; GUANLIN LI; HAOCHEN YANG; JERRY GUO; SONG JIE; KANG JIN; JUNGER XIA; KEXIN GAO; MIA LEI; NORA LIU; VICTOR MONGIN; WEI ZHENG; WEISHA DAI; QIANQIAN BAO; XIAO WEN; ZHANG YI; ZHAO NA: AIM ARCHITECTURE. FRANC NAVARRO CIFANI: BAGEL AFFAIRS. CAAMAÑO ASIA (KUNSHAN) FURNITURE AND COMPLEMENTS CO.: CUSTOM FURNITURE, CARPET, CURTAIN WORKSHOP. BESPOKE. SUR-MESURE ENGINEERING STUDIO: FACADE CONSULTANT. SHANGHAI CHOYOIN BUILDING DECORATION CO.: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DE SEDE: SOFA (SALON). THROUGHOUT WIENERBERGER: BRICK SUPPLIER. FAGERHULT: CEILING FIXTURES. INUSUAL COMUNICACIÓN INNOVADORA: DIGITAL SCREENS.

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Left: The ceiling grid provides an organizing framework for partitions and displays. Right, from top: Custom matte-stainless tables and a DS-600 sofa stand on custom bamboo carpet in a fitting-room salon; photography: Studio Zara. The 37,000-square-foot store’s new facade of custom, 3D-curved steel panels finished with a sand-acrylic composite appears like a beacon in the Xinjiekou business district; photography: Studio Zara.

Opposite: Custom foil curtains partition fitting rooms and obscure the entrance to the Fit Check, creating moments of discovery.

“Fitting rooms are designed as highly experiential salons, with each given its own treatment”

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text: ian phillips photography: nicolas schimp/living inside

arcs de triomphe Labscape Studio’s remodel of a Paris residence offers a contemporary take on the City of Light’s ubiquitous arches

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Architects Robert Ivanov and Tecla Tangorra named their multidisciplinary firm Labscape Studio because they wanted to suggest a spirit of experimentation. “We place great importance on innovation,” Tangorra says. “At the start of each project, we test out our clients to see how far we can go.” In the case of a recent project—the makeover of a 6,544-square-foot Paris residence belonging to an art-collecting couple—the homeowners’ reaction did not disappoint. “They’re very open to new things,” Ivanov notes. “They really wanted to be surprised.”

The property itself is anything but conventional. On their first visit to the site, Ivanov and Tangorra discovered it comprised two distinct units: a three-level apartment at the rear of a typical Haussmannian building near the Eiffel Tower, and an older four-story mews with a half-timbered facade, located across a courtyard behind it.

Labscape, which has studios in Belgium, Italy, and New York, linked the two parts with a strikingly contemporary structure—a broad, skylighttopped corridor that wraps around the courtyard’s perimeter, leaving a verdant patio at its center. The steel frames of the addition’s arched, floor-to-ceiling windows and doors are eye-catchingly thin. “I wanted them so fine they almost cut the air like razors,” Ivanov explains. Curves in general are close to the studio’s heart. Early in Ivanov’s career, while working for Asymptote Architecture, he grappled with the famously complex, fluid forms of the Yas Island Marina Hotel in Abu Dhabi. “That really taught me how to work with them,” he says, developing a fascination he and Tangorra continue to explore. “We don’t always like to work with orthogonal, angular shapes,” he acknowledges.

Here, curves seem particular fitting, given the proximity of the Eiffel Tower. “It has a very interesting geometry,” Tangorra observes of the

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Previous spread: A custom sculptural overmantel and a walnut-paneled archway anchor the fireside living area of a 6,544-square-foot, multilevel Paris residence renovated by Labscape Studio.

Opposite: Across the kitchen’s travertine-topped bar, Federico Peri’s T chairs surround the dining area’s custom table overhung by Labscape’s Goccia Murano-glass chandelier.

Top, from left: The archway opens onto a broad, niche-lined circulation corridor sur­ rounding a courtyard patio. The overmantel’s deep-relief ceramic panels are inspired by decorative concrete blocks at Frank Lloyd Wright’s Hollyhock House in Los Angeles.

Bottom, from left: Come to the Light, a crystal multiple by Egyptian artist Moataz Nasr, backdrops Labscape’s Lui’ sofa. Beneath a skylight, a custom walnut, travertine, and lacquer shelving unit occupies a corridor niche.

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iconic landmark. “It’s not a simple, regular arch, but a splayed one. We thought Why not bring this form—so typical of the art nouveau movement— into the house?” The introduction of these arches created irregular walls and ceilings that helped mask some unfortunately located structural beams and common plumbing lines. “If we’d opted for more classical forms, we’d have had things sticking out all over the place,” Ivanov admits. Another byproduct is an impressive number of architectural niches, some of which are home to custom bookshelves, others to curvaceous built-in sofas.

The home’s spatial challenges led to a far-from-traditional layout. The ground floor includes the entry and main bedroom—both located in the apartment building—the generous corridor surrounding the patio, and, beyond a pair of expansive arches lined with walnut paneling, the openplan living, dining, and kitchen area housed in the mews. Off the bedroom, a spiral staircase leads up to the wife’s study on the second floor and down to the basement, which contains a dressing area and bathroom, as well as a pool, sauna, fumoir-home theater, and bar. A second salon occupies a mezzanine above the living-dining space, while two guest bedrooms are found on the top floor.

Style-wise, the clients were adamant they didn’t want anything typically “Parisian.” No marble fireplaces. No elaborate wall and ceiling moldings.

Even the classic chevron parquet in the public rooms was given a twist, being in walnut rather than the customary oak. Instead, Labscape enlivens

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Opposite top: Marble characterizes the main bathroom, where shower walls are clad in showstopping Verde Lapponia while flooring is quieter Bianco Thassos. Opposite bottom: A built-in cotton velvet–upholstered sofa joins woven-polyester wallcovering and a custom headboard in the main bedroom.

Top: Madeleine Castaing’s exuberant Feuilles de Bananier carpet complements the fumoir-home theater’s channeled polyester-velvet walls studded with Michele De Lucchi’s Dioscuri sconces. Bottom, from left: Surveyed by Fort Standard’s Counterweight Circle sconce, Robert Lazzeroni’s Colette stools pull up to the kitchen bar. A secondary mez­ zanine salon overlooks the main seating area, which features Draga & Aurel’s Marylin lounge chair and ottoman, a custom rug, and the walnut parquet used throughout the ground floor.

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the residence with a number of dramatic gestures. The living area centers on a fireplace topped by a massive sculptural overmantel, loosely based on one at Frank Lloyd Wright’s Hollyhock House in Los Angeles, which Tangorra visited on a school trip as a teenager. The Paris version, composed of deep-relief ceramic panels, took a whole year to develop. With the help of 3D software, each module was individually modeled, then integrated into a composition unified by a complex gradient incorporating all the colors in the house—from deep green to burgundy.

In the wife’s study, the vibrant carpet—Sumo, a bold geometric from the 1970’s by Jean-Pierre Garrault—reflects her passion for both pattern in general and the era in particular. And the striking green marble cladding walls in the main bathroom was chosen for its powerfully expressive veining. The adjacent dressing room, with its pristine blanched palette and rounded forms, is a touch futuristic. “It’s almost as if you were on a spaceship,” Ivanov remarks.

To take a few steps to the basement bar and adjoining fumoir-home theater is to be transported to another world entirely. “The husband said, ‘It should be imbued with the spirit of old Paris, like a brothel with red-velvet walls,’” Tangorra reports. The studio went to town with a flamboyant Madeleine Castaing carpet sporting a banana leaf motif, a marble-and-ceramic bar, and a pair of jewel-like Murano glass sconces. As for the walls, they’re not simply clad in red velvet but upholstered with horizontal padded bolsters, “not just for visual effect but also for the acoustics,” Ivanov concludes.

“That way, our clients don’t need to worry about disturbing the neighbors when they throw a party.”

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PROJECT TEAM CLAUDIO RUSSONIELLO: LABSCAPE STUDIO. PRODUCT SOURCES FROM FRONT BAXTER: LOUNGE CHAIR, OTTOMAN (LIVING AREA), CHAIRS (DINING AREA), NIGHT­ STAND (BEDROOM), STOOLS (KITCHEN). CERMICA DI CAVA: CUSTOM OVERMANTEL (LIVING AREA), CUSTOM BAR FRONT (BAR). BOTTEGA VENEZIANA: CUSTOM SCONCES (LIVING AREA, BATHROOM, BAR), CUSTOM CHANDELIER (DINING AREA). WALNUTSGROOVE: CUSTOM TABLE (DINING AREA), CUSTOM WALL UPHOLSTERY (BAR, THEATER). THASSOS MARBLE: FLOORING (BATHROOM). MARGRAF: WALL MARBLE. AXOR: SHOWER FITTINGS. VILLEROY & BOCH: TUB, SINKS. PORTA ROMANA: SCONCES (BED­ ROOM). NOBILIS: WALLPAPER (BEDROOM, BAR), OTTOMAN FABRIC (THEATER). ROLL & HILL: SCONCE (KITCHEN). ARTEMIDE: SCONCES (THEATER). VINCENT SHEPPARD: FURNITURE (PATIO). JANSEN: WIN­ DOW FRAMES. ARTISAN: STOOLS (BAR). GESSI: SINK FITTINGS. THROUGHOUT DEDAR: UPHOLSTERY FABRIC. CARPET SOCIETY: CARPET.

Opposite: Studio Segers’s Kodo outdoor lounge chairs stand on the patio’s French limestone slabs.

Top, from left: Jean-Pierre Garrault’s Sumo carpet and a built-in banquette bring a 1970’s vibe to the wife’s study on the second floor.

Ceramic tile fronts the bar’s Verde Alpi–topped counter, joined by Murano-glass and bronze sconces, all custom. Bottom, from left: The theater walls also provide acoustic isolation. Cabinetry in the dressing area is bleached burl walnut.

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See page 191 for the Spanish pavilion by Enorme Studio, Extudio, and Smart & Green Design, where a hall hung with vintage postcards and screens looping real-time social posts compares analog and digital communication.

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text: lisa di venuta photography: roland halbe

the long view Climate, connection, craftsmanship—all those and more support Designing Future Society for Our Lives, the theme for the more than 100 pavilions at Expo 2025 Osaka in Japan

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SANAA The Better Co-being pavilion was created with scientist Hiroaki Miyata to symbolize empathy, interaction, and the sharing of resources through a system of translucent canopies installed with Chiharu Shiota’s Hill of Language, a web of red threads and wire resembling a flowing data network.

SOU FUJIMOTO ARCHITECTS The 2,200-foot-diameter Grand Ring by the firm that also conceived the expo’s master plan encircles the entire site, serves as the main circulation route, and is made of local Sugi cedar and Hinoki cypress, the intricate latticework achieved with traditional Nuki joinery.

LAVA The German pavilion embraces circular design literally and environmentally via six interlocking cylinders made of such natural and/or easily renewable materials as glulam, steel, bamboo, rammed earth, and mycelium, each with a green roof and an oculus projected with digital floral animations.

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ENORME STUDIO, EXTUDIO, and SMART & GREEN DESIGN Titled the Kuroshio Current, an actual navigation path that links Spain and Japan, the facade draws inspiration from sea and sun, its wavelike steps employing dry-joined Japanese red cedar and varying-blue ceramic, identified by recycled fishing–net signage.

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MIDW and NIIMORI JAMISON The expo’s rest area is composed of excavated and mounded soil formed into a rhythmic landscape of peaks and valleys crisscrossed by a canopy of latticed steel rebar, offering shade and seating for visitors.

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NOIZ and YOICHI OCHIAI The Null2 pavilion centers on the mirrored body concept: An infrastructure of steel-framed cubes surfaced in a flexible mirrored membrane is powered by blockchain and AI, which scan and digitize each visitor to create their virtual alter ego.

FOSTER + PARTNERS A collaboration with Journey, the 38,000-square-foot Kingdom of Saudi Arabia pavilion is a villagelike microcosm of the country’s towns, cities, ancient bazaars, and desert courtesy of undulating stone-composite walls, courtyards, and audiovisuals of Saudi culture, arts, and daily life.

CONSTRUCTO Makün: the Blanket of Chile is the moniker for the country’s 3,200-square-foot CLT-framed pavilion, where sustainably harvested Radiata pine is hung with wool tapestries handwoven by some 200 women artisans from the Araucanía region, pigmented with extracts from native flora, and which is planned to return to Chile after the expo.

LAVA The German firm makes a second appearance at the expo with its Kuwait pavilion, dubbed Osaka’s visionary lighthouse, invoking desert winds and bedouin craft with a winged geometric silhouette and a billowing, semitransparent ceiling.

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SHIGERU BAN ARCHITECTS Switching from Ban’s signature cardboard tubes to carbon fiber–reinforced plastic ones enveloping recycled paper and laminated bamboo, the 21,000-square-foot, zero-waste Blue Ocean Dome features videos curated by Muji art director Kenya Hara on pollution via an LED screen shaped like a hemisphere, and will too be reinstalled, at a resort in the Maldives, exemplifying that the material will be not ultimately go into the sea but face it.

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creative commons

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text: rebecca dalzell photography: eric laignel

Bakers, painters, product designers, and dressmakers synergize at Houston’s 2910 McKinney, a mid-century former warehouse turned mixed-use hub re-enlivened by fellow tenant MaRS Culture

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Houston is known for bulldozing its past. There’s no zoning and few landmark protections; it wasn't until 1995 that the city adopted its first preservation ordinance. “Everything gets torn down, with no part of history left behind,” laments Kelie Mayfield, founder and CEO of local architecture and design firm MaRS Culture.

Even old industrial buildings, commonplace elsewhere in the country, are rare here. Yet 2910 McKinney, a 65,000-square-foot former warehouse and showroom built in 1953, has survived—and been given new life as a mixed-use hub for all manner of creatives—from those working in food to furniture—courtesy of Mayfield.

Developer Shon Link, founder of Local Partners, recognized the site’s potential. Located in the gentrifying East Downtown neighborhood, 2910 McKinney was originally a showroom and distribution center for the Peaslee-Gaulbert Corporation, which sold paint and home goods. It later housed furniture, letterpress, and sandpaper companies. Link, who was previously an architect at Gensler, was impressed with the quality of the art-deco building, which had a solid brick structure, poured concrete flooring, and a 15-foothigh ceiling. Even the windows were intact, because they had been bricked up for safety years earlier.

“The spaces are extremely interesting, and when you walk in, it feels timeless,” Link says. “We sought to preserve it and craft a special place.” He brought on Mayfield to help achieve this vision. The two have worked together for years on such area projects as the George hotel in College Station and become friends.

Together, they saw an opportunity to build a home for creative types who were already working in the industrial neighborhood and craved connection after the pandemic. Plus, these designers and makers would be able to use the building largely as is, helping preserve its historic essence.

The wholesale (and aptly named for 2910 McKinney) Kraftsman Baking and Nickel City bar became the anchor tenants, with the rest of the interiors split between a design collaborative and maker spaces. MaRS restored and conceived the latter areas and curated the tenant mix. The firm has long commissioned art and sourced handmade furnishings for its projects, so Mayfield was plugged into the community Link hoped to attract. At the time, MaRS was also looking for new office space and ended up moving into the building as well.

Previous spread: At Houston’s 2910 McKinney, a former warehouse turned mixed-use creative hub, MaRS Culture restored and redesigned the 65,000-square-foot interior and moved in, both the architecture studio and MaRS Mercantile, where Ege Carpets rugs, Hallgeir Homstvedt’s Arc loveseat, tables by Neri&Hu and Space Cunningham, and clothing by Magpies & Peacocks, a nonprofit fashion brand and fellow tenant, are available for sale.

Top: A 1960 Danish bookcase stands at the entry to MaRS Mercantile, its existing concrete flooring retaining a residual pattern from removed vinyl; in the back, steel-and-glass partitions end below the 15-foot-high concrete ceiling to preserve openness. Bottom: The building dates to 1953 and over the years has housed a paint company, furniture showroom, and sandpaper manufacturer.

Opposite top: A portion of the floor plan is reserved for pop-ups, this one displaying Tangram Fable rugs by Michael Phelan for Branch, a product-design studio, flooring distributor, and building tenant, and Cadbury Series tables by MaRS founder and CEO Kelie Mayfield.

Opposite bottom: A Henzel Studio rug hangs in an unfinished space, where MaRS unsealed the existing, formerly bricked-up windows.

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Mayfield and her team opened up the interior and preserved its raw atmosphere. They unsealed the windows, strategically removed a few brick walls to improve circulation, and kept lighting minimal, using only exposed bulbs and industrial drum fixtures. To delineate tenant spaces from public, they installed steel-and-glass par­ titions that maintain a sense of openness: The dividers end a few feet below the ceiling, forming semiprivate zones like cubes in an office. This was partly a way to control costs, but it also promotes a communal vibe.

“There’s a nice energy and vibrancy, because you can hear people talking and playing music,” Mayfield notes.

“And we can see all the way through to each other’s studios.” Drywall dividers run between tenant spaces.

The architectural interventions largely ended there. Link calls the process an exercise in restraint: “It was about using a light touch and figuring out how to do less, not more.” That meant keeping quirky elements that lend character. MaRS pulled up vinyl flooring and found it had left an interesting pattern on the existing concrete. A central room had originally displayed paints, and blocks of color still coat the walls, resembling a Mark Rothko artwork. Outside, the front entrance retains its decorative art deco–style brickwork.

Anyone with a creative bent would find such environs appealing. But Mayfield says she and Link are selective about who they lease to, since they hope everyone will work together. “We’re designing a community of design,” Mayfield explains. “Even though we have separate businesses, we support each other. So we’re looking for people who are open, honest, and down to earth.”

So far the tenants include nonprofit fashion brand Magpies & Peacocks, which now produces and sells its upcycled clothing in the Rothkolike room (and runs a separate coffee bar in the building offering local treats, the revenue benefiting Makr Collective, a workforce development program for trauma survivors); Branch, a product design studio and flooring distributor; Plum Alley, a family-owned business specializing in historic window restoration; and El Dorado Woodworks hand-crafted furniture studio. There’s also Vesper Art Collective gallery and rentable space for pop-ups. MaRS occupies much of the ground floor with both its studio and new retail venture, MaRS Mercantile, which promotes emerging artists and makers and represents established brands like Stellar Works.

Working beside a mix of creative thinkers can spur fresh ideas. “Design these days is not so insular,” Mayfield observes. “Different disciplines cross over. We thought How can we all work together and make something

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Below: A piece by Houston painter Holland Geibel, cofounder of the building’s collaborative workspace Vesper Art Collective, brightens the MaRS Culture design studio, where shelving is custom.

Opposite top, from left: A Danish 1900’s table at the entry to MaRS Mercantile. LED signage at the Magpies & Peacocks coffee bar. Swaths of paint from the building’s original owner, the Peaslee-Gaulbert Corporation. Opposite bottom: A model in Magpies & Peacocks upcycled clothing poses on the 24-foot-long farmhouse table in the conference room at the MaRS office.

“Anyone with a creative bent would find these environs appealing”

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unexpected?” She’s already begun to answer that question. For the Houston Rockets’ PNC Lounge, MaRS commissioned Magpies & Peacocks for a fabric wall graphic sewn from players’ old basketball jerseys. The two have also joined forces with Branch on projects in Marfa, including a runway show of garments made of salvaged architectural materials. This is just the beginning: Expect more collabs as new tenants move in.

PROJECT TEAM KIM LE; JENNIFER HENDERSON; DANIELA GONZALEZ; ELYSE REUTER; TEHYA LEIGH; ASHLEY BESHARA; KALI STEELE; SARAH WALLACE; TUAN NGUYEN; THANH VIET; HIEN TRAN; VI NGUYEN; NGAN BUI; DINH TRUONG; TRIET NGUYEN; THIEN NGUYEN; DUNG HO; HOANG NGUYEN; NAM NGUYEN; TRI NGUYEN: MARS CULTURE. BASIC BUILDERS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT STELLAR WORKS: LOVESEAT, TABLES (MARS MERCANTILE). EGE CARPETS: RUGS. BRANCH: RUGS (POP-UP). HENZEL STUDIO: RUG (RAW SPACE). BASIC BUILDERS: CUSTOM SHELF SYSTEM (OFFICE). IKEA: SHELF BINS. PUTNAM ROLLING LADDERS: LADDER. ULINE: ISLAND STORAGE. ALLSTEEL: DESKS. WEBSTAURANT STORE: WORK TABLE. WAYFAIR: STOOL (OFFICE), CHAIRS (CONFERENCE ROOM). THROUGH ROUND TOP RANCH ANTIQUES: TABLE, SHELF UNIT (MARS MERCANTILE). ANTIQUE FARM HOUSE: TABLE (CONFERENCE ROOM). CURRAN: RUG. RH: CABINET (BRANCH).

THROUGH LIVING CENTURY: WINE VESSEL. THROUGHOUT SHERWIN-WILLIAMS COMPANY: PAINT.

Top: In the Branch showroom, backed by dyed linen wall pieces by Phelan, cotton-tassel chandeliers by Gil Herrera hang over David S. Branch’s custom table built from a black walnut tree that fell during Hurricane Harvey. Bottom: Vinyl-fiber sculptures

by Houston multidisciplinary artist Susan Plum hang in MaRS Mercantile.

Opposite top, from left: A Kyle Bunting rug sample and chainlike art by Emerson Ceramics at MaRS Mercantile. The exterior’s deco-style brickwork. A closeup of Plum’s work. Opposite center, from left: An antique olive vessel, a distressed pine cabinet, and Phelan artworks at Branch. A painting by Vova Pydlyak in the MaRS conference room. A Lazaro Amaral painting and bolts of reclaimed fabric at Magpies & Peacocks. Opposite bottom, from left: More existing paint. A portrait by FireHeart Photography at Magpies & Peacocks. Brandon Mike’s diptych and a French-inspired sofa at MaRS Mercantile.

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platinum passport At São Paulo’s famously hectic international airport, the BTG Pactual VIP Terminal

by Pascali Semerdjian Arquitetos and Perkins&Will offers deep-pocketed travelers a quietly luxe haven text: michael snyder photography: fran parente

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No one—save for the most committed aviation enthusiast—enjoys the airport. The sounds of hundreds of voices bounce off hard, smooth surfaces and reverberate around soaring interior volumes. Glaring fluorescents, icy as a dentist’s operating light, eliminate any sense of time. Labyrinthine corridors and constant security checkpoints give every interaction the tone of an interrogation. With their peculiar combination of sensory overload and deprivation, airline terminals rarely generate anything but stress— which is precisely the experience that Pascali Semerdjian Arquitetos and Perkins&Will set out to subvert when the two firms collaborated on the newly opened BTG Pactual VIP Terminal at São Paulo’s notoriously crowded Guarulhos International Airport.

Named for the Brazilian bank that spearheaded the project, the facility is believed to be the first of its kind in the Southern Hemisphere—not merely a suite of first-class lounges or VIP rooms within an existing structure, but a standalone building that allows well-heeled travelers to evade the frustrations, indignities, and congestion endemic to conventional airports. For P&W principal and São Paulo studio managing director Fernando Vidal, that architectural independence was fundamental. Where a lounge might help alleviate the anxieties of check-in, security, and immigration—a palliative at best—the sequestered BTG terminal, he notes, would be “the first experience on a trip, so the question was how to transform that experience.”

The P&W team began by rethinking both the physical and conceptual basics of air-transit architecture: natural, rather than artificial, light; wood and stone rather than what Vidal calls “technological materials” like steel columns and epoxy floors; transparency rather than obfuscation; and deep-rooted specificity rather than placeless anonymity. The building the firm envisioned—functional yet comfortable, calming yet characterful—was, the architect acknowledges, “essentially a private house with a public use.”

Spanning 26,000 square feet, the terminal’s main volume is divided into two sections: “land” (the equivalent of a standard terminal’s pre-security check-in area) and “air” (the departures lounge). Sep­ arating them, a shared internal garden is planted with trees specifically selected not to attract birds— an essential air-traffic safety consideration. Still, winged visitors of a sort do perch on the structure,

“The challenge was to offer the feeling of something familiar—but more”

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Previous spread: Capped by a butterfly roof that evokes flight, the BTG Pactual VIP Terminal is a 26,000-square-foot standalone facility by Pascali Semerdjian Arquitetos and Perkins&Will, catering exclusively to affluent travelers at São Paulo’s Guarulhos International Airport.

Opposite: The check-in lounge juxtaposes custom furnishings with a seating group that includes a 1960’s sofa by pioneering Brazilian manufacturer Móveis Cimo, a pair of Hygge armchairs by Studio Lucas Caramés, and round Trevo coffee tables by PSDS, Pascali Semerdjian’s design brand.

Top, from left: A work by São Paulo–based artist Julia Kater enlivens a corner in international arrivals. Custom seating booths line check-in’s glazed wall overlooking the internal garden. The brass reading lamps are also custom. Bottom: The 26,000-square-foot terminal’s butterfly roofs define two pavilions—check-in and international departures—separated by the garden.

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in the form of twin butterfly roofs that admit natural light and offer views of the sky through clerestory windows and glazed side walls. A pair of hallways hidden in the building’s lateral ends link the two pavilions while discreetly accommodating security and immigration stations—domestic on one side, international on the other.

With the architecture of the shell determined, Pascali Semerdjian was brought in to outfit the interiors. For coprincipal Sarkis Semerdjian, who frequently works on residential projects for affluent clients, the first challenge was to offer “the feeling of something familiar—but more.”

In Brazil, he notes, high-end houses and apartments too often feel “pasteurized,” relying on a handful of pieces by iconic artists and designers as obvious signifiers of wealth and taste. In all the firm’s assignments, coprincipal Domingos Pascali adds, “We aim to create something elegant that doesn’t feel copy-pasted,” combining lesser-known works by mid-century masters, pieces by contemporary designers, and custom furnishings tailored to the specific demands of the project itself.

In this case, the ask was for interventions that would provide discrete, private spaces without disrupting P&W’s open, airy plan. Using slats of pau ferro—an indigenous hardwood the color of walnut—Semerdjian crafted gridded screens reminiscent of traditional Brazilian muxarabi, an adaptation of Moorish mashrabiya latticework, which are deployed throughout the terminal. On the “land” side, for instance, they appear in the check-in lounge as low partitions defining seating booths that flank the glazed wall overlooking the garden. On the “air” side, they enclose a pergola housing an intimate jade green–marble bar and dining area, furnished with Etel Carmona chairs and tables by Luciana Martins and Gerson de Oliveira—two recent examples of refined, cliché-free regional design.

Not that Brazil’s trademark ebullience doesn’t occasionally break through. Responding to the client’s request that the restrooms be particularly memorable—and accommodate fresh flowers— Top: A restroom’s Verde Guatemala marble sink is fed, waterfall-style, by a brass faucet that integrates a planter of tropical flora, all custom. Center: The arrivals corner vignette comprises a Micasa MCS-65 sofa facing a custom banquette, Estúdio Felipe Madeira’s Pilo side tables, and a tiled wall. Bottom: A pergolalike structure in the inter­ national departures pavilion encloses a bar with niche banquettes, 1950’s José Zanine Caldas’s armchairs, and Pascali Semerdjian’s Dé magazine-stand side tables.

Opposite: An oil on linen by Brazilian artist Gonçalo Ivo hangs on the exterior of the pergola, which is wrapped in custom pau ferro screens that recall the region's tra­ ditional muxarabi latticework and are used throughout the terminal, as is the porcelain tile flooring.

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Top, from left: Luciana Martins and Gerson de Oliveira’s Trapézio lounge chairs await travelers in domestic arrivals. At night, the terminal glows like a lantern.

A bathroom’s basin, walls, and floor are clad in travertine marble. Bottom: High-back sofas populating the international departure lounge are custom, as is the illuminated brass-and-marble wall-mounted bookcase.

Opposite: The pergola’s dining area features Etel Carmona’s AL chairs and Martins and de Oliveira’s Carretel tables while Verde Guatemala forms the bar and side counter.

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Semerdjian, in perhaps the project’s most daring design gesture, dreamed up a wash station of almost equatorial lushness. Set in a large white-marble box, a rectangular green-marble sink is fed, waterfallstyle, by a floor-standing brass faucet, its sculptural column surmounted by a shallow trough planted with tropical flora, as if the flow originated from a natural forest spring.

That voluptuous, overflowing sink is as overtly expressive as the terminal’s formal language gets.

Nothing else is especially grand or performative. Even the soaring roofline, which Vidal acknowledges was conceived to resemble a bird touching down, serves less to draw the eye upward than to dema­ terialize the building, allowing attention to drift toward the garden growing at its heart. The materials palette is quietly considered: Walls are clad in pau ferro paneling or fine-grain acrylic plaster; upholstery fabrics—from buttery leather to nubbly bouclé—introduce textural and tonal variety; creamy limestone-look porcelain tile flooring is softened by natural-fiber rugs; and marble is used sparingly but with telling effect.

While modern airport architecture often seems intended to overwhelm travelers with something like awe, P&W and Pascali Semerdjian employ altogether subtler means to achieve a more modest—but more difficult—goal. “Normally when you go to an airport, you’re hoping to pass through as quickly as possible,” Vidal concludes. “We want people to stay a little longer.”

PROJECT TEAM ISIS GOMES; BRENO PINHEIRO; LUIZA LEITE; JOÃO PAULO MACHADO; LEONARDO GUIMARÃES: PASCALI SEMERDJIAN ARQUITETOS. DOUGLAS TOLAINE; LARA KAISER; ADRIANA BARBOSA; CASSIA MORAL; GABRIEL FREITAS; GABRIELA VIOTTI; RODRIGO GIANONI; GUSTAVO TEIXEIRA; GUILHERME MENESES; FABIO JUNGSTEDT; FERNANDO HOLANDA; PRISCILA PASQUARELLI; ALICE UEMOTO: PERKINS&WILL. SAENG ENGENHARIA: CIVIL ENGINEER. CONTROL TEC: CONSTRUCTION MANAGEMENT. PRODUCT SOURCES FROM FRONT SNALDI: FENCING, SOFFIT LINING (EXTERIOR). STUDIO LUCAS CARAMÉS: ARMCHAIRS (CHECK-IN LOUNGE). THROUGH ANTIQUÁRIO CRISTIANO ROSS: VINTAGE SOFA. PSDS: LIGHT COFFEE TABLES. ECOPHON: ACOUSTIC CEILING (CHECK-IN LOUNGE, INT’L LOUNGE).

MICASA: MODULAR SOFA (INT’L ARRIVALS). ESTÚDIO FELIPE MADEIRA: SIDE TABLES. LEPRI: WALL TILE. ETEL: SIDE TABLES, SIDE CHAIRS (PERGOLA). OVO: CAFÉ TABLES (PERGOLA), LOUNGE CHAIRS (DOMESTIC ARRIVALS). BOOBAM: SIDE TABLE (DOMESTIC ARRIVALS). THROUGHOUT STO BRASIL: PLASTER. CLATT TAPETE & CARPETE: RUGS. COLORMIX: FLOOR TILE. GUARDIAN GLASS: GLAZING. CIALUM: WINDOW FRAMES. LABLUZ: EXTERIOR LIGHTING.

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feelin’ groovy From Munich to Manhattan, bold graphics alive with swinging ’60’s flair are popping up in shops, schools, offices, and hotels around the globe text: peter webster

See page 214 for the Travel Agency SoHo, a New York cannabis store by Leong Leong with a mind-bending lobby installation by Bigheavy Studios. Photography: Will Ellis.

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“The shop draws from the legacy of downtown Manhattan’s experimental art spaces, where lines between culture, commerce, and everyday life often blurred”

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Leong Leong project The Travel Agency SoHo, New York. standout The distorted, Bridget Riley–esque grid by Bigheavy Studios that envelops the walls, ceiling, floor, and reception desk in the storefront lobby of this recreational cannabis dispensary introduces a trippy, op art vibe. But the mood mellows in the 4,150-square-foot shop’s monochromatic interior—a minimalist, gallerylike environment that nods to the gentrified neighborhood’s past as a raffish enclave of creativity. Curated displays of colorfully packaged product, rainbow-hued bongs, and other polychromatic paraphernalia form a heady array of visual confections, joined by Breakfast’s pair of kinetic flip-disc installations— dynamic pieces with just the right amount of buzz. photography Will Ellis.

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“Wacker products are deliberately integrated into the design, making the company’s identity visible in the details” 216

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Scope Architekten project Wacker House, Munich. standout The interiors for the German multinational chemical company’s new headquarters—108,000 square feet of flexible workspace and covetable staff amenities across five floors in a building by C.F. Møller Architects—put a premium on visual information. The materials palette— a mix of concrete, wood, plaster, and textiles—strikes a balance between industrial and warm. Extensive greenery introduces the natural world, while wall installations—some composed of tubing that recalls pipes in a factory—are emblazoned with neon signs spelling out affirmative messages and wayfinding cues in stylized cursive script. photography Zooey Braun.

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“Both schools incorporate original graphics expressing the link between the global brand and the uniqueness of the place”

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SOA Architekti project Maple Bear Kindergarten Olomouc and Maple Bear Elementary School Brno, Czech Republic. standout These two outposts of the worldwide network of Canadian-model bilingual schools meet the brand’s physical requirements—shaped by its educational methods—while infusing the spaces with local spirit, notably through site-specific graphics programs by Graphite Studio. The 6,000-square-foot kindergarten is organized around a multifunctional hall featuring a central cylindrical amphitheater— dotted with round seat cushions—and surrounded by an indoor playground, reading area, and other peripheral activity spaces. The 7,000-square-foot, two-level school draws on the industrial character of the former tooling shop it occupies, showcasing exposed steel beams, convoluted ductwork, and other metalwork finished in brilliant paintbox colors. photography Studio Flusser.

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Studio Shoo project Ibis Styles Old Tbilisi, Georgia. standout Comprising 67 rooms across six floors, the global budget chain’s second hotel in the nation’s capital occupies a former town house in the historic district. Many of the building’s original exterior features have been restored, among them a cast-iron spiral staircase, deep wooden balconies, and traditional stained-glass windows—the latter, a hallmark of the local architectural vernacular, inspired the punchy, saturated graphic motifs that enrich the modernized interior. Other playful touches include glossy-yellow lobby seating, totemlike ceramic floor vases, and a two-level, accessibility-friendly reception desk that could almost pass for a piece of constructivist sculpture. photography Katie Kutuzova.

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“Stained glass is part of Tbilisi’s visual language— it’s decorative, expressive, and full of individuality, just like the city itself”

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c o n ta c t s

DESIGNERS IN SPECIAL FEATURE Bigheavy Studios (“Feelin’ Groovy,” page 212), bigheavystudios.com.

Graphite Studio (“Feelin’ Groovy,” page 212), graphitestudio.cz.

Leong Leong (“Feelin’ Groovy,” page 212), leong-leong.com.

Scope Architekten (“Feelin’ Groovy,” page 212), scopeoffice.de.

SOA architekti (“Feelin’ Groovy,” page 212), s-o-a.cz.

Studio Shoo (“Feelin’ Groovy,” page 212), studioshoo.com.

PHOTOGRAPHERS IN FEATURES Roland Halbe (“The Long View,” page 188), rolandhalbe.eu.

Eric Laignel Photography (“Creative Commons,” page 196), ericlaignel.com.

Fran Parente (“Platinum Passport,” page 204), franparente.com.

Seth Powers (“Hot Shop,” page 172), sethpowersphotography.com.

Nicolas Schimp (“Arcs de Triomphe,” page 180), Living Inside, livinginside.it.

DESIGNER IN CENTERFOLD

Interior Design (ISSN 0020-5508), July/August 2025, Vol. 96, No. 7, 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 © 2025 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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KATIE KUTUZOVA

Alex Chinneck Studio (“Fun House,” page 167), alexchinneck.com.

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t h e spec

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design annex THE spec

Groovin' finds in burnt orange and burgundy whisper the 1970's

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editors' picks

editors' picks

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1. Marie-Louise ottoman by Vik Muniz through +55design. 55-design.com/en 2. Lucy stackable floor lamp in powder-coated steel and aluminum by Ford Bostwick. fordbostwick.com 3. Woaw Single Double table lamp with steel body and ceramic shades by Mr John’s Goods. mrjohnsgoods.com 4. Julia Capp & Denis Montel’s Téléscope lacquered metal side table with enamelled lava stone top by RDAI x Matter and Shape. rdai.fr 5. Mystique (and on cover, Folkstone) linen fabrics by Berny Bacic through Studio Four NYC. studiofournyc.com 6. Pierre Charpin’s Riga-riga sideboard of ash-veneered MDF lacquered in amaranth, with ivory and coral back-painted glass inserts, by Zanotta. zanotta.com

7. Joe Colombo’s Combi Center limited-edition reissued lacquered-wood bookcase in Polenta Yellow by Cappellini. cappellini.com 8. Raw Edges’s Rest sofa with removable fabric seat cushions of memory foam and feathers by Cozmo. mycozmo.com

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THE spec

1. INFINITY DRAIN Infinity Drain introduces its newest tile insert linear drain, Disco-rectangle. Featuring soft, rounded corners and inspired by mid-century modern design, this style seamlessly blends form and function. Disco-rectangle emphasizes a fluid, organic aesthetic with smooth, curved contours. This design moves away from sharp angles while maintaining the structural integrity and performance of the product. infinitydrain.com 228

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2. PETITE FRITURE Designed by

Jumbo Studio, the Neotenic table lamp collection features soft, rounded shapes that evoke the comforting aesthetics of childhood.

Each lamp combines a glazed ceramic base with a mouth-blown glass diffuser, offering a smooth, opaline finish. Available in two sizes, small and large, and four distinctive colors: platinum, green, vanilla, and cherry. This bold, “chunky” lamp brings playful elegance to the Petite Friture collection. petitefriture.com

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3. HALCON HALO by HALCON brings award-winning innovation and lasting beauty to any meeting space.

Stunning tables are encircled by the revolutionary and patented HALO edge, an innovation that protects both table and chair while seamlessly integrating technology. Complementary, configurable sideboards and benches offer tailored storage solutions. HALO’s timeless design embodies refined elegance and modern functionality.

Design Consultant | Gensler halconfurniture.com

4. FRÍANT Whether you have more

minimalist sensibilities or a flair for the dramatic, the Jot collection has something for everyone. The highback version provides privacy in open areas, while the low back creates a clean silhouette that’s perfect for lounging and connecting.

Create long seating for many or enough room for two. Build your ideal space with Jot. friant.com

partners

5. KEILHAUER The award-winning Fyord sofa is an elegant seating solution that combines luxurious comfort with versatile modularity.

Designed by Thijs Smeets in his first collection for Keilhauer, Fyord features a to-the-floor form, generous seat depth, and elegantly tapered lines that act as an invitation to sink back, settle in, and stay for a while. keilhauer.com

6. COR SITZMÖBEL No matter how you look at the Kagu chair designed by Jehs+Laub, it never fails to delight. This is due to the ingenious angles at which the long, conical legs ascend, as well as the wave-sprung seat shell, which is suspended halfway up the solid wood frame, making Kagu appear delicate. Together with the flexible backrest it is extremely comfortable.

UScontract@cor.de, cor.de

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7. FABRICUT CONTRACT Fabricut Contract introduces three new FibreGuard PRO Performance textures: Automation, Formation, and Develop.

Engineered to be mildew and odor resistant, anti-moisture, anti-microbial, and PFAS-Free, while also offering exceptional durability, luxurious softness, and effortless maintenance, FibreGuard PRO Performance Fabrics are the ideal upholstery solution for restaurants, healthcare facilities, and high-traffic, spill-prone seating areas.

8. STUDIO LILICA The Chakra Light is a modern organic pendant with soft lines and a warm glow. Available in a wide range of colors and custom options. ETL listed to UL standards.

Contact us for more information on our sculptural products for modern interiors. studiolilica.com

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WE’RE BACK! Design’s most prestigious night returns to the iconic Waldorf Astoria in NYC. Join us and the industry’s most influential voices for an unforgettable night.

DECEMBER 10, 2025

more information

Thomas Sankara, a Pan-Africanist revolutionary who led a successful coup in Burkina Faso and served as its president from 1983 until his assassination in 1987, has been described as the country’s version of Che Guevara. Now, the Thomas Sankara Mausoleum has risen in Ouagadougou, in the exact place he and 12 other officials were killed. It’s appropriately the work of Pritzker Architecture Prize–winning architect Francis Kéré, who’s Burkinabé himself. “It’s a space that belongs to the people, an important historic site, and a symbol of progress, change, and hope for all,” the Kéré Architecture founder says.

The 4,800-square-foot volume has a circular inner chamber where 13 tombs are arranged concentrically and each crowned by a skylight that follows the sun’s path. Every hour, a different tomb is illuminated, moving visitors through a ritual of remembrance. The same number of concrete columns stretch skyward, their hollow forms embodying a symbolic absence.

Kéré rooted the project’s construction in surrounding context. The laterite soil and clay bricks used to form the structure are locally sourced, and members of nearby communities were hired for their extraction and production. Indigenous wisdom led the building’s environmental strategy: Two large louvered gates along the east-west axis funnel prevailing winds through the central chamber, while the 111-foot-high stone dome acts as a thermal buffer, helping to keep the mausoleum cool despite the baking Sahel sun. It’s phase one of the 35-acre Thomas Sankara Memorial Park, which will encompass restaurants, educational facilities, and offices, connected by verdant plantings and shaded paths, transforming loss into life. —Wilson Barlow

circle of life

COURTESY OF KÉRÉ ARCHITECTURE

i n t e r vention

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INTERIOR DESIGN

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Archibald by Poltrona Frau

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