Canadian Interiors May/June 2014

May/June 2014

years

HOT STUFF

from Paris, Frankfurt & Cologne New at Dalhousie U in Halifax A trip to the dentist in Toronto Coolest coffee shop in Calgary Including IDC’s Dimensions

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May/June 2014

Official publication of the Interior Designers of Canada

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46

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COVER —25 Bright ideas: assortment of Big Bubble glass lamps by Belgian company Dark

FEATURES

ON A LIGHTER NOTE — 42 In Halifax, Abbott Brown Architects brightens up Dalhousie U’s new HR wing.

By Leslie C. Smith

ILLUMINATED — 25 Seeing the Light + Building show in Frankfurt, for the first time.

By Michael Totzke

FRESHLY BREWED — 46 Calgary’s latest Phil & Sebastian Coffee Roasters breaks new ground.

By David Lasker

GET WELL SOON — 30 Ma Maison’s design for the Okanagan Interventional Pain Clinic in Kelowna, BC, accentuates the positive.

By Rhys Phillips

DEPARTMENTS

Contents

THIS WON’T HURT A BIT — 33 The light and lively design of Toronto’s Dundas West Dental Clinic eases the stress of a trip to the dentist.

By Rhys Phillips BRITISH INVASION — 37 The Brits ruled at Maison & Objet in Paris this past January, with French, Danish and Canadian designers in strong supporting roles.

By Leslie Jen

INSIDE — 10 WHAT’S UP — 12 HOW IT’S MADE — 14 Plane cloud Storyboard Furniture may be a new kid on the block, but the company is already making waves. Or perhaps it’s more accurate to say clouds.

By Peter Sobchak IN THREES — 16 A good impression Three effective office reception areas.

By Michael Totzke

19

SHOW BIZ — 19 Easy living Colour, comfort and durability carried the day at IMM Cologne.

By Peter Sobchak WHO’S WHO — 48 THAT WAS THEN — 50 Light years Lamps in style 50, 40, 30, 20 and 10 years ago.

By Michael Totzke

Following page 50 May/june 2014 CANADIAN INTERIORS 7

May/June 2014 VOL.51 NO.3

Publisher

17 Announcing The

17th annual Best of Canada Design Competition

Be part of the country’s only design competition to focus on interior design projects and products without regard to size, budget or location.

For information and entry form, visit canadianinteriors.com

INTERIORS

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

David Lasker, Rhys Phillips, Leslie C. Smith Contributing Writer

Leslie Jen Art Director

Lisa Zambri Advertising Sales

416-510-6766 Account Manager

Joelle Glasroth 416-510-5248 Circulation Manager

Beata Olechnowicz 416-442-5600, ext. 3543 Reader Services

Liz Callaghan Production

Cheryl Fisher 416-510-5194 Senior Publisher

Tom Arkell Vice President of Canadian Publishing

Alex Papanou President of Business Information Group

Bruce Creighton Head Office

80 Valleybrook Drive Toronto, ON M3B 2S9 Telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes six issues, plus a source guide, per year.

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Official publication of the Interior Designers of Canada

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Inside

sweetness & light ten or so years ago, I realized that my yearly case of winter blues had deepened into seasonal affective disorder (or saD, an apt acronym if there ever was one), sapping my energy and darkening my mood.

Instead of toughing it out on my own, I got help. now, when I start to feel the funk coming on – around the beginning of october when daylight is waning – out comes my trusty light-therapy box, in front of which I park myself for a half-hour every morning. Mimicking outdoor light, the type of light it generates causes a gradual chemical change in my brain, lifting my mood and easing other symptoms of saD. By Christmastime, I’m ready to celebrate. the “polar vortex“-popularizing winter of 2013-14, however, had me thinking about hauling the light box out again in February. Luckily, my invitation to attend the Light + Building exhibition in Frankfurt at the end of March finally arrived, giving me something light and bright to look forward to. It was my first time at the fair and it did the trick: spring had sprung in Frankfurt, and when I wasn’t basking in the sun on the Messe Frankfurt grounds, I was inside one hall or another, bathing in the light of lamp after spectacular lamp.

Bye bye blues. you’ll find my report on Light + Building (“Illuminated”) on page 25.

Light is everywhere in this issue. It floods the reception area of toronto’s Dundas West Dental Clinic. “Imagine someone with inevitable subconscious fears and anxiety,” Bruce stratton of G. Bruce stratton architects tells writer Rhys Phillips, “gradually relaxing through the distraction of being connected to an animated street, attuned to outside weather and aware of changing urban light conditions” (“this won’t hurt a bit,” page 33). It reaches a once-dark area in Dalhousie university’s new HR wing. as writer Leslie C. smith puts it, “ephemeral glass doors and partitions, clerestory openings and transoms allow natural light to travel throughout the space, augmented strategically with dropped linear boxes and vertical pendants that give the high ceilings more human dimension” (“on a lighter note,” page 42). and it emanates from custom chrome tulip lights, a custom brass chandelier and “a neon sign for uncle Billy” (you’ll see) in Calgary’s latest Phil & sebastian Coffee Roasters location (“Freshly brewed,” page 46). a lamp is the star of a brand-new department in the magazine – How It’s Made – with text and photos by deputy editor Peter sobchak (“Plane Cloud,” page 14). Produced by storybook Furniture, the Plane Cloud Pendant Lamp shone bright at the IDs’s studio north show in january.

I hope this issue lightens your mood. c I Michael totzke mtotzke@canadianinteriors.com

What’s Up

MAy/JuNe

Almost 50 NeoCon, held every June at the Merchandise Mart in Chicago, is almost as old as Canadian Interiors. While CI came to life in 1964 (the year the Beatles conquered North America), the National exhibition of Contract Furnishings debuted in 1969 (the year John, Paul, George and Ringo privately decided to disband). At the time, it took up 222,000 square feet in the Mart, the muchloved Art Deco landmark that remains the largest commercial building in the world, spanning two city blocks and rising 25 storeys. Today, NeoCon has spread out to fill an astounding one million

square feet, over 10 floors.

North America’s largest design expo and conference for commercial interiors, NeoCon offers top-notch keynote speakers, along with 100 Ceu-accredited seminars and association forums. Topics to be covered in 2014 include Office Design/Living & Working Well; Business Best Practices; Hospitality Design; Codes; Institutional & Public Spaces; and Green Building/ Health Safety & Welfare. each year, more than 700 showrooms and exhibitors offer innovative products and resources for corporate, hospitality, healthcare, retail, government, institutional and residential interiors. Following are a half-dozen promising products making their debut in 2014.

Allsteel has expanded its suite of movable walls with the introduction of Beyond Solid. Built with a unique scissor-like leveling mechanism, Beyond Solid supports the vertical and horizontal mounting of tiles and furniture components; the frame design supports multiple tile configurations and aesthetic choices to maximize design capability.

Teknion’s new Journal casegoods line enables the private office to function for focused, individual work, yet easily transform to accommodate more collaborative team environments – thanks to a pivoting bench, sliding storage and (optional) height-adjustable table.

Aesync, created by eOOS for Keilhauer, is a conference chair of minimal design and maximum comfort. Its backrest and arms flow seamlessly into one another, with no visual break; the mechanism is completely hidden, integrated into the chair itself. It comes in 18 chair models and six stool models.

Herman Miller “raises the bar” with its Renew Sit-toStand Table, which makes moving from sitting and standing – and back again – a natural part of the worker’s day, which is better for the human body.

Integrated cord management supports the table, technology and task light, while remaining neatly out of sight.

Also in the business of improving the health and comfort of work life, Humanscale introduces Rise, a sitstand solution that retrofits existing desks to allow the user to transition between sitting and standing positions instantly and elegantly.

Height-adjustable, it can be clipped like a monitor arm to any fixed-height work surface; its central column holds a monitor and a platform for a keyboard.

KnollTextiles presents the empire Collection, designed by its in-house team. Comprised of woven wallcovering, drapery and performance upholstery, it has a dynamic range of options for settings from hospitality and healthcare to education and corporate.

NeoCon runs at the Merchandise Mart June 9–11.

Clockwise from top left Chicago’s venerable Merchandise Mart, home to NeoCon for 45 years; Riverside drapery, part of KnollTextiles’ Empire Collection; Herman Miller’s Sit-to-Stand Table; Allsteel’s Beyond Solid movable wall; pieces from Teknion’s Journal Casegoods collection; EOOS’s Aesync conference chair for Keilhauer; the Rise sit/stand solution from Humanscale.

12 CANADIAN INTERIORS MAy/JuNe 2014

AM STUDIO

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White and aMber Long droPs

MoonLight Pendants

FLying Lines

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Our mistake In the Who’s Who department of our previous issue (March/ April), we mistakenly stated that Ottobock (specializing in products and services designed to improve the mobility of people with disabilities) produces the snazzy prosthetic

covers for lower-limb amputees created by Alleles Design Studio (founded for that purpose by partners Ryan Palibroda and McCauley Wanner). In fact, Alleles manufactures and produces all of its own items.

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How It’s Made

1-The Plane Cloud pendant lamp began as a geometric play of angles and points of intersection.

2-Salvaged from Toronto’s urban forest and reminiscent of the shaving curls off a well-tuned plane, 12 identical curls of steam-bent wood are shaped on a custom-built frame.

Plane Cloud Storyboard Furniture may be a new kid on the block, but the company is already making waves. Or perhaps it’s more accurate to say clouds.

—Text and photos by Peter Sobchak

3-One side of the curl is finished with a Scandinavian traditional soap finish. The other side is coloured with Liquitex professional colour-fast spray paint.

4-Production models have white spun metal fittings, eight inches of white wire and a ceiling plate. All lamps are ESA certified and currently available in a 24-inch diameter size (32- and 40-inch sizes are coming soon).

14 CANADIAN INTERIORS MAy/June 2014

Two NSCAD University in Halifax alums, Mike Sharpe and Dennis Hale, joined forces in February 2013 and are applying their individual expertise – Mike’s is in silversmithing and sculpture (he has pieces in the Musee Mandet collection in Riom, France), while Dennis is a thirdgeneration woodworker specializing in sculpture and conceptual art – to fine furniture guided by a “tree to table” approach. Storyboard salvages ill-fated trees in the Greater Toronto Area from its clients’ own property to create beautiful custom objects with ecological integrity – for example, the Plane Cloud Pendant Lamp, which was launched at Toronto’s Interior Design Show in January. www.storyboardfurniture.ca

Pub Cana

In Threes

1

A good impression Three effective office reception areas.

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—By Michael Totzke

3

A successful office reception area does more than offer a tidy, comfortable, well-organized place to sit and wait. As these three recent examples illustrate, it also provides an excellent first impression of the company, its culture and the people who work there. established in the 1960s, Vancouverbased Bosa Properties is a real-estate developer with a reputation for a high level of design. The family-owned firm recently moved its head office into the Jameson House, one of its own properties, designed by Foster + Partners; it hired Square One Interiors Inc. to do the interiors. The reception area on the centre level, carefully carved out of the building core, features clean horizontal and vertical planes, layered with textured architectural materials, emphasizing the Bosa family’s passion for construction.

Torys LLP, a Toronto-based law practice founded in 1941, represents prestigious companies in Canada and around the world. A few years after KPMB Architects completed an artful renovation of the Toronto office, it was invited to revamp the Calgary offices, blessed with spectacular views of the Rocky Mountains to the west and prairies to the east. As in T.O., KPMP created a space underscoring the creativity of critical thinking that is the essence of the practice of law. Artist Graham Gilmore was chosen to cover two walls in the reception area with fullheight panelized paintings. Directly opposite is the exterior of the sculptural Caucus room, entirely clad in vertical walnut fins suggesting the rolling prairie landscape of Alberta. until last year, when it was supplanted

by Apple and Google, the Coca-Cola Company reigned as the No. 1 brand in the world (No. 3 ain’t bad, for a company founded in 1892). In a recent move to attract top talent, Coke relocated its Toronto HQ from the suburbs to designsavvy King Street east, hiring Figure3 Interior Design to fashion the three-story space. Overlooking the street, the mainfloor reception area – with clean lines, warm wood tones, Coca-Cola murals and pops of vibrant red – pays tribute to the company’s glorious past while suggesting an ongoing vitality.

1—Bosa Properties (Photo by Raef Grohne) 2—Torys LLP (Photo by Tom Arban) 3—Coca-Cola Company (Photo by Steve Tsai)

16 CANADIAN INTERIORS MAy/JuNe 2014

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Easy Easy Easy Easy

About 120,000 visitors from 129 countries came in January to the metropolis in the Rhineland for IMM Cologne.

They were met by a dizzying array of interior furnishings from all over the world, but amidst the cacophony a few trends revealed themselves.

Namely, everything seems to be getting cosier and more colourful, with designers and manufacturers expecting people to want comfort, harmonious shapes and colourful accessories. The cool virtual world of the Internet hasn’t vanished, and the colour white was still readily on display, but seemed to be in decline. A wide variety of bright colours were everywhere, with lots of blue and violet as well as teal and cyan tones. The spectrum of natural tones was popular as well, primarily in the wooden furniture range.

living living living living

Show Biz

Colour, comfort and durability carried the day at IMM Cologne.

—By Peter Sobchak

ies

Colour me cool The Papillon armchair is so inviting, with its graceful, winged silhouette; what’s more, it is also completely foldable and easy to carry.

Designed by Kati Meyer-Brühl for the eponymous firm (at least the latter half of her name), the base comes in solid birch plywood, beech/spruce ply or in solid beech mounted on copper supports; the soft parts are fully removable and come in a bright, cheerful range of cushions. bruehl.com

May/June 2014 CANADIAN INTERIORS 19

Award winners Award winners Award Award winners winners Outside the box Cologne-based Bordbar wheeled its way into our hearts back in 2006 with its brilliant airplane trolleys (I seriously wish I had one!). In 2014 the company scooped up another Interior Innovation Award at IMM with the new Cube, a free-floating sideboard available in eight different colours that continues Bordbar’s discarded-industryproduct motif. bordbar.de

May/June 2014 20 CANADIAN INTERIORS MAy/June

Sit a spell Dutch furniture manufacturer Leolux’s booth at IMM was one of the more enchanting.

Dominated by three enormous paintings by resident artist and designer Jane Worthington, the obvious photo-op was the new Interior Innovation Award–winning sofa Gynko, which was hung in the stand like a swing. Designed by Berlin-based Jörg Wulff and Thomas Müller, Gynko’s humorously shaped round arms are fully adjustable and come in varying widths, as well as several modular elements that make it even more customizable. leolux.nl

Cruise control Pedro is a Finnish manufacturer of cruise-ship furnishing that also dabbles in design furniture. That may appear like an incompatible pairing, but after seeing its offerings at IMM, it is clear the company deserves to be there. Need proof? The new ON chair – designed by Tapio Anttila and made from a new ecological thermo-formable wood material from Finland called UPM Grada – earned Pedro an Interior Innovation Award. pedro.fi

Don’t be fooled The Aetas table by the alwaysreliable Vitamin Design is so deceptively humble it almost belies just how harmonic the interplay between single elements and balanced proportions creates a clear shape. Produced in solid oak, ash, or walnut, the seemingly thin looking solid board (actually 40mm thick) creates a seamless transition to the four angled table legs. At least the German Design Council thought so, giving it an Interior Innovation Award. vitamin-design.com

stars stars stars stars Seating Seating Seating Seating Pure simplicity SixE is a new stacking chair by Howe that garnered rave reviews at IMM. In fact, this mono shell chair designed by Pearson Lloyd nabbed the Best of Best title in the Interior Innovation Award 2014, the highest version of this award at the show. The name refers to the six E’s that the firm says characterize the chair: ergonomic; environmental; ease of handling; elegant; efficient; and economic. Bearing a modern yet modest aesthetic and intended for multi-usage environments, up to 25 SixE chairs can be stacked on a dolly at once. howe.com

Just roll with it ONGO’s thing is “active sitting.”

Since its founding in 2009, the Stuttgart-based firm has been battling the immobility of sitting with stools whose curved bases encourage movement, activating muscles and metabolisms. Additionally, built into the base is a ball track that gives acoustic feedback, a playful technique especially among children. This year at IMM, ONGO added the Rhei (Greek word for “flow”), a chic variation that graphically depicts movement. ongo.eu

In name only It may be called Challenge, but the newest addition to a chair series that German firm Conde House first presented in 2013 is anything but. The delicately flowing lines of the chairs’ self-supporting frame and armrests quietly invite relaxed seating. condehouse.de What ’choo lookin’ at?!

To design something in Switzerland but manufacture it in Bulgaria requires a bit of unruliness, and the Forester, a three-legged rebel designed by Thomas Kleiner from the Bulgarian firm Artebjala EOOD, is exactly that. Made from wood touched with gold leaf embedded in resin, it almost gives the finger to passersby with a white V-shaped leg plugged into the solid seat. artebjala.ch

Got balls?

Interior design needs some balls, and Lina is here to help.

Its playful sitting composition, called (not surprisingly) The Ball, is made of durable inflatable spheres upholstered with a 3D textile slip that is removable and washable.

Available in different colours, the balls can be easily connected to each other using special textile loops sewn on each ball’s slip. linafurniture.com

May/June 2014 CANADIAN INTERIORS 21

Hard workers Hard workers Hard Hard workers workers Playing with geometry A new furniture company simply called H made its debut with aplomb at IMM. The London, U.K.-based (but with Mexican origins) firm displayed several lines, including the tricky Corner Collection, taking the perfect 45-degree angle as its conceptual starting point.

The corner edges of a deceptively simple table top and sideboard are cut away at 45 degrees to reveal naked wood; continuing the mathematical motif, the table’s legs and side are inclined at precisely 22.5 degrees. hfurniture.co

Zeitgeist-y kitchen Design Line by Supergrau for Nomad Kitchen is a series of cube elements intended to suit the needs of a studio kitchen.

Different materials subtly suggest a path for processing food: preparation begins in a sink made of white Corian; cooking gets done in the clay-coloured area, made of the same mineral material; and consumption ends on a wooden table element made of bleached maple. But it’s up to the user to decide the path: different materials are available, and modules are placed on castors to be rearranged at will. nomadkitchen.com

22 CANADIAN INTERIORS May/June 2014

Come together Berlin-based System 180 collaborated with the Potsdam School of Design Thinking to develop a functional and flexible series of furniture specifically for creative teamwork. The Design Thinking-Line (DT-Line), named after the school, includes a standing workplace and a movable whiteboard, showing that only two pieces of furniture are needed to support brainstorming, discussion or presentations. The elements are lightweight and sleek in their design, and placed on casters to be individually configured for various group sizes or work phases. system180.com

In the crosshair In Cologne, e15 unveiled several new products including a solid European oak table, Platz (shown), and bench, Sitz. A diagonal bar and solid wood dowels dominates their visual form and character, echoing a traditional worktable aesthetic, while also guaranteeing high stability. The table comes in seven lengths and three heights with optional drawers. e15.com

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Bubblicious Belgian company Dark brought the “Bright” with its Big Bubble, a first collaboration with Alex de Witte that has proven to be an instant hit and multiple prize winner. Each artisanal, hand-blown glass bubble – fitted with a dimmable Xicato LED lamp – is unique, and seems as ephemeral as a soap bubble. You can choose among five colours: smoke, smoke green, red, amber and transparent. Also available is a smaller version called Baby Bubble. dark.be

Illuminated Seeing the Light + Building show in Frankfurt, for the first time.

—By Michael Totzke It took 10 halls – plus forum, agora, galleria and open area – to accommodate the 2,458 exhibitors (an increase of seven per cent over 2012) taking part in Light + Building 2014, which ran from March 30 to April 4 at Messe Frankfurt. Though organizers of the biennial exhibition had feared that a strike by Lufthansa airlines might cause some people to stay away, visitors numbered 211,000, up from 195,582 in 2012. I was among that number, attending the show for the very first time.

I can honestly say that by the end of my three-day exploration, I had never felt more dazzled.

Light + Building, with energy efficiency as its main theme, is the world’s largest

trade fair for lighting and building services technology – representing everything from LED technology to intelligent electricity usage with smart metering and grids. What I marvelled at included a presentation by Philips Lighting (taking over the entire forum building), demonstrating how its new LED lighting systems connect people, places and devices in homes, at work and in cities across the world; the Graft hightemperature luminaire by Zumtobel, for industrial applications in high-bay storage facilities or production bays where temperatures of up to 55ºC prevail; Trilux’s ConStela LED urban outdoor light, which can illuminate squares as well as

emphasize individual objects; Berker’s W1 waterproof light switch, a revolutionary little wonder; and, at the awesome Artemide booth, its “Masters’ Pieces” designer-lights exhibit – featuring such beauties as Gio Ponti’s Fato (1969); Boalum (1970), by Livio Castiglioni and Gianfranco Frattini; and Ettore Sottsass’s Pausinia (1983) – and more recent works by the likes of Ross Lovegrove, David Chipperfield and Herzog & de Meuron.

Of course, cutting-edge design is what I was after; and in these pages, I shine a light on 14 new products that look as good as they perform.

MAY/JUNE 2014 CANADIAN INTERIORS 25

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1—Tilt-a-whirl Created by Jjoo Design for German company Nyta, Tilt directs light exactly where it’s needed. Easy, intuitive handling allows you to turn and swivel the shade along its oblong opening in every direction. It’s superbly simple, with matt metal shade, stainless-steel guiding peg and cloth-covered cord. nyta.eu 2—New flames German lighting master Ingo Maurer and his team continue their winning relationship with London-based designer Moritz Waldemeyer, adding a flexible chandelier system to the collaborators’ family

of Flames, which mimic a flickering flame while rendered in LEDs. The LED candles are combined with simple and functional downlight elements, all placed freely with a magnet on a canopy board. You decide on the number of Flying Flames and downlights, and at which heights they’re hung. Materials used are circuit board, metal, anodized aluminum and plastic. ingo-maurer.com

and its manipulation, with the three different segments housing three different light sources: a) ambient light coming from the glass segment, b) a spotlight focused, from the first head, onto reading matter or work surface, c) light pointed upwards from the floodlight in the second head.” It comes in table (shown), floor and wall versions. artemide.com

3—Through the lens The designer of Artemide’s Objective family, world-renowned French architect Jean Nouvel, says it best: “The character of the object – a tube containing different sets of optics – recalls the lens of a still or movie camera

4—Fifth business Berlin-based Tobias Grau introduced Five, a sculptural LED table lamp made of mouth-blown glass. It comes in two versions: white (shown) and transparent. tobias-grau.com

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26 CANADIAN INTERIORS MAY/JUNE 2014

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5—A place in the sun Viennese designer Kai Stania got his inspiration for the Helios office light for Austrian company Xal from the most natural of light sources: the sun. Available in suspended (shown) and floor versions, the high-efficiency LED light is flexible: its radiant characteristics can be quickly and easily adjusted between direct and indirect lighting. xal.com

7—Hits the spot German company Erco presented a new generation of Parscan flexible spotlights – with their high light output – using LED technology. Parscan’s hallmark is its minimalist design: sleek, compact and cylindrical. Its hinge is centrally positioned; the luminaire head barely swivels out when rotated or tilted, delivering light unobtrusively. erco.com

6—Wired Belgian company Wever & Ducre debuted Wiro, designed by Bernd Steinhuber. Made of durable wire, and available in black, red or white, it comes in three different configurations – each airy and delicate. wever-ducre.com

8—Diabolo-ic Designed by Bart Lens for Belgian company Eden Design, Diabolo is simplicity itself: two hemispheres, a couple or twins, one of them lit by LED and rotatable on its axis. Available in table (shown), wall and ceiling versions, in several colours, it

evokes the centuries-old diabolo juggling toy, consisting of an axle and two cups or discs. edendesign.be 9—LEDing the way German company Occhio introduced the next-generation Sento light – completely reinvented in LED. Sleek and handsome, it is extremely bright and exceedingly flexible, with touchless control and up/ down fading. Sento LED comes in floor/ table (shown), wall and suspended versions. occhio.de

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MAY/JUNE 2014 CANADIAN INTERIORS 27

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1—Graphically speaking Italian designer and manufacturer Davide Groppi has been creating lights since the end of the ’80s. Of his latest, a collaboration with Beppe Merlano, he says, “N-Euro is a simple project, almost a revival of old electrical plans. A plug, a cable, some insulating materials, a lamp socket and an LED bulb.” N-Euro’s power cord becomes a design feature when attached to the wall with round-dot insulators. It’s available in matt black or matt white. davidegroppi.com

2—Suspended animation Winner of a Light + Building Best in Show, Wireflow – an artful pendant fixture that reinterprets the classic chandelier – was

designed for Barcelona-based Vibia by Israeli-born, Paris-based artist/designer Arik Levy. The light structure is formed by black electrical wire and 3W LED terminals. Architects and interior designers can experiment with endless configurations on Vibia’s online platform. vibia.com 3—You can ring my bell The Bell+ lamp designed by Thomas Holst Madsen for Danish company Darø is ingenious. An aluminum shade – which comes in matt white, matt black or brushed copper – hangs on a simple suspension, implementing a textile cable and an aluminum stick that can be used to tilt the shade. Says the designer, “The tilt function occurred after working with

the principles of a simple way to suspend the shade. This made it more than just a lamp with the shape of a bell. It is a Bell+.” daroe.dk 4—Identical twins The secret to Twin, a suspension light designed by Hans Karuga for German company Serien Lighting, is a sturdy swivel joint at the centre of the chromeplated-aluminum twin arms, which allows them to be moved up and down. Inside both shades – made of white opal acrylic glass – is a translucent reflector; the light emitted at the sides is diffuse and soft, while the light emerging from the shade opening is directed and bright. serien.com

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Healing power Designer Arlette Weyger has used her long history in textiles and love of materials to fashion a space enlivened by colour and just a little bit of whimsy. In keeping with her preference for Scandinavia’s softer mid-century modernism over slick minimalism, Danish teak chairs from the ‘60s populate the waiting room.

Get well soon Ma Maison’s design for the Okanagan Interventional Pain Clinic in Kelowna, BC, accentuates the positive.

—By Rhys Phillips Clients at Kelowna’s Okanagan Interventional Pain Clinic are not inclined to wait around. after all, referral usually only comes after a significant period of patient suffering, says arlette Weyger of Ma Maison Interior Design. “If I could have found a way,” says the Begian-born designer,“ I would have forgone a waiting room altogether.” With that not an option, she has used her long family history in textiles, her experience as a successful european actor and her love of materials to fashion a softly mid-century-modern clinic, with waiting room/reception area, enlivened by colour and just a little bit of whimsy. The result, on a very modest budget, is a comfortable and engaging space, which also exudes, Weyger maintains, the patients’ desire for a 30 CanaDIan INTERIORS May/June 2014

“firm sense of action and change.”

The linear dimensions of the waiting room are softened by the strong curve of the reception desk topped by a thick Corian slab. Delicately embedded lamps scored from IKea and refitted with custom silk shades sprout from its white surface. The space’s defining element, without a doubt, is art & Deco Italia’s whimsical mid-century wallpaper: a full-wall seascape graphic of blue, orange and beige stripes populated by the single figure of a young boy watching an equally solitary sailboat. “I wanted that little bit of humour so often missing in modernism,” says Weyger.

Vibrant orange is also found in the upholstery of the waiting room’s banquette as well as in the many woolen acoustic

panels found throughout the clinic. These panels, each a different variation of Mondrian-like collages of orange, blue and white geometric shapes, are intended to improve inherited acoustic challenges; but their colour and tactile qualities also ensure “a warm and cosy feeling to the clinic.” Orange works particularly well in Kelowna’s long grey months caused in part by the mist that continually rises from and lingers over Lake Okanagan, says Weyger: “Orange turns the dominant grey-hued light to a more appealing blue/grey.”

Through a series of simple and costconscious interventions, Wegyer provides a supporting hand to people who have already suffered too much. c I

Photography by Kim Christie

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This won’t hurt a bit The light and lively design of Toronto’s Bloor West Dental Group eases the stress of a trip to the dentist.

—By Rhys Phillips

Photography by Southside Design / G. Bruce Stratton Architects

May/June 2014 CANADIAN INTERIORS 33

Overleaf and above Opposing views of the clinic’s reception area, gloriously transparent and filled with natural light. An organic-shaped walnut reception desk, topped with white quartz, curves along the limestone-clad wall.

Left Rear and basement operatories are accessed through a glass-enclosed stairway. Right A recessed acoustic walnut panel over each operatory chair decreases noise and connects to the wood detailing in the reception area.

Thanks to advances in denistry, most procedures now involve minimum pain.

Even so, “dentist-trip anxiety” lingers. But just as evidence-based medicine has prompted evidence-based hospital design, dental offices are recognizing that design impacts significantly both patient wellbeing and recovery.

The shift, however, from earlier aesthetically sterile, above-ground dental offices with asbestos tiles, clinical metal furniture and hard fluorescent light to quality accommodative environments has not been universal. Dr. Carolyn Poon Woo’s experience working in generic and only marginally comfortable offices located frequently on, but blind to, the street motivated her to contemplate whether she really wanted to spend the rest of her professional career in relatively dreary, hermetically contained environments. Bloor West Dental Group on 34 CANADIAN INTERIORS MAy/June 2014

Toronto’s premier retail street is her answer. The work of G. Bruce Stratton Architects with Stephanie Kamburis of the firm’s affiliated Southside Design, this rethink of the “idea of design for anxiety” as Stratton puts it, provides a very transparent and light-intensive twist to the idea of a storefront practice.

The starting point was a rather dilapidated, 22-foot-wide, 120-foot-deep singlestorey store sandwiched between two moderately taller buildings. The idea, says Stratton, was to create a calm, almost tranquil environment in both the reception area and the 11 “operatories” that stretch toward the back. Perhaps counter-intuitively, they rejected the idea of closed-off seclusion opting instead to make the original, slightly raised first floor of the clinic’s generous reception area a sort of stage from which to see and be seen.

The first step was to rip off the building’s facade and replace it with an unbroken plane of 14-foot-high glass panes stitched together only by stainlesssteel spider connectors and framed by two pilasters of Owen Sound limestone. A copper soffit over the door on the left side provides additional natural material, as Stratton wanted a clean, refined and elegant face but without too much “Miesian slickness.” Once inside and up a glass-enclosed, gently ascending ramp, the clinic’s reception area is confirmed as gloriously transparent and filled with natural light. “Imagine someone with inevitable subconscious fears and anxiety,” says Stratton, “gradually relaxing through the distraction of being connected to an animated street, attuned to outside weather and aware of changing urban light conditions.”

An organic-shaped reception desk panelled in rich walnut with a white quartz countertop curves along the opposite, limestone-clad wall. The counter serves as both a wayfinding indicator to the rear operatories while also setting apart the waiting area. Overhead, above the reception desk, run six walnut-clad beams or ribs connected to an equal number of substantive walnut columns that march along part of the street glazing.

Recessed between the ribs are backlit red-and-white translucent acrylic panels by 3Form. “As you don’t see the panels as you enter,” says Stratton, they act as a ‘surprise feature’ when you sit down.”

While eschewing the sensory isolation sought in many spas, the clinic’s rich and colourful material palette rendered with a resolutely modern intent deliberately evokes a spa sensibility. In addition to the

flowing wood reception desk, the limestone wall with a recessed niche backlit with LED lighting and large grey porcelain floor tiles, Stratton plays the rigorous linearity of BassamFellows’ Tuxedo sofas against the organic sensuality of the iconic Noguchi coffee table.

The rear and basement operatories ­– the latter accessed through a mullionless glass-enclosed stairway descending through a trapezoid-shaped opening – are balanced between openness and privacy.

Over the common service lane on the ground level, a large skylight provides abundant natural light that spills into the individual care units, each defined in part by freestanding glass screens in walnut frames. Blue walls reflect industry studies that suggest this colour is the most calming. A recessed acoustic walnut panel above each chair decreases noise and

connects to the wood detailing in the reception area. A bit of mood lighting through MR 16 lighting fixtures rounds out the drive for tranquility.

Despite its colours, textures, natural light and transparency, Stratton believes the clinic’s “minimal design, relying on how the materials all fit together, reflects without a lot of ornament the meticulousness of dentistry.” The Bloor West Dental Group successfully combines three functions. It facilitates anxiety reduction, provides an invigorating working environment and acts as an elegant marketing tool. While it may never make going to the dentist one of life’s highly anticipated events, it certainly should make the trip at least a little less stressful. c I

May/June 2014 CANADIAN INTERIORS 35

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Tunisian-born Brit designer par excellence Tom Dixon was everywhere in Paris this past January – the hardest-working man in show business, as they say. As one of Maison & Objet’s official Designers of the Year, Dixon delighted visitors with lighting, furniture and accessories: his booth in the always-inspiring Hall 8 featured a massive display of his prolific and varied output. Even his fashion design collaboration with Adidas was represented at the de rigueur concept store Merci in Le Haut Marais as part of their travel-focused exhibition entitled “Bon Voyage.” Alongside French designer Philippe Nigro, Dixon was also a guest of honour at a lavish cocktail party held at the newly opened Éclectic, a restaurant

by Dixon’s own Design Research Studio located in the revitalized Centre Beaugrenelle at the edge of the Seine.

He worked the room in a velvet smoking jacket, gliding effortlessly through the evocative space – described as a “happy marriage between Parisian chic and British eccentricity, a free-form tribute to 1970s architecture.”

Dixon was just one exhibitor in a vast field of Brits who made their presence known in the French capital. Venerated British designer Matthew Hilton’s furniture and lighting for both London’s Case Furniture and Portugal’s De La Espada were prominently featured, alongside lesser-known but talented design houses Pinch and Vitamin.

Longtime U.K. design guru Terence Conran proved his indefatigability with one of the newer ventures in his empire – Content by Conran, a complete line of home furnishings whose price point rings in generally lower than what is available at his long-established and popular Conran Shop.

As expected, France was well represented as was Denmark, an undisputed global design capital. Canada boasted one of the most arresting booths at M&O, courtesy of Vancouver-based Molo, led by Stephanie Forsythe and Todd MacAllen.

The architecturally trained designers continue to innovate with their Softwall cellular constructions, expanding Molo’s repertoire to include new seating and lighting options.

British invasion The Brits ruled at Maison & Objet in Paris this past January, with French, Danish and Canadian designers in strong supporting roles.

—By Leslie Jen

Tom Tom Club Brass, copper and gold were the predominant finishes at the Tom Dixon booth, evident in an assortment of high-gloss and satin-finish pendant lamps and gorgeous tabletop accessories.

Featured prominently in Dixon’s Éclectic restaurant at Centre Beaugrenelle, Cell Tall Pendant (above left) mimics cellular growth, and can be used in multiple geometric configurations. Each fixture is made from layers of minutely etched and polished brass, filtering light rays to throw a satisfyingly dappled glow casting intricate shadows on walls, floors and ceilings. The delicate shell-like dishes in the Form Bowl Set (above right) are sculpted from fine sheets of brass and finished with a gold wash.

Available in five sizes within a large set or a small set, the bowls provide much-needed glamour for the pared-down modern table setting. The Beat Light Pendant (top) was inspired by the sculptural simplicity of brass cooking pots and traditional water vessels on the subcontinent. Made from brass with a brushed exterior, the Beat Light collection includes fat, tall, wide and stout variations, and also comes in white and black; the pendants are spun and hand-beaten by renowned skilled craftsmen in Moradabad, northern India. tomdixon.net

May/June 2014 CANADIAN INTERIORS 37

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1—Pinch me Founded by Russell Pinch and Oona Bannon in 2004, London-based Pinch showed the Lowry sideboard, which boasts a highly textural and visually dynamic surface formed through a series of solid wood fins of varying widths and depths.

The fin sections also act as handles for the two central drawers and the cupboards at each end, each housing an adjustable shelf and integrated cable access in the base. Available in cherry, oak, black American walnut and Douglas fir. pinchdesign.com 2—Twiggy Also by Pinch is the Twig series: bench, cube and column. Made of coppiced hazel wood, these solid volumes provide a great deal of flexibility as variably sized seating or side tables. The fully exposed young tree branches and stems form a

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visually compelling surface to Twig’s volumes, while highlighting the beneficial practice of coppicing in woodland management and utilizing its yield. pinchdesign.com 3—Cloak & dagger The simplicity of the Cloak pendant lamp by London-based Vitamin combines the honest materials of glass and wood, the transparency of the thick glass dome revealing the wooden sphere contained within. An LED spotlight is embedded in the sphere, emitting a powerful yet diffuse glow. Hung singly, in a series or cluster, Cloak – available in either walnut or oak – is ideal for both residential and commercial environments. vitaminliving.com 4— Sheepish New Danish company Norrmade unveiled a

number of novel offerings, including this whimsical Sheep Bench. Taking inspiration from the adorable woolly creatures of the pasture, the simple bench is available in natural or blackpainted ash, and can be topped with charcoal wool felt. An attached sturdy loop functions as a tail of sorts, and tempts you to pull the bench from one room to another, allowing it to fulfill a multitude of functions. norrmande.com 5—Lounge lizard A new company formed in 2012 by France’s Nicolas Pichelin and Jean-Francois Michon, Structures commissioned Alexander Rehn of Germany to design the Cay Lounge, a flexible piece of furniture with complex planar surfaces and origami folds. Fabric-upholstered flat cushions create the facets atop the wood frame, and the Cay can operate as a chaise longue or a

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sofa, inviting you to splay your body in any number of ways until you find your own comfortable position. structures.me 6—Sweet 16 Niterói is an elegant 16-pendant chandelier, with a pinpoint of light contained in each turned brass drop. It was designed by Matthew Hilton – British Royal Designer for Industry (2004, furniture design) – for his eponymous brand.

Manufactured by Portuguese company De La Espada, Niterói is available in solid turned brass with an LED light source. delaespada.com 7— Paris Hilton The Lucent coffee table by Matthew Hilton for London’s Case Furniture rocks a retro ’70s vibe with its smoky glass finish; the right angles created by the table’s glass structure create

divisions inside that facilitate book and magazine storage as well as the display of objects. Available in clear, bronze or smoke, the coffee table is made of tempered glass, which translates into durability and safety. casefurniture.co.uk 8—Come ply with me Japanese designer Shin Azumi’s new chair for Case Furniture is called Loku. Produced using 3D plywood technology, the seat is cleverly molded into a shape that is both comfortable and supportive. It was designed for both commercial and residential use, providing variations to accommodate several applications. Loku is available in oak or walnut plywood with or without a leather seat pad, and options for its base are oak/walnut and metal, or tubular steel. casefurniture.co.uk

9— Desk job Featured at the booth of French design powerhouse Ligne Roset was a handsome wood writing desk by Noé Duchaufour-Lawrance. Its delicate form and curved contours are a refreshing departure from heavy authoritative desks of yore, and particularly appealing is the wool felt surround that wraps the edge of the desk, forming a low partition and a degree of privacy without sacrificing openness. Featuring a single tidy shallow drawer, the desk is available in either smoked oak or anthracite-tinted ash. ligne-roset.com

May/June 2014 CANADIAN INTERIORS 39

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1—Cloud Nine Molo has created a luminous, undulating overhead canopy light fixture that can be tailored to any individual space. Taking inspiration from the wondrous mobile constructions of Alexander Calder, this suspended mobile of softly glowing clouds moves with gentle buoyancy from overhead air currents. Illuminated from within by energy-efficient dimmable LEDs, the Cloud mobiles and pendants are available in warm white and daylight white colour temperatures.

Resembling translucent rice paper, the material used is non-woven polyethylene, and is 100% recyclable, tear-, UV- and water-resistant. molodesign.com 2—The Tubes The Trame radiator by Italian company Tubes Radiatori not only heats a room, but looks as good as a contemporary artwork. Installed 40 CANADIAN INTERIORS MAy/June 2014

against a vertical wall surface, a dynamic effect is created via horizontal bands of undulating radiant steel tubes, available in a plethora of colours. tubesradiatori.com 3—Cool stool Also by Molo is the Softseating collection of seating/table elements, with one version made entirely from paper and the other from a paper-like, 100-per-cent polyethylene nonwoven textile, both of which utilize a flexible honeycomb structure to fan open into stools, benches and loungers. Each element has magnetic end panels, allowing an element to connect to itself, forming a cylindrical stool or low table, or to connect to other elements in series, creating long winding benches. Kraft paper Softseating is made from 50 per cent recycled cardboard boxes and 50 per cent new long fibre, creating a very strong and durable

paper. Fire-retardant and acoustically absorbent, it is available in unbleached natural brown, black and a vibrant indigo blue. Textile Softseating is available in translucent white and has the option of being illuminated from within with LED. molodesign.com 4—Sofa, so good Designed by Philippe Nigro, one of Maison & Objet’s 2014 Designers of the Year, the Cosse sofa for Ligne Roset features streamlined organic contours and is available in two- or three-seater configurations. In French, “cosse” means pod, which perfectly communicates the idea of enclosure and cosiness. A sturdy but minimal wood structure supports the finely upholstered body of the sofa, whose remarkable comfort is due largely to the seat’s elastic-webbed suspension. Cosse is available in three upholstery finishes. ligne-roset.com

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On a lighter note In Halifax, Abbott Brown Architects brightens up Dalhousie u’s new HR wing.

—By Leslie C. Smith

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Photography by Abbott Brown Architects

Opposite and below Opposing views of the public area. A series of maple-clad thresholds travel a path to the private area in the back (just visible beyond the decorative panel in the photo below). Right Glass transoms and Häfele sliding glass doors let light travel through the space.

Maple slats make for an airy ceiling.

It helps to start with generous, southfacing windows. When Dalhousie university commissioned Halifax’s Abbott Brown Architects to redo one wing’s interior in its central Henry Hicks admin building, partner Alec Brown knew natural lighting wouldn’t be a problem. What would be of concern, aside from mitigating extreme solar gain at certain times of the year, was drawing this light into the centre of the 3,800-square-foot area. As well, Brown says, the space’s very high ceilings presented “a challenge to provide the right lighting design. We tried to stay away from a big, monotonous field of evenly spaced office lighting, to make the lighting varied and sensitive to the architectural constructs.”

These constructs, with the small proviso that the firm employ maplewood finishes, were left up to Abbott Brown. The wing, which houses the university’s HR department, had been initially configured sometime back in the 1940s. Dozens of small offices branched off a wide central corridor, evincing a closed, institutional feel. The client wanted to lighten things up through illumination and a sense of openness, balanced, however, against mandated privacy and security concerns. Stripped back to its bare-bones subfloor and exterior walls, the wing was a tabula rasa, save for an existing warren of load-bearing columns where the old public corridor used to be, and an old accounts-payable vault, also structural, awkwardly located in the middle of the plan.

“We allocated the vault to the HR file system and covered it on three sides with masonry, so you don’t really notice it,” says Brown of the revamped wing, completed in 2013. “We were able to work all the freestanding elements in. They now form a series of gentle, maple-clad thresholds along an axis, travelling a path from public in the front to private areas in the back.” ephemeral glass doors and partitions, clerestory openings and transoms allow natural light to travel throughout the space, augmented strategically with dropped linear boxes and vertical pendants that give the high ceilings more

MAy/JuNe 2014 CANADIAN INTERIORS 43

human dimension. Midway along the path, a decorative panel of translucent acrylic over natural dried grass softly signals the separation between public and private spaces. The back office area has its own sense of place reinforced by undulating overhead acoustical panels and dropped rectangular lights that minimize both the ceiling’s height and the necessary mechanical bulkheads.

The wing’s main material palette – greyed glass, beige “concrete” linoleum tile, and polished steel rollers and handles on doors – offers up a distinctly modernist industrial sensibility. This is considerably warmed, however, by the visual predominance of bleached maplewood in the multiple room partitions and an airy, dropped ceiling of naturally shaded maple slats.

Dalhousie’s new HR wing now presents itself as a cohesive communal space, just as the client ordered. The grandeur of the original windows echoes within through volumes of glass that provide “membranes of privacy in an overall sense of lightness and welcome,” according to Brown. In other words, staff and visitors can enjoy seclusion when warranted without ever feeling isolated or overshadowed. c I

High, wide and handsome In the private office area, undulating acoustical panels and dropped linear lights gently delineate the space as well as mitigate high ceiling concerns. Generous, original southfacing windows add a little grandeur.

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Bean there, done that Among the elements that make Phil & Sebastian not just another coffee shop are portraits of the partners by Maya Gohill; the logo on the espresso machine and a neon sign paying tribute to one of the partner’s uncles; custom-coloured Lyon industrial chairs and teak-topped Andreu World cafÊ tables; Waterworks pendant lights, a custom brass chandelier and custom chrome tulip lights; and 10-foot-high teak wall panels.

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Photography by Bryce Meyer

Freshly brewed Calgary’s latest Phil & Sebastian Coffee Roasters breaks new ground.

—By David Lasker

Overstuffed lounge chairs; tile floors and worn wood; exposed steel beams; masonry walls and brown paper coffee-bean packages tied up with strings. These, with apologies to Rodgers and Hammerstein, are a few of the coffee-shop designer’s favourite things.

But you won’t find these visual clichés at the 1,280-square-foot Phil & Sebastian Coffee Roasters in Calgary’s 4th Street district (also known as Restaurant Row). As the warm cappuccino tones suggest, architect Mark Burkart, a partner in Calgary’s McKinley Burkart, and Diane Cassidy, the firm’s lead interior designer, had something else in mind.

“We had a kneejerk reaction to the Northwest hipster coffee culture vibe of the edison bulb and the painted brick and distressed wood that is ubiquitous to these enterprises,” says Burkart. “Phil & Sebastian is very conscious about fighting against that and not wanting to be like everyone else.” Phil & Sebastian is known for its specialty, slow-brewed coffee. The challenge for the designers was to express this in the store design. Says Phil & Sebastian co-founder Sebastian Sztabzyb, “We have pushed McKinley Burkart to think outside the traditional café service model and help us invent new interesting flows and customer experiences.”

For its part, McKinley Burkart, a full-service architectural and interior-design firm with 25 staff members, can take on a wide range of projects, from small retail to mixed-use development to master planning. “Clients come to us when they want design as opposed to a building typology,” Burkart says. (The firm designed this project’s setting, the Maxwell Bates Block, a mixed-use development.)

Sizing up his (existing) client, Burkart says of Phil & Sebastian, “They take their

time making your coffee. They are incredibly detail-oriented. They will research every little piece of the process to the nth degree, like an engineer would. And they challenged themselves by doing away with the menu board with the lattes and cappuccinos on it, which is a risky thing to do in a coffee shop. It’s all about making the personal connection with the barista, which is a little ‘out there’ in the coffee world.” unlike most hospitality chains, which impose a uniform corporate identity on each and every space, Phil & Sebastian likes each outlet to look different. “We wanted something that was classical and referenced early Italian modernism,” Burkart says. “So we went back to quiet, refined teak walls and industrial-looking chairs in chartreuse and aqua.” He also cites Italian postwar movies as project muse. Indeed, one can envision Marcello Mastroianni and Anita ekberg stepping out of their Lancia to sip espresso here between takes of La Dolce Vita.

What is Burkart most pleased about?

“This doesn’t feel like most coffee shops you see everywhere,” he says. “There’s not a lot of detail. Instead, there is a lot of quiet, punctuated by nice pieces.” The most memorable of those pieces, perhaps, is the teak dining table with the articulated, ’50s-retro superstructure, designed by Cassidy, who was in turn inspired by the work of ’50s Italian designer Ico Parisi. It and several other custom furnishings were supplied through McKinley Burkart’s sister company, Tableaux.

Phil & Sebastian’s owners are so pleased with the new location that they commissioned McKinley Burkart to create yet another coffee shop, slated for Calgary’s historical Simmons building in the up-andcoming east Village. c I MAy/JuNe 2014 CANADIAN INTERIORS 47

Who’s Who

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RYE HIGH INSIDERS Ryerson University’s School of Interior Design marked the conclusion of the academic year with “in[sid]out,” an exhibition of talent by fourth-year graduating students. Nearly all the students photographed at the opening gala have full-time design jobs already lined up – testimony to the esteem in which Ryerson’s program is held.

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1—Fourth-year grads Victor Chan; Adam Balkwill (Tanner Hill Asssociates); Josh Leung (Yabu Pushelberg), whose exhibit won Best Visual Poster prize at the gala; and Nikolay Nikolov (designing stores for Starbucks), who shared Best Display prize with Balkwill.

2—Interior designers and Ryerson alumni Chris Hannah, principal, Cricket Design, and Ryerson instructor; Janine Grossman, principal, Kasian Architecture and ARIDO president; Franca Rezza, Kasian associate; and Designstead principal and owner Andrew Gallici.

3—Fourth-year grads Samanthe Curcione (junior designer at RCGA), Susan Abraham, Jenna Gibbons (Clinton Design) and Shannon MacIsaac (Design Agency).

4—Ryerson University Faculty of Communication and Design’s Shirley Lewchuk, director, outreach and communications; Gerd Hauck, dean; and Jean Mason, associate dean, faculty and student affairs.

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—Text and photos by David Lasker

ROLL & HILL AT LIGHTFORM At the Toronto LightForm showroom, Jason Miller, creative director at Roll & Hill, presented his Brooklyn-based firm’s latest products. He was inspired to design the “American-looking” lighting line, he said, because “most fine lighting is by the Italian big three – Artemide, Flos and Foscarini – and they have a lookalike monotony.”

1—LightForm’s Cheryl Wilkinson, communications manager, and Richard Assaly, president; Roll & Hill’s Jason Miller, creative director (and designer of the Agnes chandelier hanging above), and Andrew Yang, sales and marketing director; with Nina Boccia, Design Exchange marketing manager.

2—Designer trio: Qanuk principal designers Sarah Keenleyside and Lindsay Konior; and Alison Milne junior designer Kristina Suchanek.

3—LightForm trio: Kailla D’Armiento, project manager; Katrina Kim, customer service co-ordinator; and Franco Migliore, warehouse manager (the former firefighter’s arm bears the ritual tattoo acquired when he joined a pumping-station corps).

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NIHAN BASAK’S URBAN DECAY Nihan Basak, senior designer at ZAS Architects + Interiors, also paints.

Friends and associates enjoyed the opening of her show “Urban Decay” at the Eliile Gallery in Toronto’s west end.

1—Ruth Benaim, sales consultant, Stone Tile International; Stephanie Hugh, ZAS designer; and Brendan Passander, regional associate at Brandes Investment Partners.

2—Danny Tseng, architectural designer at Quadrangle Architects; Industrial Storm furniture designer Hanson Tan; Nihan Basak; and Marcelo Monteiro, Industrial Storm sales manager.

3—Gary Flaherty, principal, Industrial Storm; with Eurolite’s Amarjit Chima, designer, and Charles Lyall, chief creative director.

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KELLY WEARSTLER RUGS AT AVENUE ROAD The pile of Rizzoli monographs at the Avenue Road reception desk signified the high status of American interior and fashion designer Kelly Wearstler, who was the guest of honour at a cocktail party to celebrate her collection for the Rug Company.

1—Harrison Pike, designer at Gluckstein Design; Jenny Francis of her namesake architecture firm; and Gluckstein designers Jennifer Overweel, Lindsay Beaton, Nicole Engelmann and E. Jae Hamilton.

2—Avenue Road marketing director Michael Barr; designer Tommy Smythe, HGTV host and Sarah Richardson sidekick; guest of honour Kelly Wearstler; Rug Company owner Christopher Sharp; Azita Hekmati, business development manager, project division, Miele; and Elisabeth Colson, partner, Devry Smith Frank lawyers.

3—Fashion model Courtney Fallow of Spot 6 Management (yes, she’s part Swedish), with her squeeze, Morad Reid Affifi, partner at marketing firm Portland Stewart; Avenue Road president Stephan Weishaupt; boutique hotelier Michael von Teichmanterloo; and Alison Milne of her eponymous design firm.

4—Curtis Priest, partner and CEO at Pixelcarve website designers; Andrew Black, owner of Black General Contracting, with his wife, Julia, designer at Ashley Botten Design; and Tanya Bonus of her namesake design firm.

2

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CURATED PROPERTIES’ RE-MAKE 3

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2

3

Curated Properties hosted a launch party — called RE-MAKE – in an old industrial building on a Toronto alley that used to be the home of Pendell Boiler Ltd. and before that a yarn factory.

It will soon be remade as Lanehouse, a cluster of loft condos. The event featured art installations by Fugitive Glue, yarn bombing by Bissell Bomber, and fashion installations by Sartoria.

(Photos by Ryan Emberley) 1—Partygoers take in the yarn bombing, wrapping up the beams of the Lanehouse presentation centre to the soaring ceilings.

2—Danny Pustil and Peter Freed; with Adam Ochshorn, principal, Curated Properties.

3—Gary Eisen, principal, Curated Properties, and Matt Eisen.

May/June 2014 CANADIAN INTERIORS 49

That Was Then

1

2

3

Light years Lamps in style 50, 40, 30, 20 and 10 years ago.

4

5

—By Michael Totzke

As I did with sofas a few issues ago (January/February 2014), I’ve gathered together representative lamps from the pages of CI for the years 1964, 1974, 1984, 1994 and 2004 – to shed a little light on how styles have changed over time.

From 1964: Danish pendant lamp designed

by Niels Esmann and Hans C. Jensen for Nordisk Solar Compagni. From 1974: toadstool light with high capacity for large working tables, from Raak Lighting of the Netherlands. From 1984: Neon pink flamingo, manufactured by The Electric Gallery. From 1994: Structurella Bright low-voltage system from Italy’s Targetti. And from 2004: Sol pendant light fixture of three intertwined glass petals, designed by Andrea and Robert White of Montreal’s Brave Design.

Funny how the oldest lamp seems the most timeless. c I

1—1964: Niels Esmann and Hans C. Jensen 2—1974: Raak Lighting 3—1984: The Electric Gallery 4—1994: Targetti 5—2004: Andrea and Robert White

50 CANADIAN INTERIORS MAy/June 2014

dimensions V O L . 2 /2014

Inside The Creative Mind/ Au coeur de l’esprit créateur The Science Behind Imaginative Conceptualization La science derrière la conceptualisation imaginative

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contents/ sommaire

dimensions magazine VOL. 2 /2014

12 pg.

idc board of management 2013/14 conseil d’administration 2013/14 Ada Bonini, President, BC/Présidente, C.-B. Denis Chouinard, 1st VP, QC/Premier vice-président, Qc Aandra Currie Shearer, 2nd VP, BC/Deuxième vice-présidente, C.-B. David Gibbons, Past President, ON/Président sortant, Ont. Clinton Hummel, Director/Treasurer, ON/Directeur/Trésorier, Ont. Ellyn Berg, Director, SK/Directrice, Sask.

Anne-Marie Legault, Director, QC/Directrice, Qc Lori Arnold, Director, NS/Directrice, N.-É.

Denise Ashmore, Director, BC/Directrice, C.-B. Kimberley Murphy, Director, NB/Directrice, N.-B Karla Korman, Director, MB/Directrice, Man. Michele Roach, Director, AB/Directrice, Alb. Peter Heys, Director at Large, ON/Administrateur général, Ont. Kara MacGregor, Director at Large, NS/Administratrice générale, N.-É.

Sarah Parker Charles, Director, Provisional, NL/Directrice, provisoire, T.-N.-L. Susanne Koltai, Director, Education, QC/Directrice, éducation, Qc Meryl Dyson, Director, Industry, BC/Directrice, industrie, C.-B. Nicole Cormier, Director, Intern, NB/Provisional/ Directrice, stagiaire, N.-É.

Trevor Kruse, IIDEX Liasion, ON/Liaison avec IIDEX, Ont. Donna Assaly, Chair, Board of Governors, AB/Présidente du conseil des gouverneurs, Alb. Susan Wiggins, Chief Executive Officer, ON/Chef de la direction, Ont.

Dimensions is the official magazine of IDC (Interior Designers of Canada) ©2010 Dimensions est le magazine officiel des dic (Designers d’interiéur du Canada) ©2010

features/ dossiers

departments/ département

12. inside the creative mind au coeur de l’esprit créateur Is creativity pre-programmed in our DNA or can we learn to be more creative?

Inside the creative mind maps the neuroscience behind creativity and looks at interior designers’ own creative processes.

La créativité est-elle programmée d’avance dans notre DNA ou pouvonsnous l’apprendre? Au coeur de l’esprit créateur regarde du côté de la neuroscience et examine les processus créateurs des designers d’intérieur.

8/9 consider this/ considérez ceci…

15. supporting young entrepreneurs soutenir les jeunes entrepreneurs Residential interior design start-ups get hands on mentorship and business coaching through one of the first residential interior design Incubators.

Les novices dans le design d’intérieur résidentiel échangent sur le mentorat et l’accompagnement en affaires grâce à l’un des premiers incubateurs d’idées conçus pour le design d’intérieur résidentiel. dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Chef de la direction, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly (AB) Lise Boucher (MB) David Chu (SK) Ron Hughes (ON) Johane Lefrançois-Deignan (ON) Carolyn Maguire (NS) Susan Steeves (BC) canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Ellie Robinson erobinson@bizinfogroup.ca French Translation/Traduction française : Pierre-Éric Villeneuve

10/11 Q + A/ Q&R 18/19 legal corner/ le coin juridique 20/21 marketplace/ le marché 22/23 trade talks/ pourparlers 24 industry members/ membres d’industrie

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Maya Vnukovsky Administrative Assistant Tony Sienes Manager, Accounting Meghan Smith Director, Business Development Sue Gravelle Director, Professional Development Barbora Krsiakova Member Services Coordinator Debora Abreu Manager, Marketing Gustavo Espinola Marketing Coordinator/Coordonnateur du marketing Julia Salerno Manager, Communications Candis Green Communications Coordinator/Coordonnatrice des communications

Interior Designers Of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 f 416.921.3660 tf 877.443.4425 dimensions@idcanada.org www.idcanada.org

dimensions 05

1 An international forum for continuous dialogue between researchers and practitioners

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Firsts. An expression usually associated with the early years of life as parent’s watch in awe as their child takes their first steps or utters, “DaDa or MaMa.” Within the industry and at IDC headquarters, we, like a parent, are excited about a number of firsts.

In January, 2013, Libby Bullock, ARIDO, launched one of the first interior design incubators – a project she has wanted to start for several years as a way to give back to the profession. As a result of Libby’s selfless determination, interior design professionals wanting to start their own residential design business now have a mentor and support system to help them launch. Thank you Libby! You can read about Libby’s incubator in this issue.

Another first for Canada’s interior design community is the appointment of Glenn Pushelberg and George Yabu of Yabu Pushelberg, as the newest Officers to The Order of Canada. George and Glenn were given the distinction in December, 2013 for “their contributions to design excellence internationally, notably by bringing their creative outlook to public spaces, and for promoting the Canadian design industry.”

We couldn’t be more proud of this Canadian design duo on receiving this prestigious honour – congratulations! Read Glenn Pushelberg’s response to our provocative question: “is creativity learned, innate, or combination?” in this issue’s Trade Talks.

At IDC, we have a few firsts of our own. At the top of this year, we revamped our website, and launched a new referral search engine for the public called FIND - findinteriordesigner.org. We also launched a new subscription program called FIRM + Co., especially for interior design business owners and department managers.

The program offers a suite of business support services designed to help you save money and grow your business.

Inside that suite of services is another first – on behalf of the membership IDC has purchased a license for Two Grey Suits – a premier online human resources service with a $595 annual value. Two Grey Suits is the perfect resource for your small to medium-sized business for 24/7 access to workplace policy templates, sample

Ada Bonini, President/Présidente Susan Wiggins, Chief Executive Officer/Chef de la direction

Les premiers pas. Cette expression est habituellement utilisée dans les premières années d’une personne, alors que les parents regardent leur enfant, émerveillés, lorsqu’il commence à marcher en disant « papa ou maman.» Dans la perspective de l’industrie et du siège social des DIC, nous, comme des parents attentifs, sommes fiers de ces premiers pas.

En janvier 2013, Libby Bullock, d’ARIDO, a lancé un des premiers «incubateurs» au service du design d’intérieur. C’est un projet qu’elle voulait démarrer depuis plusieurs années, une manière de redonner à la profession. La détermination altruiste de Libby aura porté ses fruits! Les professionnels du design d’intérieur qui veulent démarrer leur entreprise ont désormais un mentor et un système de soutien qui les aideront à partir en affaires. Un gros merci, Libby! Vous pourrez lire sur la firme «The Incubator» dans les pages du magazine.

Une autre première, dans la communauté du design d’intérieur du Canada, est la nomination de Glenn Pushelberg et George Yabu de la firme Yabu Pushelberg, comme nouveaux officiers de l’Ordre du Canada. George et Glenn ont reçu cette prestigieuse distinction en décembre 2013, pour «leur contribution à l’excellence du design sur la scène internationale, pour l’apport de leur perspective créative aux espaces publics et pour leur promotion de l’industrie du design canadien.» Nous ne pourrions être plus heureux de ce duo canadien et de cette reconnaissance prestigieuse. Nos félicitations!

Prenez le temps de lire la réponse de Glenn Pushelberg à notre question provocatrice: « Est-ce que la créativité est innée, acquise, ou une combinaison des deux?» dans l’article Pourparlers, dans ce numéro de ce magazine.

Aux DIC, nous avons fait aussi nos premiers pas. Au sommet, cette année, nous avons renouvelé notre site Internet et nous avons lancé un nouveau moteur de recherche

dimensions 08

interview questions, legal offers of employment and termination letters, job descriptions, and much more to help you manage staff. I would encourage you to check out the many other benefits of a FIRM + Co. subscription, including discounted gym membership at GoodLife FITNESS, discounted administrative and personal assistant services with Black Tulip, 35% off standard and international FedEx rates and a free analysis to reduce business spending with Procurity Group, a $3,600 value. Visit the IDC website to learn more about this exciting new program.

In the second half of 2014, IDC will launch a new Young Leaders Webinar Series and Conference.

While still in the early stages of development, we get goose bumps when we think of the potential for this program. Without spoiling the details, the idea is simple – IDC Industry manufacturers and suppliers will teach our emerging professionals about their humble beginnings in a series of webinars. After the webinar series, several lucky young professionals will be provided the opportunity to attend IDC’s firstever conference for the next generation of interior design professionals.

Lastly, as you read though this issue of the magazine, you’ll notice three new depar tments: Trade Talks, where we ask three interior designers to answer a provocative question; Marketplace, where

“IDC has a number of firsts planned for this year, including a conference for young leaders.”

pour le public nommé FIND - findinteriordesigner.org.

Nous avons également lancé un nouveau programme d’abonnement appelé FIRM + Co., destiné aux propriétaires d’entreprise en design d’intérieur et aux gestionnaires de département. Le programme offre une gamme de services de soutien conçus pour vous aider à économiser et à élargir vos horizons d’affaires.

Parmi ses nombreux services, en voici un de plus!

Au nom de leurs membres, les DIC ont acheté un permis chez Two Grey Suits : un service de ressources humaines en ligne d’une valeur de 595 $ par année.

Le programme Two Grey Suits est la ressource idéale pour votre petite ou moyenne entreprise. Il offre un accès 24 heures par jour, 7 jours par semaine, à des gabarits des lois du travail, à des exemples d’entrevues, de contrats d’offre d’engagement ou à des lettres de congédiement, à des exemples de dotation d’emploi, et plus encore! Le programme est là pour vous aider dans la gestion de vos employés.

Nous vous encourageons à surveiller les nombreux avantages de l’abonnement à FIRM + Co. Les bénéfices incluent des réductions pour un abonnement au gym chez GoodLife FITNESS, des services d’assistance administratives ou personnelles avec la

IDC’s editorial committee highlights products from IDC’s manufacturer and supplier members, and Legal Corner, where we talk about the business of design. We hope you enjoy reading these new sections and we’d love to hear from you – please send your feedback to dimensions@idcanada.org.

Continue the conversation: @idcanadatweets

«Les DIC auront un certain nombre de premières cette année, incluant une conférence pour les jeunes leaders.»

firme Black Tulip, un rabais de 35% sur les envois internationaux et locaux avec FedEx et une analyse gratuite de la réduction de vos dépenses d’entreprise avec la firme Procurity Group, d’une valeur de 3600$. Visitez le nouveau site Internet des DIC pour en savoir plus sur ce nouveau programme.

Dans la seconde moitié de 2014, les DIC lanceront une nouvelle série de séminaires intitulée Young Leaders Webinar Series and Conference. Nous devenons fébriles lorsque nous pensons au potentiel de ce programme en développement. Sans révéler tous les secrets du programme, l’idée est assez simple: les fabricants et les fournisseurs de l’industrie enseigneront et partageront les expériences et le récit de leurs humbles débuts aux jeunes professionnels débutants dans une série de webinaires. Suite à cette série de webinaires, les jeunes professionnels chanceux auront l’occasion de participer à la toute première conférence des DIC destinée à la nouvelle génération de professionnel du design d’intérieur.

Finalement, comme vous le lirez dans les pages de ce magazine, il y a quatre nouvelles rubriques à découvrir. Vous y trouverez la rubrique Pourparlers, où nous demandons à trois designers d’intérieur de répondre à une question épineuse, la rubrique Le marché, où les membres du comité éditorial des DIC jettent un éclairage sur les produits des membres fabricants et fournisseurs des DIC, la rubrique Le coin juridique, où il est question des affaires du design. Nous espérons que vous apprécierez ces nouvelles sections et nous aimerions avoir de vos nouvelles! Faites-nous parvenir vos commentaires par courriel à dimensions@idcanada.org.

Suivez les DIC sur twitter : @idcanadatweets

dimensions 09

Q+A Q&R

Dimensions speaks to Retired member Deborah Browne.

Dimensions échange avec Deborah Browne, membre à la retraite.

By / Par Julia Salerno

What path did you take in your career to get to where you are today?

When I graduated from Ryerson, there were not very many design jobs available. I was approached by Herman Miller, a well respected company known for their excellent design philosophy and product designs. It was a great place to work with exposure across the country designing, conducting feasibility studies, and space planning for clients, as well as managing their showrooms. I later accepted a job at Teknion, where I managed and implemented the design of ten showrooms across Canada, rolled out product launches into the showrooms four times annually, managed the financial and leases on the real estate side, and also provided consulting to clients regarding their facilities and office systems furniture, along with designing. My entire career has been focused on design and facility management, so when I left Teknion I took an opportunity to work as a facility manager on a Public Partnership (P3) project for a new courthouse.

I have worked in design for more than 30 years. It has been an amazing journey and even though I have technically left the design industry, design will never leave me.

If years ago, you had been able to foresee yourself in the present, what might you have done differently in your career?

I may have continued to look for work at a design firm instead of with office furniture manufacturers, but I have been very happy and fulfilled doing both design and facility management. It has been a wonderful balance and always challenging.

What are your hopes for the future of the profession?

I hope that the industry continues to grow and be recognized at the highest level. It was frustrating to have to continuously explain what interior design is and what my job as an interior designer involved. There are so many television shows that cloud the profession and portray it as something it’s not. Interior design is a unique and

Name: Deborah Browne What I liked the most: The experience of seeing others live and work in an environment you created.

What I liked the least: The challenge of greater recognition for the profession.

Nom: Deborah Browne Ce que j’apprécie le plus : L’expérience de voir d’autres personnes vivre et travailler dans un environnement que vous avez créé.

Ce que j’apprécie le moins : Le défi que représente l’obtention d’une plus grande reconnaissance de la profession.

Quelle trajectoire avez-vous privilégiée dans votre carrière pour arriver là où vous êtes aujourd’hui?

Lorsque j’ai obtenu mon diplôme de Ryerson, il n’y a avait pas beaucoup d’emplois dans le domaine du design. La firme Herman Miller m’a approchée, cette compagnie est reconnue pour son excellente philosophie et ses produits de design. C’était un endroit extraordinaire pour travailler, avoir une visibilité partout au pays, concevoir des designs, faire des études de faisabilité et des planifications d’espace pour les clients, en plus de gérer leur salles de montre. Plus tard, j’ai accepté un emploi chez Teknion, où j’ai géré et implanté le design de 10 salles de montre à travers le pays. J’ai eu la chance d’organiser des lancements de produits dans les salles de montre quatre fois par année, administrer les finances et les locations d’espaces, en plus de fournir de la consultation pour les clients sur leurs bâtiments et leur système de meubles de bureaux, sans évidemment négliger le design. Le design et la gestion du bâtiment ont été le coeur de toute ma carrière. Lorsque j’ai quitté Teknion, j’ai eu l’occasion de travailler comme gestionnaire de bâtiment dans un projet de partenariat privé public (P3) pour un nouveau Palais de justice.

J’ai travaillé dans le domaine du design pendant plus de 30 ans. Ce fut un voyage extraordinaire, et même si j’ai quitté l’industrie du design, le design, lui, ne me quittera jamais.

Si, il y a des années, vous pouviez prédire le présent, qu’auriez-vous fait différemment dans votre carrière?

Je crois que j’aurais continué de chercher du travail dans une firme de design, au lieu de travailler pour des fabricants de meubles de bureaux. Cela dit, j’ai été très heureuse

dimensions 10

rewarding profession and it should get recognized as such.

What makes for a successful interior designer?

Never stop selling your design and what you believe in. The passion that one has for design should always be evident. The key is also to have a strong business and financial understanding along with design. You have to listen carefully to what your client needs to create the best solution for them.

What advice do you have for emerging professionals?

My advice would be to get involved with your professional association on a committee, or on the Board. In my early days I sat on ARIDO’s Membership Committee. I was also on the Board for ten years as membership director, secretary, vice president, president and then past president. It’s also important to keep up with the latest design developments and solutions, and industry regulations through continuous learning.

Continue the conversation: @idcanadatweets

“My career has been an amazing journey, and even though I’ve left the industry, design will never leave me.”

«Ma carrière a été un voyage extraordinaire, et même si j’ai quitté l’industrie du design, le design, lui, ne me quittera jamais.»

et comblée de faire les deux, le design et la gestion de bâtiment. C’était un merveilleux équilibre impliquant toujours des défis.

ce qu’ils recherchent pour créer la meilleure solution de design pour eux.

Quelles sont vos espérances pour l’avenir de la profession?

Je souhaite que l’industrie continue de grandir et d’être reconnue au niveau le plus élevé. Cela devient frustrant de devoir sans cesse expliquer ce qu’est le design d’intérieur, et ce que mon travail comme designer d’intérieur implique. Il y tellement de programmes à la télévision qui jettent une ombre sur la profession et qui la présentent comme quelque chose qu’elle n’est pas. Le design d’intérieur est une profession unique et gratifiante. Il doit être reconnu ainsi.

Quels conseils donneriez-vous aux professionnels débutants?

Je leur dirais de s’impliquer dans leur association provinciale, sur un comité ou un conseil d’administration. Dans mes débuts, je siégeais sur le comité des adhésions d’ARIDO. J’ai aussi fait partie du conseil d’administration pendant 10 ans comme directrice des adhésions, comme secrétaire, vice-présidente, présidente, ancienne présidente. C’est important de se tenir au courant des derniers développements du design, des solutions et des règlements de l’industrie en valorisant les apprentissages continus.

Pour continuer la conversation: @idcanadatweets

Qu’est-ce qui fait qu’un designer d’intérieur a réussi?

Ne jamais arrêter de promouvoir votre design et vos convictions. La passion que les gens ont pour le design devrait toujours être palpable. La clé est d’avoir une compréhension des affaires et de la finance, en même temps qu’une connaissance du design. Vous devez écouter attentivement les besoins de vos clients,

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inside the creative mind au coeur de l’esprit créateur

The Science Behind Imaginative Conceptualization La science derrière la conceptualisation imaginative By / Par Leslie C. Smith

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The human brain is a complex machine composed of such convoluted modules, pathways and back-up systems that, after more than 200 years of study, we are only now beginning to understand its inner workings. Throw in the question of how creativity manifests itself, and you receive a slew of answers – all of which are probably right.

Nature plays a role. According to a 2013 article posted by David Cox on theguardian.com, recent studies indicate that inheriting “the right genetics can make your brain more inclined towards creative thinking.”

Artists, designers, writers and musicians tend to have a smaller corpus callosum, the nerve fibre bundle that connects the brain’s two hemispheres. This could lead to thinking contrary from the norm by permitting each hemisphere to develop its own areas of specialization, acting as “incubators” for ideas.

Creativity is also thought to be stimulated by nurturing surroundings, according to Dr. Oshin Vartiatan, of the University of Toronto’s Department of Psychology and co-editor of Neuroscience of Creativity (2013).

“Some people have argued that the best way to foster creativity is to create an environment within which creativity can flourish. Others have argued that creativity could be improved more directly through brain-training programs.”

Whether innate or developed, Vartiatan maintains divergent thought processes are only one of three necessary components of creativity; the other two are motivation and experience. “Creative people tend to have a strong internal drive to work on problems of interest,” he says. “They have high levels of cognitive ability, such as intelligence and expertise, that can be applied toward solving a problem, and they have the skills and styles that make it easier for them to think differently.”

Dr. Harry Francis Mallgrave, architecture professor at the Illinois Institute of Technology, has also given a lot of thought to this topic. His 2010 book, The Architect’s Brain: Neuroscience, Creativity, and Architecture, examines the new neuroscience and applies it specifically to the field of design. When asked to comment on the idea that the brain’s left hemisphere represents linear human thought while the right handles lateral leaps of imagination, he calls this division too simplistic. “MRI scans show there’s

Le cerveau humain est une machine complexe composée de modules intriqués, de trajectoires et de systèmes de réserve.

Même après plus de 200 ans d’études, nous commençons à comprendre ses mécanismes intérieures.

Ajoutons à cette réalité comment la créativité se manifeste et plusieurs réponses s’imposent, toutes plus vraies les unes que les autres.

guardian.com, des recherches récentes indiquent que le fait d’hériter «de la bonne génétique peut conditionner votre cerveau vers la pensée créative.»

Les artistes, les designers, les écrivains et les musiciens semblent avoir un plus petit corpus callosum, le faisceau de fibres nerveuses qui permet la rencontre des deux hémisphères du cerveau. Cette réalité peut encourager une pensée en marge de la norme en permettant à chaque hémisphère de développer son propre champs de spécialisation, en agissant comme un «incubateur» d’idée.

Il appert que la créativité est stimulée par des environnements propices, selon le docteur Vartiatan du département de psychologie de l’Université de Toronto et coéditeur du livre Neuroscience of Creativity (2013). Il le précise: « Certaines personnes ont défendu que la meilleure façon d’encourager la créativité est de créer un environnement dans lequel elle peut évoluer. D’autres croient que la créativité peut être améliorée plus directement à travers des programmes d’entraînement cérébral.»

Que la créativité soit innée ou acquise, Vartiatan maintient que la divergence des processus est l’une de ses trois composantes nécessaires.

Les deux autres sont la motivation et

l’expérience. Il affirme: «Les créateurs ont tendance à avoir une stimulation intérieure pour travailler sur des problèmes ayant un intérêt certain. Ils ont un niveau d’habileté cognitive élevé, comme l’intelligence et l’expertise, qui peut servir à la résolution de problème.

Ils ont des aptitudes et des styles qui leur permettent plus facilement de penser différemment.»

Le Dr. Harry Francis Mallgrave, est professeur en architecture à l’Illinois Institute of Technology. Il a passé beaucoup de temps à réfléchir à cette question. Son livre publié en 2010, The Architect’s Brain: Neuroscience, Creativity, and Architecture, examine de près la nouvelle neuroscience et l’applique plus directement au domaine du design.

Lorsqu’on lui demande de commenter l’idée que l’hémisphère gauche du cerveau représente la pensée linéaire de l’humain et que la partie droite se concentre aux domaine de l’imagination littérale, il précise que cette division est trop simpliste : «Les résonances magnétiques montrent qu’il n’y a pas une partie de notre cerveau qui travaille sur une chose en particulier. Il n’y a pas de processus unisensoriel.» De fait, lorsque nous regardons un objet, les rythmes du cerveau

Certes, la nature y joue un rôle. Selon un article publié en 2013, par David Cox, sur le site the-

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never just one part of our brain working on something. There is no unisensory process.”

Indeed, when we look at an object, brain patterns exhibit activity showing that our brains’ hemispheres also connect to sense memories of touch, smell, taste and hearing. He goes on to say “creativity is related to the process. Put in enough practice and you achieve a certain proficiency. The greater your command, the more neural options you create and have available when needed.”

The more work you do, the more studying of a situation, the easier creative thoughts seem to flow. Often, though, these “Eureka!” moments come when our mind is not actively engaged but at rest, a principle reflected in modern brain scans by changes seen in our neurotransmitter systems. Archimedes famously shouted “I have found it!” on taking a bath and noticing the displacement of water, but who’s to say the idea didn’t simply occur to him because he was relaxing in the tub?

Interior designer and principal of Seattle’s NBBJ, Lois Wellwood, knows this phenomenon well: “Some of my best ideas come in the early morning, when I’m just waking up – that’s when I get most inspired. A little trick I have if I’m especially blocked is to ignore the problem, go

away and do something else. I work on another component of it, or go for a run or out to a movie – that allows my brain to process what it needs to process.”

Her own creative procedure echoes that of others in artistic fields.

“I like to start in a very broad, general way,” she says. “What have we been asked to do? Once I’ve created a bit of definition, I look for inspiration in magazines and so on, just to change my brain from a problem-solving mode to a possibilities mode.

“Creativity is about possibilities,” Wellwood continues. “I like to get a group of our designers together right at the beginning of a project. Engaging with them about possibilities can produce 10 ideas rather than two or three.

We use brainstorming, mind-mapping [clusters of related words and images], doodles and sketches to prototype ideas. It’s very broad-strokes thinking, almost like an athlete warming up.”

A change in environment or routine can also stimulate new concepts: “Creativity isn’t something that just

happens. You have to practise general curiosity. Be aware of your surroundings, always be looking, experiencing the world differently.”

Don’t forget to have fun, she adds.

Picasso once said that it took him his whole life to learn to draw like a five-year-old. Children are the most openly expressive, the most imaginative of human beings. And look at them – they play all the time.

démontrent une activité qui prouve que les hémisphères de notre cerveau connectent également les mémoires sensorielles du toucher, du goût et de l’audition.

Il renchérit : «La créativité est reliée au processus. Mettez-y suffisamment de pratique et vous trouverez une certaine compétence. Plus votre commandement sera élevé, plus il y aura d’options neurologiques créées et disponibles quand voue en aurez le besoin.»

Plus vous travaillez et plus vous étudiez une situation, le plus facilement les idées créatrices sont générées. En revanche, et souvent, ces moments « Eurêka! » viennent lorsque notre esprit n’est pas engagé, mais au repos. Ce principe, indiqué par les résonances magnétiques modernes, nous permet d’identifier les changements dans nos systèmes neuro-transmetteurs.

Archimède a fameusement déclaré: «J’ai trouvé» lorsqu’il prenait un bain et qu’il comprenait enfin les fréquences de l’eau. Qui nous dira que cette idée ne lui est pas précisément venue au moment où il relaxait dans son bain?

Lois Wellwood est designer d’intérieur et présidente de la firme NBBJ, à Seattle. Elle connaît bien ce phénomène: « Quelques-unes de mes meilleures idées me viennent très tôt le matin, lorsque je me réveille. C’est à ce moment-là que je suis le plus inspirée. Un de mes petits trucs, si je suis particulièrement bloquée, est d’ignorer le problème en me retirant ou en faisant autres choses.

J’en profite pour travailler à un autre aspect du projet, je vais voir un film ou courir et cela permet à mon cerveau de faire le travail nécessaire.»

Son propre processus créatif fait écho à ceux des autres dans les domaines artistiques, elle affirme: «J’aime commencer de manière générale. Qu’est-ce qu’on nous a demandé de faire? Une fois que la première définition prend forme, je cherche de l’inspiration dans des magazines et ailleurs pour faire passer mes réflexions de la modalité de la résolution de problèmes à celle des possibilités.»

Wellwood le souligne: «La créativité implique toutes les possibilités. J’aime réunir un groupe de nos designers dès le commencement d’un projet. Échanger avec eux sur diverses possibilités peut produire dix idées plutôt que deux ou trois. Nous utilisons les séances de remue-méninges, de visualisation (des groupes de mots et d’images), de griffonnages et de croquis pour trouver des idées prototypes. C’est une manière amplifiée de réfléchir, comme un athlète le fait en période de réchauffement.»

Un changement d’environnement ou de routine peut aussi stimuler de nouveaux concepts: «La créativité n’est pas une chose qui vient de se produire. Vous devez pratiquer la curiosité générale, être attentif à votre entourage, regarder sans cesse, faire l’expérience du monde différemment.»

Elle ajoute qu’il ne faut pas oublier de s’amuser. Picasso aurait dit qu’il lui avait pris toute sa vie pour apprendre à dessiner comme un enfant de 5 ans. Les enfants ont l’expressivité la plus ouverte, ils sont les êtres humains les plus imaginatifs. Et regardez-les, ils jouent sans cesse.

To continue the conversation, find us on LinkedIn: Harry Francis Mallgrave, Ph. D. Oshin Vartanian Lois Wellwood

Pour continuer la conversation, suivez-nous sur LinkedIn: Harry Francis Mallgrave, Ph.D. Oshin Vartanian Lois Wellwood

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supporting young entrepreneurs soutenir les jeunes entrepreneurs

Helping residential design firms get off the ground Aider le démarrage des firmes de design résidentiel By / Par Julia Salerno

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Business and fashion incubators have been around for decades, but the concept of one especially for interior design is new. In fact, it’s so new that when Libby Bullock, ARIDO, founded the Interior Design Incubator (IDI) in January, 2013, it was one of the first of its kind in North America and around the world.

Incubators are programs designed to support entrepreneurial startups through a variety of resources and services. While incubators

Les incubateurs d’idées pour la mode et les affaires existent depuis des décennies, mais ce concept appliqué spécialement au design d’intérieur est une nouveauté. De fait, il est récent au point que lorsque Libby Bullock, d’ARIDO, a fondé l’Interior Design Incubator (IDI), en janvier 2013, la firme était parmi les rares du genre en Amérique du Nord et dans le monde entier.

Les «incubateurs» sont des programmes conçus pour soutenir les démarrages d’entreprises à trav-

differ in the way they deliver resources, they are alike in that the support received increases the likelihood that the new business will succeed (National Business Incubation Association, 2007.)

“The incubator is multi-facetted, but really it’s a stepping stone for those serious about starting their own residential interior design business, but is unsure about how to go about it,” said Libby Bullock, professional interior designer and principal of Libby Bullock Interiors Inc., based out of Toronto.

“It takes time to establish a business.

The Incubator offers a safe place to land and grow.”

The Interior Design Incubator offers new companies direct business mentoring – from establishing a logo, business cards and marketing materials, to learning how to navigate government requirements, becoming incorporated and access to Libby’s network of contractors, trades persons, engineers and other disciplines, like her accountant and lawyer. Bullock has put on marketing workshops and plans

to hold monthly business-specific training for participants. The Incubator also gives participants a low cost, furnished office space to work from and host clients.

“These are all things I had to learn on my own,” says Bullock, “My guidance gives participants the confidence to take on any size job because they have me and the other designers to fall back on and bounce ideas off of.”

Bullock has owned her residential interior design business for more than 30 years. “It can be lonely to start your own business, not knowing if you’re on the right track. The Incubator helps people overcome the loneliness of the entrepreneurial work environment.”

The changing landscape of residential interior design helped her recognize the need for the Incubator. “When I started out the split between residential designers and other sectors was 70/30 – that statistic has now reversed.” It’s one of Libby’s goals to bring popularity back to residential design, because she says,

ers une variété de ressources et de services. Même si leur manière de livrer des services sont différentes, ils sont identiques dans le fait que le soutien reçu augmente les chances de réussites des nouvelles entreprises (National Business Incubation Association, 2007.)

La présidente de la firme torontoise Libby Bullock Interiors Inc. et designer d’intérieur professionnelle, Libby Bullock, précise: «La firme The Incubator a plusieurs facettes et peut représenter une étape importante pour les personnes sérieuses qui veulent démarrer leur propre entreprise de design d’intérieur, mais qui ne sait pas comment procéder. Cela prend du temps pour établir une entreprise. La firme The Incubator offre un lieu sécuritaire pour réfléchir et progresser.»

La firme offre aux nouvelles compagnies un mentorat direct allant de la création d’un logo, des cartes d’affaires et de documents promotionnels à l’apprentissage de la navigation des exigences gouvernementales. Elle offre un soutien dans les démarches de l’incorporation, l’accès au réseau des entrepreneurs de Libby et la possibilité de rencontrer des agents commerciaux, des ingénieurs et des professionnels d’autres secteurs professionnels, comme son comptable et son avocat.

Bullock a implanté des ateliers de mar-

keting et planifie d’organiser, sur une base mensuelle, des formations orientées sur les questions d’affaires pour les participants. La firme The Incubator offrira aussi des tarifs réduits aux participants, des bureaux meublés pour travailler et recevoir des clients.

Madame Bullock ajoute: «Ce sont des choses que j’ai dû apprendre par moi-même. Mes conseils et orientations donnent aux participants la confiance nécessaire pour accomplir les emplois les plus exigeants. Les participants savent que je suis là et que d’autres designers d’intérieurs sont là aussi pour les soutenir et pour discuter de leurs idées.»

Libby Bullock est propriétaire de sa firme de design d’intérieur depuis plus de 30 ans. Durant ces années, elle en a vu pour tous les goûts. Elle raconte : «C’est parfois une aventure solitaire que de partir en affaires. Ne pas savoir si vous êtes sur la bonne voix, oui ou non. La firme The Incubator aide les gens à surmonter la solitude propre à l’environnement du travail entrepreneurial.»

L’environnement changeant du design d’intérieur pour le milieu résidentiel l’a aussi aidé à mieux reconnaître les besoins d’une firme comme The Incubator. Elle poursuit: «Lorsque j’ai commencé, l’écart entre les designers pour

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“it’s incredibly fulfilling, intimate and challenging.

It’s an honour to be trusted and valued enough to be invited into someone’s home.”

Libby’s deep-rooted belief in the power of good design, the value of education, and that the next generation of interior designers will advance the profession is what motivates her. She understands that giving back is a privilege. For Libby, the IDI is also a vehicle to help move the profession forward. “I’m teaching ethics and professionalism – often missing from residential design – in hopes that I can elevate it to a level equal of other design sectors within the eyes of the industry.”

Participating companies must specialize in residential interior design, have graduated from an accredited interior design program, have at least three to five years work experience and be working towards or have written the NCIDQ (National Council for Interior Design Qualification) exam, and be a member of ARIDO Bullock stresses number of years experience as mandatory criteria because, “what we learn working for other people gives us the practical know-how to work with clients and hone our design skills – you have to have done the work to be an expert at the work.”

Aimee Chisholm of SUIT interiors, has just completed her first year in the Incubator. For her, IDI was a stepping stone between her work doing

retail interiors at an architectural firm and starting her own residential design firm. “The transition from working for someone else and working for yourself is scary,” she said. “Being in the Incubator gives me business guidance and a motivational ‘push,’ even when I don’t feel like ‘pushing’.”

Sylvia Min of Sylvia Min Interiors, is another participant. She’s been involved for a little over seven months. “Libby helped me establish my company image and also helped me through the process of incorporating my business. She’s even reviewed contracts for me to ensure there were no hidden loopholes.” Min admits that she doesn’t know if she would have felt safe enough to leave her position at a design/build firm if it wasn’t for the Incubator.

Beyond sharing her network, wisdom and experiences, both Chisholm and Min agree, Libby offers a supportive environment for different backgrounds and experiences to come together. The two firms have now started work on a project with one of

Libby’s existing clients. Each firm is working on a different level of the residence, with completely separate agreements in place with the homeowner.

Although the purpose of Libby’s Interior Design Incubator is to start and grow residential firms, the concept can be broadened into other design sectors. Libby’s advice to other interior design practitioners looking to start an incubator? “Call me,” she laughs “It’s incredibly rewarding, but it’s not as easy as it seems.”

le secteur résidentiel et les autres secteurs était 70/30. Cette statistique est maintenant inversée.»

Voilà un des objectifs de Libby, redonner une certaine popularité au design pour le milieu résidentiel, parce que, selon elle «c’est gratifiant, intime et plein de défis. C’est un honneur d’être suffisamment dans la confiance et l’estime des personnes pour qu’elles vous invitent dans leur maison.»

Ce qui motive Libby, c’est cette croyance profonde dans le pouvoir du design de qualité, dans la valeur de l’éducation et dans le fait que la nouvelle génération de designers d’intérieur fera avancer la profession. Elle comprend que redonner à la communauté est un privilège. Selon elle, l’Interior Design Incubator est aussi un véhicule pour aider à faire avancer la profession. Elle le précise: «J’enseigne l’éthique et le professionnalisme, souvent manquants dans le design pour le milieu résidentiel.

J’espère élever ce domaine du design à un niveau comparable aux autres secteurs du design, dans le regard de l’industrie.»

Les compagnies qui participent doivent se spécialiser dans le design d’intérieur pour le secteur résidentiel. Les participants doivent être diplômés d’un programme de designer d’intérieur accrédité, avoir entre trois et cinq années d’expérience de travail et se préparer à réussir les examens du NCIDQ (National Council for Interior Design Qualification).

Madame Bullock insiste sur les années d’expérience comme un critère obligatoire. Elle le souligne: « Ce que nous apprenons en travaillant avec les gens nous donne les connaissances pratiques des relations de travail avec les clients et améliore nos com-

pétences en design. Il faut avoir fait le travail pour devenir un expert dans le domaine.»

Aimee Chisholm, de la firme SUIT interiors inc., vient de compléter sa première année au sein de la firme The Incubator. Pour elle, IDI était une étape charnière entre son travail pour les intérieurs dans le secteur de la vente au détail pour une firme d’architecture et le démarrage de sa propre firme de design d’intérieur. Elle mentionne: «Le passage entre cette réalité du travail pour quelqu’un d’autre et le fait de travailler pour soi-même est éprouvant. Faire partie de The Incubator me donne des orientations d’affaires et une motivation soutenue, même quand je n’ai pas envie d’être proactive.»

Sylvia Min, de la firme Sylvia Min Interiors, est une autre participante impliquée depuis plus de sept mois. Elle affirme: «Libby m’a aidée à construire l’image de ma compagnie et à avancer dans le processus d’incorporation de mon entreprise. Elle a même révisé certains contrats pour m’assurer qu’il n’y avait pas de lacunes.» Madame Min reconnaît qu’elle ne sait pas si elle aurait été assez confiante pour quitter son emploi dans une firme de construction et de design s’il n’y avait pas eu The Incubator.

Au-delà des réseaux, de la sagesse et des expériences partagés, les deux protagonistes, Madame Chisholm et Madame Min, sont d’accord: Libby offre un environnement favorable à cette rencontre d’expériences et de visions différentes. Ces deux nouvelles firmes ont commencé à travailler sur un projet avec un fidèle client de Libby. Chacune des firmes travaille sur un étage différent de la résidence, avec des ententes séparées avec le propriétaire de la maison.

Même si le but de la firme Interior Design Incubator est de démarrer et de contribuer à l’essor des firmes de design d’intérieur pour le milieu résidentiel, le concept est aussi applicable à d’autres secteurs de l’industrie. Quel conseil Libby Bullock donne-t-elle aux autres praticiens du design d’intérieur qui souhaitent démarrer un incubateur?: « Appelez-moi! C’est incroyablement gratifiant, mais ce n’est pas aussi facile que ça en à l’air.»

To participate in the incubator, contact Libby Bullock at libby@bullockinteriors.com, or visit iditoronto.ca

Pour participez à The Incubator, veuillez communiquez par courriel avec Libby Bullock à libby@bullockinteriors.com.

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legal corner le coin juridique Five common employment law mistakes small business owners should avoid Cinq erreurs communes concernant les lois en matière d’emploi que les propriétaires de petites entreprises font parfois.

Et comment faire pour les éviter By / Par Jed Blackburn

Canadian employment laws can be challenging to navigate. A little knowledge and care can go a long way to help avoid costly mistakes. Here are a few of the most common issues and some tips on how to avoid them: What Employment Laws Apply to Interior Designers?

Even companies with a single employee have to comply with minimum employment standards. For most interior design firms, the relevant employment laws will be those of the province in which they are located. With the exception of Quebec, employment law in Canadian provinces will include both written employment legislation (e.g. B.C.’s Employment Standards Act) as well as the “common law” (i.e. legal principles that have been developed through prior judicial decisions).

Always Have a Written Employment Contract Make no mistake: an employment contract will exist with anyone you hire, whether it is written or not. Oral contracts can leave employers at risk should a dispute arise. The unwritten terms will be uncertain and any ambiguity will likely be interpreted in favour of the employee.

Ensure Your Employment Contracts Meet the Minimum Standards You cannot contract out of the minimum obligations in employment standards legislation. Any contractual terms that do so will be void.

For example, even though an employee’s minimum period of notice on termination is typically determined by their length of service (as set by the relevant provincial employment standards legislation), a termination clause stating that an employee will receive a fixed amount of one month of pay in lieu of notice on termination would be void in most provinces. Since one month could be less than the minimum standard if an employee was employed for a certain length of time, this termination clause will be deemed void regardless of the

Jed Blackburn is a lawyer at Cassels Brock & Blackwell LLP in its Employment Law and Advocacy Groups. Contact Jed at jblackburn@casselsbrock.com.

Jed Blackburn est un avocat de la firme Cassels Brock & Blackwell LLP, Employment Law and Advocacy Groups. N’hésitez pas à communiquer avec M. Blackburn par courriel à jblackburn@ casselsbrock.com.

Les lois canadiennes en matière d’emploi peuvent être difficiles à maîtriser. Quelques connaissances peuvent faire des miracles et vous éviter certaines erreurs coûteuses.

Vous trouverez ci-dessous les questions les plus fréquentes et quelques conseils pour éviter certaines erreurs: Quelles sont les lois applicables pour les designers d’intérieur?

Les compagnies ayant un seul employé doivent aussi se conformer à certaines normes en matière d’emploi. Pour la plupart des firmes de design d’intérieur, les lois de l’emploi les plus adaptées seront celles de la province de résidence de la firme. À l’exception du Québec, les lois en matière d’emploi, dans les provinces canadiennes, comprennent, d’une part, des lois écrites (par exemple, l’Employment Standards Act, 2000, and Occupational Health and Safety Act de l’Ontario) et d’autre part, le «common law» (les principes légaux développés à travers une longue histoire de précédents judiciaires).

Il faut toujours avoir un contrat de travail écrit Ne pas vous méprendre: un contrat de travail sera obligatoire avec tous les individus que vous engagez, qu’il soit sous forme écrire ou orale. Dans le cas d’une entente verbale, l’employeur pourra se retrouver dans une situation litigieuse s’il y a un conflit.

Les termes et les conditions du contrat seront incertains et toutes les ambiguïtés favoriseront probablement l’employé.

Que faire avec les employés qui sont là et qui n’ont pas de contrats de travail écrits?

Si vous voulez qu’un employé existant signe un contrat de travail écrit pour la première fois, assurez-vous de lui offrir quelques avantages supplémentaires comme une augmentation de salaire. Si l’entente écrite est unilatérale et que l’employé ne voit aucune considération ou autre avantage, le contrat présenté ne sera pas valide ou réalisable.

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employee’s actual length of service.

Poorly drafted termination clauses are one of the most common mistakes that can lead to significant liability. If the termination clause is void, the employee will be entitled to reasonable notice under the common law, which is typically much longer than employment standards minimums.

A good protective measure is to include a term indicating that, notwithstanding any other terms, the employee will always receive at least the minimum entitlements in the relevant employment standards legislation.

Follow Your Policies In addition to written employment contracts, it is useful to have written employment policies in place setting out your expectations in certain circumstances. Examples include workplace violence and harassment policies.

Many small business owners create written policies beyond what they are required to do, but fail to follow them. Any policy prepared by an employer will create an expectation that it will be followed, and can lead to liability for the employer if it fails to do so.

This document is intended for informational purposes only and is not legal advice or a substitute for consultation with a licensed legal professional in a particular case or circumstance.

Employee or Independent Contractor?

Small business owners cannot avoid these employment issues by simply hiring “independent contractors” instead of employees.

While a written contract will help, simply describing a worker as an independent contractor is not the determining factor. Courts will always look at the underlying nature of the relationship to determine if the worker is truly an independent contractor or an employee.

To increase the likelihood a worker will be considered an independent contractor, the contract should emphasize factors demonstrating the worker’s independence.

“Canadian employment laws can be challenging to navigate. A little knowledge can go a long way to help avoid costly mistakes.”

Assurez-vous que votre contrat correspond aux normes minimales Vous ne pouvez pas déroger aux obligations minimales des normes en vigueur dans les lois de l’emploi. Les ententes contractuelles qui dérogent seront jugées caduques.

Par exemple, même si la période de notice de terminaison de contrat est typiquement déterminée par les années de services rendus (et établie par les normes provinciales en matière d’emploi) une clause de terminaison de contrat stipulant qu’un employé recevra un mois de salaire, qui tiendrait lieu d’avis de congédiement, sera rejetée dans la plupart des provinces. Un mois de salaire sera vu comme insuffisant si l’employé a travailler pendant plusieurs années. et jugé inadmissible, sans tenir compte des années de services réelles de l’employé.

Les clauses de terminaison doivent être bien rédigées par les employeurs, pour éviter les erreurs les plus communes et les conséquences litigieuses. Si la clause de terminaison est jugée caduque, l’employé aura le droit de se prévaloir d’un avis suffisant légal, qui est d’une durée plus longue que la période d’avis minimale établie par les normes en matière d’emploi.

Une bonne manière de se protéger est d’inclure une clause qui indiquera que, peu importe les termes

«Les lois canadiennes en matière d’emploi peuvent être difficiles à maîtriser. Quelques connaissances peuvent faire des miracles et vous éviter certaines erreurs coûteuses.» et conditions, l’employé doit toujours recevoir la compensation minimale due et établie par les normes légales et en vigueur en matière d’emploi.

Un employé ou entrepreneur indépendant?

Les propriétaires de petites entreprises ne peuvent pas déroger à ces règles, par le simple fait d’engager des «entrepreneurs indépendants» au lieu d’engager des employés.

Même si le contrat de travail écrit sera facilitant, le fait de décrire un travailleur comme un entrepreneur indépendant n’est pas un facteur déterminant. La cour examinera toujours les coulisses d’une relation d’affaires dans le but de déterminer si le travailleur est véritablement un entrepreneur indépendant ou un employé. Pour éviter qu’un employé soit considéré comme un «entrepreneur indépendant», le contrat doit expliciter les éléments qui démontrent l’indépendance de la personne engagée.

Suivez les consignes de vos règlements En plus des contrats d’emplois écrits, il est utile d’avoir des règlements écrits en matière d’emploi. Ceux-ci explicitent les attentes et ce que les employés doivent faire dans certaines circonstances, incluant les lois concernant la violence et le harcèlement dans le milieu de travail.

Plusieurs petites entreprises créent des ententes écrites qui ne correspondent pas aux exigences requises ou ne suivent pas les consignes règlementaires. Tous les documents de lois préparés par un employeur créeront des attentes qui devront être respectées et pourraient être utilisés contre l’employeur s’il ne les respecte pas.

Ce document est présenté à titre d’information seulement. Il ne constitue pas un avis légal et ne remplace pas une consultation avec un professionnel du droit dans aucun cas ou dans aucune circonstance.

dimensions 19

marketplace Le marché

1. Applied Electronics Ltd. Christie MicroTiles This unique display product can be artistically used as digital signage in any space. Christie MicroTiles are best known for amazing image quality and vibrant colour displays and that really comes through in this product.

2. Ames Tile & Stone – Mini Ledgestone Urban Mix The modern texture and size of Mini Ledgestone Urban Mix makes it the ultimate blend of classic urban design.

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1. Applied Électronique Limitée – MicroTuiles de Christie Ce type d’affichage numérique est unique en son genre et permet une grande flexibilité de design et d’installation en tout lieu. Les MicroTuiles de Christie sont reconnus pour leur qualité d’image exceptionnelle en offrant un rendu couleur incomparable.

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2. Ames Tile & Stone – Mini Ledgestone Urban Mix La texture moderne et la taille de Mini Ledgestone Urban Mix fait l’ultime immixtion en désign classique contemporain.

dimensions 20

These products from IDC Industry members were selected by the Dimensions editorial committee and respond to the question: “why do interior designers love this product?” To get your product featured, contact industry@idcanada.org.

Ces produits des membres d’industrie des DIC ont été sélectionnés par le comité éditorial des DIC. Ils répondent à la question suivante: « Pourquoi les designers d’intérieur aiment-ils ce produit? » Pour publier vos produits, communiquez avec industry@idcanada.org.

3. Stone Port – Dashany Click Marble Revolutionary marble composite that clicks together without any grout space. Applicable for floor and wall installation, this tile can save up to 40% on total project costs.

4. Levey Industries Inc. – SoundBite SoundBite uses 15 plastic bottles to create one yard of 100% recycled acoustical wallcovering with up to a .25 NRC rating. SoundBite is a green product that really delivers.

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3. Stone Port – Dashany Click Marble Tuile révolutionnaire faite d’un composite de marbre, s’assemblant sans aucun espace de scellement.

Applicable sur les planchers et les murs, cette tuile permet une économie pouvant aller jusqu’à 40% du coût total d’un projet.

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4. Levey Industries Inc. – SoundBite La technologie derrière SoundBite utilise 15 bouteilles de plastique pour créer une verge de revêtement mural acoustique 100% recyclé, et jusqu’à un maximum de .25 l’évaluation du NRC. Un produit vert vraiment efficace.

dimensions 21

trade talks pourparlers

Dimensions asked three interior designers “Is creativity innate, learned, or can it be both?”

Dimensions a posé la question suivante à trois designers d’intérieur: «La créativité est-elle innée, acquise, ou peut-elle être les deux?»

dimensions 22

Glenn Pushelberg, Yabu Pushelberg, Toronto, ON

Jason Kasper, IDEATE Design Consulting Inc., Winnipeg, MB

Erica Wickes, 34F Design Inc., Vancouver, BC

“Some people have a more natural propensity to think tangentially and learning to be more creative comes easier to some than others, but I truly believe that yes, creativity can be learned.”

“Creativity is rooted in imagination.

I believe that we are all born with imagination, and, if you are lucky, you will have the privilege and opportunity to foster it.”

“A person’s creativity fundamentally comes from two discovery paths: creativity may be developed through practice. Where a child loves drawing, I see a passion for the act of creating.

This natural creativity sometimes drives people to repeat and refine artistic skill because it is enjoyable to create. On the other hand, creativity may also be developed deliberately, consciously, by following one of many creative paths through post secondary education in order to have a creative career.

Creativity is both innate and learned the sum of your unique creative energy and experiences.”

“Creativity is both innate and learned - the sum of your unique creative energy and experiences.”

Glenn Pushelberg, Yabu Pushelberg, Toronto, ON

Jason Kasper, IDEATE Design Consulting Inc., Winnipeg, MB

Erica Wickes, 34F Design Inc., Vancouver, BC

Glenn Pushelberg, firme Yabu Pushelberg, à Toronto, en Ontario

Jason Kasper, de la firme IDEATE Design Consulting Inc., à Winnipeg, au Manitoba

Erica Wickes, de la firme 34F Design Inc., à Vancouver, en Colombie-Britannique

«Certaines personnes ont une propension naturelle à réfléchir dans la marge. Le fait d’apprendre à être plus créatif vient plus facilement pour certaines personnes que pour d’autres, mais je crois que, certes, on peut apprendre la créativité.»

«La créativité prend racine dans l’imagination. Je crois que nous sommes tous nés avec de l’imagination, et que si vous êtes chanceux, vous aurez le privilège et l’occasion de la développer.»

« La créativité d’un individu provient fondamentalement de deux trajectoires de découvertes. La créativité peut se développer à travers la pratique.

Lorsqu’un enfant aime le dessin, j’y vois une passion pour l’action même de créer.

Cette créativité naturelle force parfois les gens à répéter et à raffiner leurs aptitudes artistiques parce que c’est agréable de créer. Par ailleurs, la créativité put aussi être développée délibérément, consciemment, en suivant les diverses voies de la création disponibles à travers les études post-secondaires, dans le but d’avoir une carrière créative.

La créativité est à la fois innée et acquise: la somme de vos énergies et expériences créatives singulières.»

«La créativité est à la fois innée et acquise: la somme de vos énergies et expériences créatives singulières.»

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Interior Designers Of Canada C536–43 Hanna Avenue, Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 www.idcanada.org dimensions@idcanada.org

Industry members

*Membres de l’industrie IDC Industry - Partner Partenaire des DIC Caesarstone Canada Hunter Douglas LP. Interface Knoll North America Corp.

Levey Industries Inc. Patcraft Philips Shaw Contract Group Tandus Flooring Teknion Limited The Mohawk Group Williams-Sonoma Inc. Designer Marketplace IDC Industry - Tier III Niveau III 3M Canada - Architectural Markets Allseating Ames Tile & Stone Ltd. Elite Crete Systems Canada ELTE and Ginger’s Formica Canada Inc. GLOBAL GROUP Haworth Ican Tile Distributors INSCAPE Kravet Canada Lutron Electronics Canada Inc. Milliken & Company Mirolin Richelieu Hardware Tailored Living featuring Premier Garage IDC Industry - Tier II Niveau II Allsteel Arborite Beaulieu Commercial Benjamin Moore & Co. Ltd. Cambria Natural Quartz Surfaces Ceragres Tile Group Contrast Lighting M.L. Inc. Crown Wallpaper & Fabrics Dauphin North America DIRTT Environmental Solutions DORMA Canada Hettich Canada L.P. Julian Ceramic Tile Inc. Kohler Canada Co. Mapei Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Momentum Group Odyssey Wallcoverings PC350 Royal Lighting Runway Flooring Couture Steelcase Canada Stone Tile International Inc. Superior Seating Hospitality Three H. Furniture Systems TORLYS Smart Floors Vintage Flooring Zawadee.com IDC Industry - Tier I Niveau I 3form 3G Lighting Inc. Abet Corp.

Actual Design & Décor

Advance Marble & Granite, AMG Aeon Stone & Tile Inc. Alendel Fabrics Limited Altro Canada Inc. Amala Carpets Anti-Slip Anywhere Appliance Love Applied Electronics Ltd. Arconas Astro Design Centre Avant Garde division of Master Fabrics Banner Carpets Ltd. Barazin Barrisol Canada Bay Resource Group Beckwith Galleries BerMax Design Ltd bf workplace BL Innovative Lighting Blackburn Young Office Solutions Inc. Bluesky Agency Blum Canada Ltd. BRC Canada Brunswick Manufacturing Co. Ltd. Buckwold Western Ltd. - Winnipeg Branch Burritt Brothers Carpet and Floors Business Interiors by Staples Buy Rite Office Furnishings Source California Closets Canadel Cantu Bathrooms & Hardware Ltd. Carlisle Wide Plank Floors, Inc. Cascadia Design Products CD/M2 LIGHTWORKS Corp.

Centanni Tile Inc. Century Wood Products Inc. CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot CMDS Agencies Coast Wholesale Appliances Cocoon Furnishings Coja by Sofa4life Colin Campbell & Sons Ltd. Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Coopertech Signs and Graphics Creative Custom Furnishings CTI Working Environments Cubo Design Inc. culture in design Custom Chic Daltile Canada Dasal Architectural Lighting Décor-Rest Furniture Ltd. Dell Smart Home Solutions Denison Gallery Design Lighting Design Living Centre Digital Smart Homes DIRTT Environmental Solutions Ltd. Diversified Technology System Inc. (DTS) Dominion Rug & Home Dor-Val Manufacturing Ltd. DPI Construction Management Drechsel Business Interiors DuPont Canada The Ensuite Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group

European Flooring Group FloForm Countertops Flux Lighting Inc. Fontile Kitchen and Bath Forbo Linoleum Inc. Greenferd Construction Inc. Grohe Canada Inc. Grosfillex Inc. Heritage Office Furnishings Ltd. Herman Miller Canada Inc. High Point Market Authority hitplay Holmes & Brakel Humanscale International Design Guild Ireland & Company Isted Technical Sales JCO & Associates Johnsonite Jones Goodridge KAARMA Kartners Bathroom Accessories Keilhauer Kitchen & Bath Classics (Wolseley) Kraus/Floors with More Krug Leber Rubes Inc. Legend Kitchen Gallery Inc. Leonardi Construction Ltd. Leon’s at the Roundhouse Light Resource LightForm Linea Ceiling & Wall Systems Livingspace Interiors LSI Floors Mac’s II Agencies Maharam Malvern Contract Interiors Limited Mannington Commercial Maritime Window Film Specialtists Marble Trend Ltd. Marco Products (W Group) Marketing Your Design Martin Knowles Photo/Media Marshall Mattress McKillican Canadian Mega Furniture Imports Ltd. Melmart Distributors Inc., Atlantic Division Metro Wallcoverings Inc. Miele Gallery Caplan’s Miller Thomson LLP MOEN INC. Monk Office Interiors M-Tec Inc. Muskoka Living Interiors Nester Furniture New Wall Novanni Stainless Inc. Nuvo Sales Group NUCO System Inc. Octopus Products Ltd. Office Source Inc. OfficeMax Grand & Toy Olympia Tile International Inc. Olior Interiors (Advanced Precision System Corporation) Pentco Industries Inc. POI Business Interiors Powell & Bonnell Home Inc. Pravada Floors Robert Allen Fabrics Canada Roman Bath Centre Salari Fine Carpet Collections

SaveMore Plumbing & Lighting Schluter Systems Canada Inc. Skyfold smitten creative boutique SOFA - Source of Furniture and Accessories SpecConnect Baldwin | Pfister | Weiser Square, Inc. Stone Port Stonequest Inc. Streamline Sales & Marketing Inc Summit International Canada Sustainable Solutions International SwitzerCultCreative Symmetry Lighting Tapis Rugs & Carpet Taymor Industries Ltd. Textile Trimmings The Brick Commercial Design Centre Midnorthern Appliances The Interior Design Group The Ensuite The Michael Thomas Group The Office Shop The Pentacon Group The Sliding Door Company The Sullivan Source Inc. Tierra Sol Ceramic Tile TOR The Office Resource Toronto Refurbishing Limited Trail Appliances Tremton Construction Inc. Trespa Tri-Can Contract Inc. Trigon Construction Management Turkstra Lumber Company Ltd. Tusch Seating Inc. Valley Countertops Industries Ltd. Vantage Controls Vestacon Vifloor Canada Ltd. W Studio Decorative Carpets Westport Mfg. Co. Ltd. Willis Wilsonart Canada IDC Media Partner Partenaires des médias des DIC Canadian Interiors HOMES Publishing Group * As of April 15, 2014 * À partir du 15 avril 2014

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