2013 MA DESIGN IS HUMAN

Modern Atlanta Design is Human 2013

MA Home Tour Guide

Editor-in-chief: Bernard McCoy Designers: Elizabeth Kelley, Farbod Kokabi, Mariel Harding and Stefรกn Kjartansson Copywriters: Acree Graham and Bernard McCoy Photographers: Fredrik Bauer, JasonTravis and MA Artists: Brock Davis, Bryan Abdul Collins, Farbod Kokabi, karlssonwilker, Jeff Jarvis, Josh Boston, Kevin Byrd, Mariel Harding, Megan Huntz, Michael Cina and Stefรกn Kjartansson Project manager: Kat Kim Spiritual adviser: Kevin Byrd

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MA: Bernard McCoy, Founding Partner Elayne DeLeo, Co-Founding Partner and Event Director Director of Architecture and Design: Matteo Caimi Design Is Material: John Cantrell, Weronika Cichosz, David Gange and Amanda Millner Marketing and Sales: Lisa Cox Public Relations: Gold Concepts PR Administration and Logistics Coordinator: Antonella Mazzucco Volunteer Coordinator, MA HomeTour: Jonathan Gould MA HomeTour Concierge: Diane Hewitt Launch Event Space Layout: Weronika Cichosz

Fore word

turns seven 2013 will be the year of MA! On behalf of our amazing sponsors, partners, and dedicated volunteers welcome to Design Is Human Week and the MA HomeTour! From homegrown to new alliances locally, nationally, and internationally, MA spent much of the last seven years cultivating, growing, and articulating our legacy into a definitive design language that Atlanta is the host city and emerging design destination where bold ideas are not just presented here but also born and breed.

Cultivating seems an appropriate term because MA has always opened its doors to sharing new and unique experiences that in turn encourages critical thought, insight and rich perspectives about change. But just as important, having a decisive understanding of exactly what does not influence or serve the best interest in the marketplace is also what MA represents to its design-savvy audience.

MA has always prided itself on being a leader and innovative platform where culture and commerce can coexist and find success from unlikely places. This is the spirit of Design Is Human Week activities including, MA Home Tour, Edible Design, Design Is Material, MA Talks, MA’ology Fundraisers, MA Films, sure to leave a lasting legacy on Atlanta’s creative culture for the next generation to cultivate and grow.

The art of bridge-building has much to do with creating opportunity, prosperity, and allowing all facets of the community to be engaged.

Welcome to the 2013 Design Is Human Week and MA Home Tour and come grow with us.

Table of Contents

In this book 4________________________________________ Welcome 9_________________________________________ Calendar 35_____________________________ International Design 49________________________________________ Moroso 73 ________________________ International Architecture 85_______________________________ Design is Material 95___________________________________ Edible Design 103 ___________________________________________ Film 105 _______________________________________ Fashion 107 ___________________________________ Competition 117 _________________________________ Atlanta Design 141 _________________________________________ Music 147 ____________________________________ Home Tour 163 ___________________________________ Satellite Tour 193 _______________________ Colophon & Contributors

Calendar

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Panel: The South & Architecture

6pm–8pm Design Within Reach 4310 Sharon Rd #21 Charlotte, NC 28211

Hear from the NC home tour architects in situ Studio and Dialect Design how the South has embraced modern architecture

6 8 MA Design Exhibition Open to the Public

1pm–5pm ADAC

349 Peachtree Hills Ave NE #a5 Atlanta, GA 30305 Work from some of the southeast’s best architecture and interior studios, experimental work from academic institutions, and products for the home.

Charlotte, Chapel Hill & Raleigh, NC Home Tours 10am–4pm

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ASID Georgia Vanguard Speaker Series 6pm–9pm High Museum – Hill Auditorium

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Dekton Launch 6pm–8pm Poggenpohl Showroom

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Panel: Interior Design & Storytelling 6:30pm–9pm Ligne Roset

3280 Peachtree Rd NE #125 Atlanta, GA 30305

805 Peachtree Street NE Atlanta, GA 30308

John Edelman, President of Design Within Reach, and John Picard, AIA, of John Picard & Associates, will present new ideas and developments in design.

Poggenpohl, Cosentino and designer Mark Williams present launch of Dekton, a material distinctly different from Silestone® quartz surfaces. RSVP to alison.weidner@ poggenpohl.com.

What makes interiors come alive? Moderated by author and design editor Linda O’Keeffe, this panel examines design and storytelling.

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Design Is Material Exhibition

MA Home Tour Launch & Design Exhibition

MA Talk: Ethics in Design

Panel: Journeys & Paths

7:15pm ADAC

6pm–7:30 pm Armchair Media

Tickets can be purchased online at modern-atlanta.org.

Open to Public

12pm–7pm The Sound Table/ Space 2

483 Edgewood Ave SE, Atlanta, GA 30312 (404) 835-2534

1280 Peachtree Street Atlanta, GA 30309

6:30pm–10:30pm ADAC

349 Peachtree Hills Ave NE #a5 Atlanta, GA 30305 Celebrate the start Design Is Human week and the MA Home Tour.

Alcoholic or non-alcoholic beverages and light bites for purchase from Octane. $10 at the door, or free with MA Home Tour Ticket.

Tickets can be purchased online, at the door, or at one of MA’s ticket outlets.

349 Peachtree Hills Ave NE #a5 Atlanta, GA 30305 Moderator: Susan Szenasy, Chief Editor at Metropolis Magazine Spirited talk about designing physical realities from process perspectives of material science, research and fabrication.

950 Joseph E. Lowery Blvd, Ste. 19 Atlanta, Georgia 30318 An inspiring panel discussion about challenges and paths to finding success and happiness; examining the individual journeys and experiences of young designers embarking on a career in the upper echelons in design thinking and creativity.

Calendar

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Design Is Material Exhibition, VIP/Press Event 6:30pm–8:30pm The Sound Table/ Space2

483 Edgewood Ave SE Atlanta, GA 30312

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Bauhaus Forward: Modern Kitchen

Design Is Material Exhibition: Public Launch

Panel: Design Is Material

11am–1pm RAO Design Studio

6:30pm–10pm The Sound Table/ Space2

483 Edgewood Ave SE, Atlanta, GA 30312

(For the Trade Only)

938 Peachtree Street Atlanta, GA 30309

483 Edgewood Ave SE, Atlanta, GA 30312

Mick Ricereto on how the modernist movement, faded, and returned. RSVP for limited seating event at modern-atlanta.org.

An exhibition celebrating material design, application, and research among manufacturers, architects, & designers.

7pm–8pm The Sound Table/ Space 2

A discussion on “The Art & Science of Material Methodologies” Susan Szenazy (Editor in Chief, Metropolis Magazine), Kevin Kane (Owner/Architect, Arktura), Ronnie Parsons (Founder, Modelab), Gil Akos (Founder, Modelab)

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Apartment Therapy: Maxwell Ryan 6pm–8pm Room & Board Showroom

Westside Provision District 1170 Howell Mill Road NW Atlanta, GA 30318 “The Ten Things about Apartment Therapy: Where We Came From and Where We Think Design on the Web is Going”

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“Figure Studies” Megan Huntz 7:30pm–10pm Son & Sons

988 Peachtree Street Atlanta, GA 30309 The installation will celebrate dresses made with Qmilch, a textile fiber made of casein concentrate extracted from powdered milk, as objects of design and include photos and video dedicated to the creative process of the material enrichment and execution of the final pieces.

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Open House & Culinary Demonstrations

MA Films: Living Architecture Series: Gehry’s Vertigo

MA H ome Tour

10am–4pm Culinary tastings: 11:30am–2pm each day RAO Design Studio

6pm–7pm Whitespace Gallery

938 Peachtree Street Atlanta, GA 30309

814 Edgewood Ave NE Atlanta, GA 30307

Culinary demonstrations and food tastings by the chefs of Gaggenau.

Third project of the Living Architectures series, Gehry's Vertigo offers to the spectator a rare and vertiginous trip on the top roofs of the Guggenheim Museum of Bilbao.

10am–4pm Multiple Locations in and around Atlanta Tickets are $35 and include home tour attendance on Saturday, June 8 and Sunday June 9 in Atlanta, and entrance to the Design Is Human Design Exhibition and Home Tour Launch event on June 7. Tickets can be purchased at the Design Exhibition and Home Tour Launch event, online, and at select MA ticket outlets all around Atlanta.

Admission is

free

to all events unless noted otherwise.

Tickets for paid events can be purchased from the MA website or at one of MA’s Atlanta ticket locations.

Some events require an RSVP from the MA website.

Before attending any event, please visit modernatlanta.org for updated dates, times, locations, RSVPs and details.

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181 horsepower engine only available on MINI Cooper S Paceman. All-wheel drive available on MINI Cooper S Paceman ALL4. Š 2013 MINI USA, a division of BMW of North America, LLC. The MINI name, model names and logo are registered trademarks.

Handcrafted American-made furniture Parsons table $1499; Cora chair $399; Galbraith & Paul pendant $379; all items priced as shown.

14th Street and Howell Mill Road NW Westside Provisions District, 404.682.5900 Our free catalog has 272 pages of inspiration.

Order yours at roomandboard.com.

800.952.8455

RAO Design Studio

Atlanta GA 30309

Tel: 404-815-5655

Photo: Michel Gibert. Special Thanks: Auditori Teulada Moraira, TASCHEN, www.stephane-ducatteau.com.

905 Juniper Street NE Suite CU-B www.raodesignstudio.com

ĂŠditionspĂŠciale $10,995* instead of $14,825 Scenario modular, designed by Sacha Lakic *Modular combination as shown (excluding separate chaise lounge, ottoman and end table), upholstered in Soave leather. Offer valid until 7.31.13, not to be used in conjunction with any prior offer. Price does not include decoration cushions or other accessories and pieces unless stated otherwise. Ovni cocktail table, designed by Vincenzo Maillolino. Manufactured in Europe.

ATLANTA - 3400 Around Lenox Rd. NE Ste. 204 - Tel. (404) 467-1900 - atlanta@roche-bobois.com

Showrooms, collections, news and catalogs www.roche-bobois.com

TOGO by Michel Ducaroy

“WE’VE CUT IT... 20% OFF” From April 1 to June 30, to celebrate the 40th Anniversary of Togo, Ligne Roset offers 20% off all Togo products, in all fabrics and leathers.

lignerosetatlanta.com

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Tel : (404) 541-1212

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805 Peachtree Street North East, ATLANTA, GA 30308

www.poggenpohl.com Poggenpohl Kitchen Design Studio, Terminus 100, 3280 Peachtree Road NE, Suite 125, Atlanta, 404-816-7275, www.atlanta.poggenpohl.com

Modern Atlanta(PlusModo).indd 1

4/2/13

ATLANTA MAGAZINE SALUTES MODERN ATLANTA ON ITS CONTINUING COMMITMENT TO SPOTLIGHTING CREATIVE EXCELLENCE AND PROMOTING ATLANTA AS THE DESIGN HUB OF THE SOUTHEAST.

Y DI

DW

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A mock city simulates our worst nightmares

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Savor the royal treatment at relocated RUMI’S KITCHEN

APRIL 2013 50 THINGS TO DO

No.38 Take a selfie on the Jackson Street Bridge

VOL.52 NO.12

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Lightroom is one of the only studios willing to engage their clients in a space vastly underserved in the Atlanta marketplace....

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living.

MOROSO

Furniture Collections by Ron Arad Tord Boontje Antonio Citterio Nipa Doshi & Jonathan Levien Enrico Franzolini Alfredo H채berli Sebastian Herkner Toshiyuki Kita Ross Lovegrove Nendo Patricia Urquiola Marcel Wanders Tokujin Yoshioka

Visit Moroso at Salone Internazionale del Mobile/Milan Pavilion 16, C29/D30 April 9 through 14, 2013 www.mapcontract.com | 404 276 0494

www.morosousa.com

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Photographer Fredrik Brauer

Official photographer of Modern Atlanta

www.fredrikbrauer.com

483 Edgewood Avenue (+BLVD) www.thesoundtable.com

Located in the heart of the Edgewood Design District.

Castleberry Hill Location 249 Peters Street SW Atlanta, GA 30313 www.BoxcarGrocer.com Store Hours Sundays 10a - 5p Mondays thru Saturdays 9a - 8p

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Atlanta * Chicago * Dallas * Denver * Detroit * Las Vegas * Los Angeles * Nashville * New York * Orlando * Washington D. C. Berlin * Brussels * Budapest * Cape Town * Cologne * Frankfurt * Hamburg * London * Melbourne * Sydney Munich * Paris * Shanghai * Stockholm * St. Petersburg * Stuttgart * Toronto * Tokyo * Zurich

International Design

Fallen from the sky

A full scale replication by Jean-François Fourtou, in the neighborhood of Marrakech, of a Charente region’s house has every chance of entering the annals of art history Replication? The word is not strong enough. Reconstruction seems more exact. On his property of Dar el Sadaka the artist has rebuilt identically the modest house, originally located in the small town of Fouras, in the Charente Maritime region by the shores of the Atlantic, where as a child he spent his vacations. The outside, the interior, everything that JeanFrançois Fourtou has remembered accurately, is given again in the present, inspired by the various houses he spent time in during his youth (his grandparents’ house in Montreuil, another one they rented during several summers in Fouras in the Charente region...), whether it’s the furniture, its placement in the house, the color of the plaster or the wallpaper and above all the specific atmosphere of all these ancient places.

Another, even more spectacular aspect—the house is built upside down, its roof planted in the earth. A strange house, this: you would almost think it fell from a cargo plane that lost its freight in mid-flight. As the artist puts it: “It’s as if my grandfather who rented this kind of house in Fouras during several summers, was sending me a sign. It’s a wink beyond death.” Another aspect—the acrobatic skills required of anyone who wants to visit this place of memory. It is first entered through a window in the bathroom. As expected, everything is upside down, the tables, the bed, the stairway, the clothes in the dresser. To go upstairs means going outside and using a wooden ladder, like those in old barns, or those used by goblins in fairy tales to climb to their huts in the treetops, deep in a remote and mysterious dense forest inhabited by fairies and gnomes. Finally, the vertigo. The house leans to one side and with it all its interior surfaces. You have to cling to move forward, and take care not to fall. You progress as if drunk, in a paradoxical way: the place, a major reference point in the artist’s life, makes you lose your bearings. It’s as if memory cannot be shared—to each his own!

The self-portrait that Jean-François Fourtou constructs sculpturally finds its expressiveness through the astonishing art of re-creation. The objects of his focus are cabins, houses, interiors, hiding places, actual places that have disappeared — so many vital elements in the frame of reference of his existence. Created on different scales, they are intimately linked to parts of his personal life. These places are living spaces: his grandmother’s room, appearing like that of a giantess, where furniture and objects, broom and chamber pot, are immense, in the proportions perceived by the artist as a child; the bedroom of his daughter, still a child, seems reserved for Lilliputians, where an adult has to stoop to enter.

Playing with physical scale becomes playing with time, giving it a material consistency. Remembering seems not enough for him. He has to reconstruct it, relive the experience, turning back time and, with the greatest accuracy possible in the execution, experience vanished moments. He reoccupies the past by interposing a reconstructed décor with the original appearance but with changed scale. Art in this instance gives a patina of age and creates a warp in time and space. A skillful rendering, as intensely disturbing as it is moving.

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About Jean François Fourtou Born in Paris in 1964, Jean-François Fourtou lived for a time in Madrid and then in New York. He became known in the 1990s for his unique sculptures of animals—lambs, giraffes, snails, and orangutans, among others—following the inspiration of François Pompom. However, there is a fine distinction: Fourtou is less interested in animals from a naturalist’s point of view than he is to evoking the world of childhood, halfmagical, half-remembered, and most of all, his own. From his perspective, the other-than-human animal is a figure simultaneously emotional and hard to place, living in a world where not everything is known, remaining as mysterious as it is physically and absurdly present, and installed in places where it does not belong but which it seems to occupy with great self-assurance. These animals are photographed in incongruous settings—an executive office, a café—and the insistent presence of these witnesses of the universe internalizes the relationship of existence, making it unfamiliar and opening an unexpected door, the self-portrait. Instead of being a depiction of the self, setting forth the image of the self, the self-portrait renders more sharply the symbolic theme of emotional attachments: cherished animals, often more lovable and supportive than humans.

Photo: ©JeanFrançois Fourtou courtesy JGM. Galerie Text: Courtesy JGM. Galerie jgmgalerie.com

Pop-up Store

Guerrilla store

Every year we add rare merchandise and give Design Is Human Week visitors the opportunity to take home a piece of MA: World Dinner Map, Seletti Dots Wall Hooks, Habitat MA Mojito Wallet, Malcolm Fontier Denim Apron, Dawson Denim Adult Scooter, Swifty Scooters Stuff Bag, Sylvain Willenz MA Baggu, Baggu

Design of theYear Book, Design Museum ‘Yes is More’ Book, BIG Chairless, Vitra Food Book, Marti Guixe Re-Design Book ‘LikesYou’

International Design

Ligne Roset’s timeless Togo

Togo (1973), Design: Michel Ducaroy, Photography: courtesy Ligne Roset

About Togo In 2013, Ligne Roset’s iconic Togo, designed by Michel Ducaroy, celebrates its 40th anniversary. First presented at the Salon des Arts ménagers at the Palais de la Défense, Paris, in 1973, its crumpled, appearance and Shar-Pei wrinkles cover an all foam interior that is as comfortable as it is well made. The top-quality, hand-crafted and timeless allure has had mass appeal throughout the past 40 years. With over 1,280,000 Togos sold across the world, it has turned up everywhere, from the lobby of the Standard hotel in Hollywood, Los Angeles, to the salon of Patrick Eudeline, via Lenny Kravitz’ Paris mansion.

The Togo collection includes the following pieces, available in a variety of fabrics and leathers, both solid and patterned: fireside chair, ottoman, sofa, Mini Togo, loveseat, sofa with arms and corner seat. To celebrate this anniversary, Ligne Roset is introducing a new Togo two-seat lounge as well as two new patterns including a houndstooth and velvet jacquard fabric with floral motif.

This seat was dreamt up especially for afternoon siestas or lazy evenings spent in the greatest of comfort.

Never out of fashion, Togo’s characteristic style enables it to integrate into all interiors. Togo will be just as at home

in front of the fireplace of a country house as it will in a mountain chalet, a Haussmannian-style building, a high rise loft or an architect-designed villa.

Its structure is entirely composed of foam in three differing densities. Its cover is generously padded with quilting. The exclusive use of foam for its structure makes it a unique, supple, welcoming seat, with neither sharp corners nor hard spots, presenting no dangers to young children. Today, the latest technological developments in terms of polyether and polyurethane foams reaffirm the longevity of its exceptional comfort. So light, all Togos can be easily moved around your living space, arranged and rearranged with very little effort.

Togo’s upholstery demands a unique traditional skill for which the human hand remains irreplaceable, executing the precise movements which produce the famous folds giving each piece of Togo its character and personality. The elasticity of the foams is regulated by the threads anchoring the padded buttons, which are covered in the same fabric or leather as the main seat. For a sofa, the upholstery process takes four hours for fabric covers, and almost six for leather.

The purity of Togo’s lines, its allenveloping architectural form and its organic curves all contribute towards its timeless, yet always current, allure.

About Ligne Roset “Ligne Roset is synonymous with modern luxury and invites consumers to revel in a contemporary, designforward lifestyle.”

Ligne Roset Co-President, Michel Roset Known for its artful collaborations with both established and up-and-coming talents in contemporary design, Ligne Roset offers consumers and design professionals an entire lifestyle in which to live both boldly and beautifully via its furniture collections and complimentary decorative accessories, lighting, rugs, textiles and occasional items.

A family-run business with a focus on environmentally conscious design since its inception in 1860, Ligne Roset matches its deeply-held belief in design with investment and technical innovation. Ligne Roset has continued to grow from a small business to a multinational company headquartered in Briord, France, with several factories in the beautiful Rhône-Alpes region, and over 600 retail distributors worldwide.

ligneroset.com

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International Design

A swifty folding scooter

Swifty Scooters is a family business founded by husband and wife team Jason and Camilla Iftakhar. They met whilst studying at the Royal College of Art, both graduating in 2005.

Based in Manchester, Camilla and Jason have endeavoured to source local. Swifty One is designed and hand made in Manchester, and carefully assembled by Jason in the Swifty Scooters workshop in Salford.

Product designer Jason Iftakhar is the original creator of the folding scooter, Swifty One. He first showed an early prototype of the scooter at 100% Design London 2009 under Jamily Design Studio, having built the working prototype

by hand. Carving his career path in eco design, his passion for sustainable products and the great outdoors is the very foundation of Swifty Scooters.

Fashion designer Camilla Iftakhar takes the role of Swifty Scooters Director of Accessories and Apparel. Camilla’s background is in designing sports and lifestyle apparel for leading sportswear companies such as Puma, Umbro and Mountain Equipment.

Jason and Camilla Iftakhar on the go.

The foldable scooter, “Swifty One” swiftyscooters.com

International Design

Elevate your meals everyday

Designed by Manifesto DesignLab, Hoverware is minimally elevated by a small stand to prevent contact with the table tops – improving hygiene, saving excessive use of paper napkins. Each and every one of Hoverware is handcrafted with Japanese wood called ‘Sawo’. Sawo’s smooth texture compliments the ergonomic shape of Hoverware. Also the beautiful color variation is unique to each piece, making each piece one of a kind.

Fit for use in any meal setting, Hoverware have been presented at 100% Design London and awarded Korea Good Design awards in 2012.

mfarch.com

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International Design

Hanemaai redefines home

Hanemaai is a design studio formed by Jolien Hanemaai in 2011.

Her work is inspired by her experience with travelling and she believes that life should be your own personal adventure free from labels and fixed ideas.

Jolien works on concepts and products that bring the freedom and adventure of travelling into your daily life. Her work has been published in international design magazines and was shown at the Salone del Mobile in Milan. She has been selected for the New Talents show at the upcoming DMY international design festival in Berlin 2012.

My Infinite Home Two portable objects for storage, that have the double function of a suitcase and a show display. You carry them with you or put them down as cabinets. They transport what you need and show what you have chosen to take with you. This project started from a personal experience of extensive traveling and having to live out of one suitcase. Choices had to be made about what to bring and what to leave behind. While making these choices was hard, it also made it possible to get rid of unnecessary things. The important and good items that you decide to bring are the objects that define your identity. The objects are being kept in place by elastic bands that are pulled through the little holes in the wooden frame. If you want to bring a lot of luggage, you can simply adjust the elastics.

Stretch Out Home Wear A portable indoor tent kit, that gives you the opportunity to create a personal space whenever and wherever you want.

Build up the tent, plug in the light cable and you’re guerrilla camping in your own home. During my travels I lived in many different places. Sometimes I felt at home right away, while at other times it felt like there was no place for me. I started to notice that a lot of the buildings and houses we inhabit have a very distinctive structure, which leaves little room for our own personal habits. With this project I wanted to create an independent and flexible space, that gives you the possibility to ignore existing rooms and make up your own rules.

The kit consists of tent poles. A knitted blanket with wood print. Textile panels to create more intimacy. An elastic net in which you can store the items you want to keep close. And finally, to hold everything firmly together, a cotton rope with build in light cable.

The tent is not yet in production, I am looking for a producer.

The suitcases are being assembled by hand and with great care by woodworker and designer Paul Timmer in his workshop in Holland. hanemaai.com

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Top: “Stretch Out Home Wear” Tent and “My Infinite Home” Suitcase. Middle: My Infinite Home Suitcase also functions as a cabinet. Bottom: My Infinite Home Suitcase on the road.

Opposite: Jolien Hanemaai

Photography: Petr Krecji

International Design

It’s a handmade faceted vessel

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The Faceture series consists of handmade faceted vessels, light-shades and table. Each object is produced individually by casting a water-based resin into a simple handmade mould.

The mould is then manually manipulated to create the each object’s form before each casting, making every piece utterly unique.

may have tiny slight surface imperfections as a result of the process; i.e where the mould is joined with tape during casting; this is part of the handmade story.

Faceture will be exhibited at MA Home Tour Launch Night & Design Exhibition at ADAC, 7 June 2013.

Each vase is handmade, unique, and numbered on the base.

Despite the crisp appearance of the Faceture pieces, they

Vase base detail Faceture light-shades

philcuttance.com

International Design

Studies in glass and metal

Sarah Böttger’s work gives special attention to materials and their processing; as well as the combination of traditional and modern techniques to create exciting intersections.

Böttger’s approach to design is based on the observation of everyday experiences. Fascinated by simple and easy things, which are thus out of the ordinary, Böttger aims to develop products with a unique identity and appreciation, that can be used and lived with in the long term.

She originally worked as cabinet maker, before studying industrial design at the Hochschule für Gestaltung in Offenbach am Main and the University of Art and Design in Helsinki, where she focused on furniture and glass design. Her work has been shown internationally in Milan, Paris, Barcelona, Berlin, Shanghai and published in several magazines including Wallpaper, Elle, Form and Intramuros. In 2011 she was nominated for the Designpreis Deutschland 2012 in the category Newcomer, the same year she opened her own studio.

Juuri Series One divided by eight equals six - not a matter of arithmetic but of combining shapes! Inspired by the manufacturing process of glass, all components of this series derive from the same basic form. But through eight well positioned cuts they become six different vessels. The combination of glass and

flexible plastic gives the objects their functional qualities while both materials have their own characteristics.

The glass is transparent, fragile, shows reflections and gives the impression of changing its colour once it is filled. In contrast, the plastic is flexible, matte, robust and provides the necessary properties to make the object work well. By using a flexible ring and two fitted plastic lids the forms can be combined and closed easily. The vessels are versatile not only by their shapes but also by their colours and offer a variety of applications within different contexts left to the single user. The series is in production by the Danish company Menu.

Skale Skale is what you make of it - a wardrobe, side table, shoe shelf or simply to display your favorite outfit. The form is based on a collage of one original shape that has been multiplied, scaled, turned and nested into one another. Some shapes appear as lines made out of solid metal pipes and others as surfaces made from metal sheets. All shapes are connected to each other and thus form a solid structure to place, store or hang things at the outer frame.

Photos courtesy Sarah Böttger sarahboettger.com

The Skale system in use.

46 Opposite: Juuri Series Below: A close up of the production facilities.

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All things Moroso

Moroso opens its doors to MA

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Last November, acclaimed Italian furniture manufacturer Moroso, invited MA to tour its factory and showroom in Udine, the capital city of the Friuli region located in northern Italy.

The trip provided a deeper appreciation and understanding of what defines the Moroso brand and design philosophy, its people, and the dynamics of the city and its popular culture.

Highlights of the trip included an overnight stay at the hip Hotel Clocchiatti, Moroso factory tour and a special visit to the Moroso exhibition ‘Metamorphosis - 60 Years of Moroso.’

Finally, Moroso treated us with a visit to Venice where we attended the 2012 Venice Architecture Biennale.

The following pages attempt to capture the spirit and excitement of Moroso and offers a rare look into one of the most innovative, creative and human companies of our time.

Additionally, Patrizia Moroso, Creative Director at Moroso, greeted us warmly and sat down with MA’s founding partner Bernard McCoy for an exclusive interview.

MA would like to thank everyone at Moroso for treating us so well. Special thanks to: Melissa Monk at Map Contract, Moroso USA Southeast Region Representative Michelle Yung Carlson, Moroso USA Marco Cappellin, Export Sales Director, Moroso SpA Patrizia Moroso, Creative Director, Moroso SpA Moroso is the Official Furniture Sponsor of MA Talks

All things Moroso

Metamorphosis

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Moroso turned 60 and spent a year celebrating.

A whole year and diverse events to present the best effect the different facets of the brand and its personality.

A year-long journey, a story summed up in a series of events devised to represent Moroso, its vision and creative spirit, its relations and cross-fertilization with other disciplines: the arts, film, literature.

Metamorphosis means looking to the future with the fresh, open mind of those who perceive and integrate the most diverse sources of inspiration, and reinterpret them in their own language.

‘Metamorphosis’ is the theme of this journey. Transformation, in the widest sense of the term; the change worked over the years through the different visions of the company’s main players. Starting with the vision and far-sightedness of the Moroso family: first Agostino and Diana, then Patrizia and Roberto. Not forgetting the designers who interpreted the company’s many-sided, wide-ranging spirit, and the artists who, in Moroso’s company, experienced the adventure of the Moroso Award for Comtemporary Art.

As Patrizia Moroso Moroso’s art director, says, ‘My own world was crowded with fantastics images, visions of a bright and certainly possible future: a world improved through beauty and new intelligence. I grew up thinking it could be done and as soon as I was able, I tried. First, I roped in my friends, then the people I admired most and who later also became friends. I asked them to imagine not just an object but a whole world, and relate it to the future.”

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All things Moroso

Patrizia Patr M Moroso o is a design icon

As creative director at Moroso SpA, few in design have single-handedly and with such grace and admiration, done so much to promote design excellence.

Patrizia Moroso needs no introduction.

As creative director at Moroso SpA, few in design have single-handedly and with such grace and admiration, done so much to promote design excellence, cross-pollinate ideas into beautiful objects, and skyrocket the careers of emerging and unknown designers set to make their mark in design, including the careers of acclaimed designers Patricia Urquiola, Tord Boontje, who enjoy unparalleled commercial success today.

But there is another aspect to Patrizia's philosophy and value system that distinguishes her and the ultimate success of Moroso, her love of family first, sharp instincts, and a deep appreciation of design history. Oh yeah, and she fights for her designers. MA's founding partner Bernard McCoy, met up with Patrizia at the Moroso factory in Udine, Italy.

MA: Moroso has amazing designs and is one of the most creative, collaborative and innovative furniture manufacturers in the world. As creative director at Moroso, how do you select designers?

Can you describe your process?

PM: I've never done a real program in selecting designers. It is not only my instinct of course, but my feelings are also important in these kinds of things.

It is very easy for me to feel the talent in a person. However, it is not easy to explain, it comes very natural to me.

When you have people around you, you immediately see who is special, talented and you start to think of something in that person that could become a friend, a fun person, someone you might like. It is not business, it is different for me.

Since the beginning when I started in my twenties with a friend, we were in Bologna together and attended a university called DAMS (Drama, Art, Music Studies, University of Bologna).

DAMS taught the new disciplines in art,

music, show business, architecture, and design. At that moment things were very different compared to now where new attitudes are more normal.

The first sort of exercise was in 1986, working with this friend who at the time was only 22 years old. It was a friendship collaboration, and together we were thinking about doing something because he was a fantastic comic drawer. In his comics, he put a lot of objects, designing sofas, in his drawings. So, one day I asked him, “why don't we try to realize the objects you imagine in your stories? “ We started in this way but it was only an experiment at first. We were in our twenties and just playing, no money, just dreaming. But the company (Moroso) did exist and was doing good design, very classic modern. At that time Moroso art direction was done by a young Antonio Cittero, who now is a very important architect and designer.

Moroso at the time was a little company.

My family was not interested in avantgarde design, just making good things.

But when my family asked me to work with them, I said ok, but in my way of course. So I started with a friend. My second designer was Japanese. I am a big lover of Japanese design. I am now working with four or five Japanese designers. But the first who was unique and working in Italy was Toshiyuki Kita, the man who designed the Saruyama, our beautiful object. That piece for him was a sort of archetype of his work. It was designed when Kita was a student, and he said to me it was the most important piece he had ever done that nobody wanted to produce. I don't know why (laugh). Because it was absolutely an organic object. And you know, in the 80s, organic was out of the trend.

I felt it was fantastic, so we started the production immediately. In fact, Saruyama is still in production. It is one of the classics of Moroso now. But you know, I proceed in this way.

The third designer was Ron Arad because I was a big fan. I was following Ron everywhere.

He was already famous at that time?

No, he was just an artist whose work was single unique pieces and limited editions. He was working by himself

with a group of friends, four or five people. He was producing these metal objects, beautiful metal objects. He had never did production with an interesting company, and so the first collection done by Moroso was in 1989 and was Ron's first experience and working relation with a production company.

At the time, was working with Ron intended to be an experiment in production or was the collaboration about exploring ideas?

We were exploring. Because the collection was about 15 pieces. But almost all the pieces were already sculptures of his work done in metal and every one different. He was doing the sculptures one by one, welding, and decided to keep the shapes. We produced the moulds, the forms, covered them in fabric and so on.

This was Ron's first experience.

At this moment in Moroso's history, was the company changed in any way?

Yes. Moroso started this kind of approach for the first time. The name Moroso was in magazines as having done this and that, but before that design collection, Moroso was just a little producer of good things but not interesting for the press. You know, design is also helping you in this way to communicate your brand. And though it was an unconscious decision, this communication (design) was an important tool in that way for me. The collection's effect on the press was for me effective and very strong. That collection was my life; for me it was do it or nothing.

Were you part of the company at that time?

I had started but not in a big way. I'm was here, doing this, doing that, the little daughter starting with my thinking.

The people around me would say, they are playing (Partrizia and Ron Arad) but let us play. And I showed them it was not a joke, that play was something more serious. In the end, it was the dramatic moment of change for the company.

Can I ask you a question I get asked a lot from young designers? I hear talk

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all the work goes to the big name designers. Is this true or myth?

No, No. It is not true. All the people who work with me now were friends or just students. 22 years ago, the first was just a friend, a student in architecture not known at all. Then he became the famous architect working for Ferrari and Maseratti. Ron (Arad) was famous but just in a little group of people, because he was an artist more than a designer.

Ron became a designer with me and later worked with Kartell, all the other companies...Driade, and so on. At the moment Moroso was the first company working with them. Later, with Patricia (Urquiola) for instance, who is our main designer.

else, but the thing that she brought to me, a little model of a beautiful sofa, and I said wow! The piece was very elegant, captured some memories of the seventies because she worked for some years for Vico Magistretti, one of the big masters in Italian design and had a lot of these skills. So for Patricia, this piece was sort of a dedication to that era.

Patricia Urquiola worked really hard to build a career and be engaged in the industry?

Perfect. First, she was studying a lot and was already an architect in Madrid when she came to Milan to live. And in Milan, she understood a different part of architecture that was design. So she did another four years in design at the

“I was not yet doing my own thing.

I was studying again, and working in an artistic environment which was very nice but not yet my thing.�

Was she famous before you collaborated with her?

Absolutely not. She was an assistant, a young assistant of a famous designer in Milano. She showed me something that she wanted to do by herself. This is because when you are an assistant for a famous designer, you are doing your work, but the work comes out in the name of the studio and not your name.

She had done a lot of important things but under the name of the person of the studio paying her to work for him. This is normal. But at that moment Patricia was ready to move on and start with her own thing. So this gave us a time to know each other through a common friend who lives in Udine. He introduced her to me and I saw what she had prepared for the meeting and found it beautiful, very special. But also because she was a girl, I was happy.

university with teachers like Achille Castiglioni, the important big masters.

Patricia brought a lot of these teachings to her work.

And like you said, Patricia Urquiola and you have remained very close.

Yes, and she married someone from Udine, yeah!

Speaking of Udine. Besides the company being located here, why have you remained in Udine for all these years?

I knew girls as designers before, but you have to be first a good designer of course. But because she was a girl I was happy and we are now very good friends.

I used to live in Bologna in the beginning. I was happy and could have lived there for the rest of my life. But you know in everyone's life, something happens that changes everything. For me, it was the company (Moroso), that in the end of the seventies and early eighties had a big crisis. But not only that. It was the first big financial, economical recession in the world at the time. In Italy, good companies died, and our company faced challenges too. So, my parents called on me and my brother to help with the company; we were young but living in Bologna.

What would you say to a young designer, say in Atlanta, who has dreams to make a career in design?

That was very unselfish of you because you were young and doing your own thing.

Do something interesting. You know I can not see everyone in the world, it is impossible. Patricia Urquiola was working and her book was full of important things done for someone

Yes, but I was not yet doing my own thing. I was studying again and working in an artistic environment which was very nice but not yet my thing. But this opportunity was important and it came

to me when I was 24 years old. I decided to do it because I must do something to help my parents. And in reality, I did it because I was very passionate about the opportunity; because I grew up playing on the company grounds and it was something that was in my blood. And when I was a teenager, I was always reading all the magazines and books about design, architecture, this revolutionary moment in design in the sixties and seventies.

For me, design was an opportunity to change the world, and my role in the business was always in the art side; never the business but the artistic side.

What were you doing in the beginning?

I starting taking over the design collection because in the beginning the design side was a small part of the overall production. I took over the catalog, graphic design, photography, choosing the fabrics, the fabric and textile collections, all the things in design. At a certain part, it was me doing all these things.

And being back in Udine, at that time you had your friends around again?

Yes, I had my friends. I left Udine when I was eighteen. But basically, the company is here and the reason I am here is this...if you are part of the company, you live where the company is. I tried for almost ten years, living in Bologna and working here (Udine).

Moving every week; on Monday morning driving, and Friday afternoon back to Bologna. Just too much running really. So one day, I was so tired of driving and for other reasons, I moved back to Udine.

And you are happy in Udine?

Yes, I have my husband, three beautiful children, my new house with a wonderful garden. I was in the garden this morning, here I show you (Patrizia shows images of her beautiful house design by Patricia Urquiola and also featured in Moroso's new catalog).

Do you grow fruits and vegetables and what are those beautiful sculptures in the picture?

Yes, we have some things but I am not a gardener. I received a present for the garden by two Swiss boys living in Thailand (she points to the picture) who have a wood company there. They sent me two deers made of wood.

This morning they were wet and have beautiful color.

“The house... it is very African; black and red.”

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“I started this house project when my daughter was born, ten years ago, more or less. And another 5 years to build it.�

This is the house. You don't see the details in this image but it is very African; black and red.

Is this the first house you've built?

Yes. Before I had an apartment like everyone here. I started this house project when my daughter was born, ten years ago, more or less. And another 5 years to build it.

Did you have an architect?

Yes, of course. Patricia Urquiola. She is the main designer, good friend, and the architect.

Can you speak about early Moroso and the Italian explosion in design that grew out of the 1960s and conquered the world?

Moroso is a medium sized furniture company by Italian standards, but that is small compared to America. Moroso is also family-owned, one of the reasons responsible for the birth of Italian design in the 1950s, 1960s. Italy was starting over again, but the war had destroyed everything, especially this area. It was the northeast border and all the German army passed through here, the only known passage. So you can imagine the disaster from an army running away, leaving Italy, they destroyed everything.

My father and mother were very young at that time they decided to make something of themselves. Instead of going to the United States or Canada, they remained; although it was a dream of my mother to go to Canada because alot of her friends were sending letters saying come, come, it's beautiful, you immediately find a job, you have everything, etc. At the time my parents were only workers, really young when they decided to start. So this story in a way, was so important because of how my parents started, as small craftsman.

In only 10 years, they built this (Moroso).

The showroom we are in now, was the first production area. The office was our house.

The company started out in industrial production, producing series, cutting with machines, and all of the systems fitted to industry, not craft, but working with local talent in Udine. At the end of the 1960s, my father knew some important designers from Milan, Antonio Citterio, and some others. At the time Italian design was all about Milan and Florence, these were the two poles. The companies were medium and on very friendly relations with architects. This is how the sharing of ideas was the early conditioning of Italian design. The formula is this; if the companies were

too big like German companies, they need to produce like a machine; if the company is too small, it is a craft and there is no money to invest. My parents already had 100 employees by the early 1960s, a growing little company.

If you consider this, Italian design comes from these special conditions, the market, the production, but also the cultural ambience of those years was very special and very strong. Especially, the companies based in Florence, which were much more intellectual and connected with the architecture

become one of the most important in Italy and the world for design. I never forget the starting moment. I am very obliged to this first history, the sixties, the seventies. I was a kid, but I was totally in love with the radical thinking that continues into what we do today at Moroso. We are free to invest in research in a complete open way, anywhere.

To go back to your earlier question on the young designer; every year Moroso brings in one to three young designers to collaborate with. My job is to fight for the designer, against everything. If I choose a designer, then I must respect

“For me, design was an opportunity to change the world and my role in the business was always in the art side.” universities which represented new and radical ideas and theories about architecture coming from the United States.This led to Italian architects rethinking design, a new radical design because it infused radical-thinking, new technology of the time, and art. If you look back at some of those early designs, they appear absolutely crazy, beautiful, interesting and totally changed the way of the object; the concept of a sofa could be something else. Some of the names you may not recognize, but I remember an object called 'PRATONE' , which means big field. Pratone was molded to appear as big grass, you sit, and the grass opens.

It was also the radical contemporary art of those years coming into the equation too and part of the conditioning I spoke of earlier. In the United States, you had Pop Art, Andy Warhol, which was influencing, strong, pushy, and being pressed into production, all which was normal in those years.

The Saco chair comes to mind.

It was sexy.

Yes, the seventies, Saco by Zanotta was beautiful. It was all those architects who are now the oldmasters, but at the time were very young, twenties to thirty years old. But also those companies were young and being managed by people around thirty years old or less.

This was a very special period in design and occurred only in Italy. This was the conditions for the explosion and all over the world people started talking about Italian design has arrived. The good news is that the energy that started in Italy is continuing. But you have to pay attention and put fire into the energy.

To speak to Moroso's 60 years, we started out as a little craft company to

his work. I always try to make what they want, and whenever it is possible, I try to make 'exactly' what they want.

Patricia Urquiola started in 2000 and is a renowned commercial success. Tord Boonttje started some years after in 2002 or 2003. With Boontje, he was just out of the Royal College (London), absolutely unknown. I was so proud of Boontje's launch after the week of iSalone (iSalone del Mobile is the world's largest design trade fair in Milan) that year, because he became a superstar.

I had let him do an exhibition at Moroso showroom in Milan as his first experience. I said you are free to do what you want. This is my approach when I find someone I really feel is important. Tord did an incredible installation and everyone was shocked about it. This made him famous in one second if you know what I mean. But more important, Tord established a big trend and I told him “you put the decoration in design”.

Isn't he Dutch?

He is Dutch. I love Dutch very much. Tord was a student at Eindhoven Academy, and then at the Royal College, certainly among the top schools of design in my opinion. He is now the director at the Royal College, third year now. The school has a different approach now, a very Dutch approach. He is also a very nice person and fantastic teacher.

I really connect with this quote of yours when you were describing keeping the energy and fire alive; “once the fire stops, everything stops.” It's a great metaphor for life. Thank you Patrizia Moroso.

You are welcome, Bernard.

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All things Moroso

Destin is ab being ca in the jo Words: Bernard McCoy MA would like to thank our gracious host, Moroso SpA, for inviting us to attend Venice Architecture Biennale 2012. We would also like to thank the following: Marco Cappellin, Moroso SpA Melissa Monk, Map Contract Michelle Yung Carlson, Moroso USA labiennale.org/en/architecture

nation bout aught up ourney MA’s Bernard McCoy journeys to one of the most prestigious cultural institutions in the world, the Venice Architecture Biennale

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Venice It was about being caught up in the moment, being among the locals, that of walking through Venice (not touring), getting to the water taxi and being shuttled to the Architecture Biennale.

Only the sights in that path are what caught the eye and that of the camera.

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Photography by MA

La Biennale Once at the grounds of the Biennale, drenched in anticipation, our group dispersed and independently visited the mesmerizing exhibitions at each of the 32 representative countries’ pavilions.

Photography by MA

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Our eyes were gleaming, wide open, taking in the thoughtful curiosities, expressions and ideas the Biennale had to offer, albeit en route and in a short time. All uniquely characteristic to the magic of Venice.

While all the pavilions were absorbing and had much to offer visitors, The Dutch and Japanese pavilions remain two of my personal favorites.

Exploring ideas of conservation, potential and assess architecture’s responsibility to aid humanity.

Photography by MA

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Dutch Pavilion: Re-Set Dutch designer Petra Blaisse’s installation demonstrates that architecture possesses the power to start anew, revealing a whole array of possibilities that an existing structure has to offer, taking the given situation as the starting point.

Every five minutes the situation in the pavilion was totally different, and anyone who stayed the duration witnessed a visually astounding transformation.

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Photography by Rob’t Hart

Japan Pavilion Architecture. Possible Here? Home-for-All The exhibit presents the process by which architects - Kumiko Inui, Sou Fujimoto and Akihisa Hirata - transcended personal and professional individuality to collaborate with Commissioner Toyo Ito on the design of a ‘Home for All’in the city of Rikuzentakata in the wake of Japan’s 2011 tsunami.

The attention to detail is matched only by its promise to re-examine the role of architecture to serve people, not egos.

Photography by MA

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International Architecture

Archipelago cinema On the final night of the festival Film on the RocksYao Noi, guests were taken by boat through the darkness of the sea to arrive on a glowing raft in the middle of the quiet waters of Nai Pi Lae lagoon on Kudu Island.

The thought of watching films here seemed surprising, said Ole Scheeren.

A screen, nestled somewhere between the rocks. And the audience‌ floating... hovering above the sea, somewhere in the middle of this incredible space of the lagoon, focused on the moving images across the water...

A work with a strong connection to the local community, Archipelago Cinema is based on the techniques used by fishermen to construct floating lobster farms. The raft is built out of recycled materials as a series of individual modules to allow for flexibility for its future use.

an ability to comprehend diverse yet specific contexts with the power of imagination and fantasy.

Archipelago Cinema is a collaboration between Studio Ole Scheeren and the Film on the Rocks Yao Noi Foundation, founded by Nat Sarasas, Chomwan Weeraworawit and Apichatpong Weerasethakul.

It is the first project of Studio Ole Scheeren since he established his architecture practice, Buro Ole Scheeren, in Beijing and Hong Kong in 2010.

Subsequent to a journey which will see the raft travel to further places as an auditorium for other film screenings on water, it will eventually return to the island and be donated to its actual builders, the community of Yao Noi, as its own playground and stage in the ocean.

With Archipelago Cinema, Ole Scheeren further explores his continued interest in non-architectural projects and interventions, and in creating alternative scenarios and realities by combining

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International Architecture

Sliding house Industrial yet picturesque, a new house sits on a rural site in Suffolk, England. A small-holding formerly characterized by a bungalow, outbuildings and caravan casually arranged under a big sky.

The stringent local planning parameters for the rural development were accepted by the architect who shared with the client a genuine appreciation of vernacular farm buildings.

After studying alternatives it was agreed to manipulate the local timber framed and clad ‘shed’ idiom. The brief was a self-build house to retire to in order to grow food, entertain and enjoy the East Anglia landscape. The client was both straightforward and sophisticated. The site offered a combination of rolling England and agricultural Holland.

These parameters greatly appealed to the international architects interested in systems, materials and unconventional architecture. The project was designed to be elaborated on and built by the client, an enterprising mathematician and motorcyclist. A client/maker capable of calculating the value of design and of risk.

The outcome is 3 conventional building forms, with unconventional detailing and radical performance. And a big surprise. A 28m linear building of apparent simplicity follows the requisite maximum 5.8m permitted width, 7.2m height is sliced into 3 programmes; 16m house, 5m garage and 7m annexe. The garage is pulled off axis to form a courtyard between slices of building. The 3 fixed buildings are further defined with distinct finishes; red rubber membrane and glass, red and black stained larch respectively.

Words: Alex de Rijke

Architect: dRMM

Engineer: Michael Hadi

The linear composition is carefully sited on a level ridge which runs north/south along the north eastern boundary of the site.

Thus the choreographed progression from road past annexe and garage, to house, glasshouse and then on to garden are a logical sequence. The bedroom/service half of the house is modular timber cassette construction, the living half a generic curtain wall glazing system. The annex and garage are constructed from the modular timber cassette system with Scandinavian laminated section windows and doors.

The surprise is that these separated forms can be transformed by the fourth and largest element in the group, the 20 ton mobile roof and wall enclosure which traverses the site. This is an autonomous structure; steel, timber, insulation and unstained larch spanning hidden tracks, recessed into a concrete raft on piles. The mobile roof and walls form an insulating structure that passes over the annexe, house and glasshouse, creating combinations of enclosure, open-air living and framing of views according to position.

Each element of the composition is carefully proportioned in relation to frame, window and wall sizes. All elements were prefabricated to be assembled on site, except groundworks,

Associates: Rutger Snoek, David Williams, Rob Hart

For further information and pictures, contact Victoria Marsh at Victoria@drmm.co.uk

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internal joinery fixtures and external surfaces, which were in situ. Movement is powered by hidden electric motors on ‘bogeys’ integrated into the wall thickness. Each of the 4 separate motors has its own pair of DC lorry batteries which are charged by mains or PV solar panels. The railway tracks are recessed into the external terrace on which the entire composition rests. The 6m gauge ‘railway’ is further disguised by stone paving joints and a linear drainage gully. This aligns the whole composition, obviates any roof gutters, and draws the visitor toward the garden beyond. The tracks could be extended in the future should the client wish to build a swimming pool which in turn may need occasional shelter.

Many people would like to live in a glass house for the sensation of being in a sheltered outdoors, but this is generally not practical. As a passive model a glass house is never comfortable. Too hot or too cold; no privacy. Little effective user control unless one resorts to air conditioning, with the consequent implications for further energy use and ozone depletion, creating more volatile weather. The glass living area of Sliding House provides thermal comfort naturally, at almost no cost. Controlled solar gain occurs in the selection of the roof/wall position, this captures requisite heat according to season, and is backed up in combination with a ground source heat pump (inc. pump powered by a wind turbine) for cold periods. Similarly, the principle can be run in reverse to achieve shade and cooling.

Sliding House offers radically variable spaces, extent of shelter, sunlight and insulation. The dynamic change is a physical phenomenon difficult to describe in words or images. It is about the ability to vary or connect the overall building composition and character according to season, weather, or a desire to delight.

International Architecture

House in Shimoda-chou

A family home designed with a variety of opened and closed spaces, keeping in mind the owner’s personal lifestyle needs.

Located in a high-density residential area, it is possible that the house might be surrounded by other houses some day, except for a 2 meter-wide corridor that connects to a public road. For those reasons, the was taken situation into consideration, including securing a vehicle turning space.

The owner of the house also wanted a big living room that has no interrupter such as pillars in the room to welcome guests to the home.

Based on the high-density location and owner’s requirement, the idea came to create nesting space composed of three-sized boxes: big, middle and small in order to make the expansive of the living room.

The second idea is that outside space comes into the house because an entrance is set in the center of the house. The outside space brings light into the living room as a light corridor. In other words, it is designed as a horizontal light court that penetrates the several walls.

Additionally, since the entrance usually placed at the outer surface of a house is placed in the center of the house, we can say that going inside means going outside. The project at the high-density residential area opens up a new possibility for the living in the opened and closed space.

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Location: Yokohama City, Kanagawa, Japan Principal use: Family house

Construction: Eiko Kensetsu

Site area: 175.10 sqm

Total oor area: 142.60sqm

Main structure: Timber construction

Building area: 77.80sqm

Project team: EANA | Kohei Iwasaki, Tota Abe

Structural design: Kenji Nawa / Nawakenji-m

Photos: Koichi Torimura eana.jp

International Architecture

Ocean house

This residence along the Rhode Island coast is a blend of contemporary and traditional elements.The 5,500-square-foot home’s ensemble is composed of connected gabled forms evocative of traditional New England boatsheds. Wetland constraints limit the useable site area, informing building location and orientation.

The main entry features a 40-foot-long wood ramp that recalls neighboring boat yards leads to a sheltered entrance between gabled building forms. The kitchen terrace on the left of the entry captures morning sunlight, while the lap pool on the right is located on the leeward side for protection from onshore winds.

Architects: Roger Ferris & Partners LLC

Design team: Roger Ferris, Robert Marx, Myron Mirgorodsky, and Tiziano Fabrizio

Location: Coastal Rhode Island

The west elevation offers sweeping views of the coastline, extending interior space to the continuous raised deck – the principle outdoor living space. The spaces between the building forms provide shelter from strong winds. The deep sides walls are super-insulated. The siding and decking is made of weathered Ipe, and the roofing and chimneys are of zinc.

Structural Engineer: The DiSalvo Ericson Group, Ridgefield, CT Mechanical: Sun Engineering

Area: 5,500 sq ft

Photographs: Michael Biondo

Year: 2009

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For sustainability, motorized retractable window shades, roof overhangs to the east and west, and aluminum louvers provide sun control. roof water runoff is captured in cisterns and reused; the crushed shell driveway is permeable; and the landscape plantings are of native meadow grasses.

International Architecture

Summer house

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A summer house in Southern Burgenland (Austria) described as a sharp-edged cubature, fits into its surroundings through its simplicity and homogeneous appearance.

In being used as a summer house, and by virtue of the installation of a wine cellar with production surfaces at a later date, the building’s design is oriented by the cubature of the Kellerstöckel (wine house) typical of the Southern Burgenland region. The cellar contains rooms for wine storage and production; the above ground rooms are for residential use. The cellar has been executed in a ferroconcrete massive construction. The ground floor and first floor were constructed as a pure wood construction.

Here, the undisguised wooden cross layer elements were rendered effective not only in their structural-static functions but also as design elements. As a counter weight, the wooden construction material employed on a large-scale stands vis-àvis exposed concrete and steel materials. The materials were consciously employed in an untreated, undisguised state; in their combination, they form a homogeneous ambiance.

As the summer house is not inhabited during the winter months, a larch grid mantle was developed which can be shut completely.

During the uninhabited winter months, the house is thus unobtrusively and sculpturally situated in the landscape. In order to achieve this, folding and flap shutters were developed which, when shut, flush with the façade and, also coated with rhombus boarding, melt into the mantle. In the summer, the shutters work against festival overheating: when opened – as canopies – and when shut. The sharp edges of the cubature are formed by copper corner plates.

The terrace area, also formulated as a larch grid, forms a sort of shadow of the building. The mantle is thus carried forward in design in the outside space.

Photography: Martin Weiß judithbenzer.com

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Design Is Material

Design is material Design Is Material, a trailblazing trade activity all about cutting-edge and innovation, moves materiality to the forefront of everything design for the next generation Design Is Material (DIM) Trade Fair Exhibition 2013 Exhibition Curators John Cantrell, Senior Designer, HOK Weronika Cichosz, Interior Designer Amanda Millner, AM2 Interiors David Gange, Architect, Surber Barber Choate Hertlein

Over 4 days in June, Design Is Material. (in conjunction with MA (Modern Atlanta) and Design Is Human Week) will feature exhibitions, lectures and workshops taking place across Atlanta showcasing the city’s role in the exploration and promotion in innovation and creativity of manufacturers, architects, and designers with respect to material design application and research across disciplines such as architecture, interiors, products and fashion. ​Design Is Material differs from other more traditional trade events as we strive to tell the stories and innovation in a culturally creative exhibition setting and atmospheres that most standard trade events lack. Thanks to our valued Partners, the majority of events are free of charge - enabling visitors to participate, listen, learn, commission and make purchases. ​

From established businesses to emerging practices, from entrepreneurs to educators, from manufacturers to retailers, our Partners represent the heart of Atlanta’s design culture.

Innovations in materiality and material technologies are rapidly becoming more prevalent in future design creativity and in merging the physical and digital realms.​Design Is Material allows manufacturers to exhibit innovative material ideas, explorations, and collaborations through samples and installations on a specially-curated exhibition open to the public. ​ DIM3 serves as the precursor to the much-anticipated Design Is Material Trade Fair. This exhibition makes Atlanta a leading hub in the materials global marketplace by showcasing the future and innovative solutions addressing the needs of the modern world.

Emphasis is placed on architecture and design, systems, innovation, nano-technology, research and development, sustainability and the environment, including the social responsibility for solving the needs of an ever-evolving planet and cultures.

designismaterial.com

Design Is Material

Calendar

6 IIDA – Georgia Chapter “Relay” Event Thursday, 6 June, 5:30pm-6:30pm Space2, Edgewood Design District 485 Edgewood Ave SE Atlanta, Georgia 30312

IIDA Members: Please join us for a casual hang-out with great food, music and libations at the Modern Atlanta – Design is Material exhibition as we RELAY the achievements from the 2012-13 term and induct the incoming 2013-14 Board. As a departure from previous years, this event will take place of the “Annual Meeting”. We’ll be celebrating all of the hard work and energy put forth by our outstanding volunteers and welcoming the new and incumbent folks.

Design Is Material Exhibition Launch Open to the Public Thursday, 6 June, 6:30pm-10pm Space2, Edgewood Design District 485 Edgewood Ave SE Atlanta, Georgia 30312 Panel Discussion “Material Design & Fabrication: Futures & Perspectives” Thursday, 6 June, 7-8pm Space2, Edgewood Design District 485 Edgewood Avenue Atlanta, Georgia 30312

Four days of innovative technologies, insightful discussions and inspiring exhibitions celebrating all things material.

Join us for a fascinating dialogue moderated by Susan Szenasy (Editor-inChief, Metropolis Magazine) in discussing the futures and possibilities of designing physical realities from process perspectives of material science, research and fabrication.

models with the parametric design tool, Grasshopper for Rhino3D. Combining the intuition of visual programming with the robustness of parametric design, Grasshopper offers unprecedented fluidity throughout the development of a project.

Panelists: Gil Akos (Modelab), Fiona Anastas (Material Connexion), Kevin Kane (Arktura) and Ronnie Parsons (Mode Lab).

Using Grasshopper, participants will be guided through a series of exercises designed to emphasize the relevant applications of parametric design for professional practice.

technical content addressing issues of constraint-based modeling, NURBS geometry, and parametric modeling for digital fabrication.

Megan Huntz Fashion Exhibition Saturday, 8 June, 7pm-10pm Son & Sons, 990 Peachtree Street NE Atlanta, Georgia 30309 Her graduate studies at Domus Academy in Milan took her to Italy in 2003 where she launched a successful career in fashion and design.

Experienced designer Megan Huntz’s latest fashion exhibition titled “Figure Studies” takes place at Son & Sons, a global branding agency located in Midtown Atlanta. The installation will celebrate dresses as objects of design and include photos and video dedicated to the creative process of the material enrichment and execution of the final pieces.

7 8 9

Design Is Material Exhibition Open to the Public Friday, 7 June, 12pm-6pm Space2, Edgewood Design District 485 Edgewood Avenue SE Atlanta, Georgia 30312

Facades+ Digital Design Workshops Saturday, 8 June, 9am-1pm & 1pm-6pm Space 2, Edgewood Design District 485 Edgewood Avenue SE Atlanta, Georgia 30312

9am-1pm: Introduction to Parametric Design with Grasshopper Instructors: Ronnie Parsons & Gil Akos – Mode Lab This workshop will focus on the fundamental concepts and workflows for creating performance-based design

2pm-6pm: Crafting Material Effects Instructors: Ronnie Parsons & Gil Akos – Mode Lab

In a fast-paced and handson learning environment, this workshop will focus on material-centric approaches to parametric design.

Using Grasshopper for Rhino3D, participants will iteratively develop a series of parametric models capable of responding and adapting to a set of material constraints.

Drawing inspiration from the Japanese art of paper folding, participants will learn intuitive techniques for the design, analysis, and fabrication of complex folded surfaces.

Workshop instruction will progress through both analog and digital sessions with

Design Is Material Exhibition Open to the Public Sunday, 9 June, 12pm-6pm Space2, Edgewood Design District 485 Edgewood Avenue SE Atlanta, Georgia 30312

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Design Is Material

Figure studies

A fashion exhibition

by Megan Huntz Megan Huntz’ graduate studies at Domus Academy in Milan took her to Italy in 2003 where she launched a successful career in fashion and design. Experienced designer Megan Huntz’s latest fashion exhibition titled “Figure Studies” takes place at Son & Sons, a global branding agency located in Midtown Atlanta.

The installation will celebrate dresses as objects of design and include photos and video dedicated to the creative process of the material enrichment and execution of the final pieces.

Saturday, 8 June 7pm-10pm Son&Sons 988 Peachtree Street Atlanta, Georgia 30309 Photographs Jason Travis

meganhuntz.com

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Works from 2012 Souvenir

Design Is Material

Hands on design Mode Lab Workshop Series, Saturday, June 8 Facades+Digital Design and Crafting Material Effects Space 2, Edgewood Design District 485 Edgewood Avenue SE Atlanta, Georgia 30312 Facades+ Digital Design Workshop Introduction to Parametric Design with Grasshopper 9am-1pm Instructors: Ronnie Parsons & Gil Akos, Mode Lab

Crafting Material Effects 2pm-6pm Instructors: Ronnie Parsons & Gil Akos, Mode Lab

This workshop will focus on the fundamental concepts and workflows for creating performance-based design models with the parametric design tool, Grasshopper for Rhino3D. Combining the intuition of visual programming with the robustness of parametric design, Grasshopper offers unprecedented fluidity throughout the development of a project. Using Grasshopper, participants will be guided through a series of exercises designed to emphasize the relevant applications of parametric design for professional practice.

In a fast-paced and hands-on learning environment, this workshop will focus on material-centric approaches to parametric design. Using Grasshopper for Rhino3D, participants will iteratively develop a series of parametric models capable of responding and adapting to a set of material constraints. Drawing inspiration from the Japanese art of paper folding, participants will learn intuitive techniques for the design, analysis, and fabrication of complex folded surfaces. Workshop instruction will progress through both analog and digital sessions with technical content addressing issues of constraint-based modeling, NURBS geometry, and parametric modeling for digital fabrication.

lab.modecollective.nu/collective

Design Is Material

The process of product An interview with Arktura’s Kevin Kane

Sometimes you judge a person’s personality by their shoes. That’s what I did when first sitting down with Kevin and Melissa Monk (MAP Contract) late last year at HOK and realized that he and I both were sporting our 3600 stitched Camper’s. I knew immediately were going to hit it off. Kevin joined Arktura, a Los Angeles based design and manufacturing company in 2009 as a Partner. Prior to that Kevin was trained as an architect and worked on large, complex commercial projects in several architectural offices for nearly a decade. As we continue to chat about their process and capabilities, it’s clear where the passion and philosophy of a architect-turnedfabrication-manufacturer comes into play. Everything has a unique formula for production design that rivals the designs themselves, from bowls and furniture to large scale architectural installations. We asked Kevin a few questions to get the down-low on his work and personal philosophy and learned it’s all about process.

DIM: So your background is in architecture, but how exactly did you get to Arktura and fabricating products?

KK: It’s a long story but essentially we became interested in furniture very early in our careers and that became a scale that allowed us to jump into products and explore the manufacturing technologies we were interested in from architecture. Then naturally, we quickly developed an architectural division and

a custom division that allowed us to utilize our backgrounds and synthesize it with our manufacturing processes.

Now it’s very much a collaborative process within the studio and with other designers and architects outside on a variety of projects.

DIM: How does a part of you align with fabrication and product design?

KK: I think having an architectural background naturally enabled me to be curious about materials, especially investigating how to use them in creative ways. As someone who is very much interested in process and problem solving at various scales, fabrication and product design is just another facet of the design process for me. Digital tools and software enabled us to work more efficiently and at the same time explore techniques that may have not been typical in our design processes.

DIM: Are you a natural collaborator or is that a challenge for you as an architectural designer?

KK: I would say as an architectural designer it’s very natural for me and our studio. When you are working on buildings, you work with teams of people, so you must be collaborative within your team to reach your design solutions. We still work this way in the studio, just with smaller teams. And I think computation has allowed smaller teams to become ultra-efficient. And attacking a problem with more than

one person almost always yields more interesting solutions.

DIM: Is there something about LA, that location, that inspires you?

KK: Absolutely. From a manufacturing standpoint and the idea of craft, LA has a super-rich history that is definitely part of the culture here. The automotive and aerospace industries have an incredible presence that’s very inspiring around the area. And I think it bleeds into the art and architectural communities in many ways. We see examples of this all the time.

DIM: Does the material you work with typically inspire the process of design and fabrication, or are you starting with an idea and then seeking out the most appropriate materials?

KK:I believe it’s a bit of both but I would say it’s 60% to 70% of the latter for us.

It’s important to be open to material choices for projects and make sure you evaluate all the criteria prior to forcing a material into it. We do use a lot of metals, but in some cases through further testing and exploration, the material will sometimes inform your process and you may be surprised that it makes sense to shift directions in materials. We work a lot in the digital in terms of generation and analysis, but there is no substitution for real material testing and physical mockups to help inform your process.

arktura.com

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Design Is Material

Travis Barteaux keeps design simple If you think the world is small, Savannah is even smaller. That’s where I first connected with Travis when we were at the Savannah College of Art and Design many years ago. He was blowing-up that scene then, and continues to blow-up today on a global scale. A native of Utah, Travis graduated from SCAD in Graphic Design and today serves as an Art Director & Designer on the Global Brand design team at Nike & freelances for various clients out of his studio in Portland, Oregon. Prior to designing at Nike, Travis worked for several New York & Chicago studios including: VSA, Tender Creative, Ammirati, a5, and Firebelly Design.

His passion and approach to simplicity in identity print, interactive and environmental design lured us into reaching out for a collaboration for the new brand design foundation for Design Is Material. As we expected, the quality and purity of the solution has our whole DIM, and MA! team excited. We caught up with Travis to ask him about his experiences and perspectives and here’s a snapshot from that conversation.

DIM: There seems to be a beautiful simplicity about your work. Where does that aesthetic derive?

TB: I’ve always been a bit of a minimalist both in & outside of design. The root of any design is problem solving, I’m the type of person who tries to simplify whatever task is at hand so I guess that has become visible in my work. I’m also an advocate for strategy & storytelling behind design, there are millions of ways to solve any design challenge but I think the most effective way is to create something that resonates well with both the client and the target audience while telling a good story.

things simple. Having worked in cities like Chicago & New York and being faced with crazy deadlines I think it’s pretty important to be able to work both superfast and efficient. I definitely wouldn’t say I have mastered anything quite yet; the amazing thing about design is that it’s ever evolving & changing so I feel like I am constantly learning as a part of this process.

DIM: What sort of engagements outside of ‘design’ continue to inspire you?

DIM: Do you have a specific process to design that allows you to access creativity quickly or is it always a challenge?

TB: My process is a bit chaotic, I’m naturally a pretty driven person so when I first begin working on a project it’s mostly a giant stream of ideas that I try to narrow down to the strongest options. I think the process of designing becomes less and less challenging as you get older, simply because you have done it so many times before and you are familiar with the steps. With all of that said, I definitely still get stumped from time to time which is when I turn to books or reference. I’ve been known to keep a pretty huge database of organized inspiration; it’s pretty much like Pinterest but on a hard drive that I keep with me at work.

DIM: How do you feel about editing design down to its essential pieces, is there something you’ve mastered there?

TB: Again, I think that sort of process just works for me because it’s how my mind works. I really enjoy organizing all the elements of a project while keeping

TB: I find inspiration in a wide array of stuff, from graffiti to vintage Americana.

I’m really into typography so I guess those two things sort of make sense.

I also find inspiration in traveling somewhere new or unfamiliar; whether that’s a new city or even a part of town I’ve never been to. I really enjoy the feeling of being somewhere I’ve never been and having to figure things out as I go.

DIM: Is there a way in which you see your work evolving in to various platforms and mediums?

TB: I have sort of a non-traditional background as I’ve worked in a lot of different areas of design from Advertising to Branding to digital. Quite recently I have been working on a lot of projects at Nike that involve creating a physical environment from scratch which has been interesting.

I really enjoy the process of watching something come to life that you created and being able to walk around it in real time. I’m also super interested in digital experiences & interactive environments, I think my field is naturally evolving in this direction and it will be something of a norm in the coming years.

Words: John Cantrell tbarto.com

Design Is Material

Futures & Perspectives A dialogue about the futures and possibilities of designing physical realities from process perspectives of material science, research and fabrication Thursday, 6 June, 7-8pm Space2, Edgewood Design District 485 Edgewood Avenue Atlanta, Georgia 30312

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Panelists Moderator

Ronnie Parsons Founding Partner, Mode Collective

Kevin Kane Partner, Arktura

Szenasy is Chief Editor at Metropolis, the awardwinning New York City-based magazine of architecture and design. She is internationally recognized as an authority on sustainability and design.

Mode Collective is a multidisciplinary design studio based in New York City. At Mode, Ronnie leads the design and development of products and environments for institutional as well as private clients. Stemming from his interest in an open-ended and promiscuous approach to design, Ronnie has spent the past four years co-directing over 100 workshops globally.

Kevin was trained as an architect and worked on large, complex commercial projects in several architectural offices for nearly a decade.

Currently, Kevin is a Partner at Arktura, a DesignManufacturing Company based out of Gardena, California that specializes in Architectural Products, Custom Architectural Systems and Furniture Manufacturing.

metropolismag.com

lab.modecollective.nu

arktura.com

Susan Szennasy Chief Editor, Metropolis Magazine

Gil Akos Founding Partner, Mode Collective Mode Collective is a multidisciplinary design studio based in New York City, where Gil leads design, research, and curriculum development projects. Gil’s professional work ranges in scale from buildings to products and his personal interests surround the relationship between simulation and materialization and ways by which this connection can be made tangible.

Fiona Anastas Material Specialist, Material Connexion Fiona has been with Material Connexion since 2012. With experience in the design and materials field, Fiona deals with library members from the most varied fields, innovation consulting projects with Fortune 500 companies and monthly material juries. materialconnexion.com

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Edible Design

Avec soul Karl Injex speaks with restaurateur Donnie Madia about his influences, his process and his team with which he executes his singular vision.

Over the course of the past 15 years, Donnie Madia has staged a quiet revolution in Chicago’s dining and nightlife cultures. His sense for great design and innovative menus, coupled with his uncanny prescience of stylistic trends, has garnered him a bevy of blue ribbons, including a recent James Beard Award nomination for ‘Restaurateur of the Year’.

KI: How do you develop your team (architect, designer, chef, et al) when approaching a new project? Do you handpick them specifically for each project, or do you have a trusted group of creative consultants you work with on everything?

DM: My partnerships have been the same since 1997, with the opening of Blackbird. We followed with Avec in 2003, eventually opening the Violet Hour in 2006, The Publican in 2008 and Big Star in 2009. In the early stages, the process of collaborating with my chef partner Paul Kahan is critical. We focus on authenticity and honesty, and the creation of a unique identity for each restaurant. The name of our group, ‘One Off Hospitality’, speaks to this desire, and to our refusal to create carbon copies of our concepts.

Words by Karl Injex

KI: What role does location play in your process, and how do you approach scouting sites for new projects?

DM: Location is crucial. With Blackbird and Avec, we were considering the West Loop area, just west of Halstead, but the rent was too high. So we began looking east of Halstead, where the rent was cut in half. We took a chance on a space situated on a oneway street. As it turns out, that street happens to be the main artery for the departure of the Loop, which means that anywhere from 6,000 to 10,000 cars drive by us a week. Safe to say, the bet paid off.

KI: Having spent some quality time in a number of your establishments, I feel the influence of your experience in the nightlife game coming through in the music. How do you approach the curation of the music at each of your restaurants?

DM: My partners and I love music, and our tastes tend to be very eclectic. We want to hear the music we love in our spaces, rather than the proverbial ‘lounge’ sound that seems to be so pervasive. The tastes of the staff at each of our establishments feed into the musical feel and help differentiate

them as well. It’s an essential part of the experience, and is treated as such.

KI: Clearly, design and architecture are not an afterthought for you and your team. How does the design process work for you?

DM: As far as our design process is concerned, it starts with a series of brainstorming sessions with our architect, Thomas Schlesser, and our partners, discussing food and drink, design and the timeline of the project.

Thomas takes those ideas back to his studio and develops a storyboard of materials, the details of which he leaks out to us slowly, as the project develops.

In this way, the overall concept becomes inextricably woven into the design aesthetic of each project.

KI: As I initially approached Avec, I could not help but be struck by the way you’ve extruded the restaurant from the front of the building, as well as by the minimal, gridded feel of the space. Tell me about the concept behind this design.

DM: Let me say, you’re probably only the 5th person to have noted this ‘protrusion’ of the room into the street, so you’ve got a good eye for that. That

was Thomas Schlesser’s idea for Avec, a prefabricated ‘cylinder’ that actually slid it inside the gutted structure of the building, creating a more direct relationship between the room and the street. The concept for Avec is basically a wine bar with great food from the Mediterranean.

The ‘cylinder’ itself, made from cedar, oak and hickory, is an analog of a wooden wine crate. The softness of the materials has the added effect of creating a comfortable environment for sharing food and wine.

KI: You seem to pay a great deal of attention to the graphic design related to your projects. How do you use graphic design to reinforce your vision?

DM: We work with a young designer named Jason Pickleman from JNL Design. He and I have worked together for the past decade, collaborating on the design for all the projects from Avec forward (with the exception of Sonotheque, which was handled by the exceptionally talented Cody Hudson). Of course, we understand that our guests are focused on eating and drinking, but we’re also interested in how they respond to our tangible collateral materials the menus, business

cards and so forth. We’re out to create something unique and engaging in every aspect of the dining experience, extending from the food and drink to the graphic design, interior design, music and beyond. It’s a painstaking process but the results are more than worth it.

KI: With the opening of Avec in 2003, you anticipated the current trend of communal dining. In 2006, with the Violet Hour, you found yourself way ahead of the ‘cocktail curve’. Looking forward to the next decade, how do you see yourself shaping Chicago’s urban culture?

DM: One of the things we pride ourselves in at One Off Hospitality is our insistence on pushing the envelope of experience for our guests. It’s fine to offer quality food and attentive service in a pleasant environment, but we’re looking to take our guests to places, aesthetically and experientially, they’ve never been before, to take them ‘somewhere else’. We’ve learned that our clientele not only accepts, but actually expects this from us. It’s our goal, and our pleasure, to meet and exceed these expectations. Looking forward, we’re taking cues from the past. For example, with Publican we’re pushing the concept of communal dining even further,

creating an environment where people eat with their hands in a roundtable arrangement as in 16th century Europe.

We see this modified revisiting of the past as a crucial part of moving the culture forward.

KI: You’ve accomplished a great deal since launching your career with Blackbird back in 1997. To what, specifically, do you attribute your continuing success?

DM: At the end of the day, the design, the food everything we’ve just discussed are worth nothing, zero, if the guest isn’t happy. There are many well designed restaurants with great food and excellent wine programs, but what distinguishes the very best is service. I learned, very early on, the value of great hospitality. My mother and aunt were consummate hosts, and showed me the importance of the seemingly simple act of taking care of your guests. I’m a humble guy from the West side of Chicago, fortunate to have had some great influences and great partners. No one person is greater than the whole. That’s my deal, man.

Photography, courtesy Avec Restaurant avecrestaurant.com thepublicanrestaurant.com

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Edible Design

Smith-Hanes on designing the Optimist

Location: The Optimist + Oyster Bar, Atlanta, United States

Type: Restaurant, Commercial

Interior design: Smith Hanes Design

Photography: Andrew Thomas Lee

smithhanes.com

“I wanna be in the curl, Jimmy” or how the oyster bar and fish camp was created...

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The Optimist’s main dining room is styled on an “Instagram” of a seafood plant on the harbor Savannah, GA. In-between the steel windows that meet the floor are a series of antique wood strips that mimic lobster traps.

34 custom glass pendant lights were hand-blown with a chrome baked-on-finish to feel like antique mercury warehouse lights. The room towers to 21 feet at the peak of the barrel vault, featuring impressive steel trusses and wood decking original to the building (from 1911).

The 13 foot tall waxed steel bar is surrounded by an old fashioned marquise light box. The steel bar shelves glow from underneath from featuring a cut metal detail meant to resemble the face of an antique radiator.

A custom walnut bar top featuring an aged zinc cap detail is held up with bricks reclaimed through demolition of the original building.

The exposed kitchen features oversized white subway tile, custom forged wood-fired grills that operate also as ovens. (ford should elaborate here) Antique ship lights stud the wall of the kitchen above the chef’s pass. Custom cabinets at the expedite table and the wait station are made of walnut and black pipe with thick bluestone tops.

The Oyster Bar at The Optimist is styled on an “Instagram” of 1970’s Venice beach surf lifestyle. A wall of folding scissor doors opens the bar completely, just begging for an ocean in the courtyard, an eclectic arrangement of seating, highlighted by booths covered in a gold “wet-suit” fabric, custom metal bar stools covered in faded teal vinyl and vintage outdoor metal tables and chairs. In the center of the surfboard-shaped Oyster bar, an Italian oven is enclosed with steel to mimic a stove pipe from a shrimp boat.

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The bathroom is reminiscent of a old bathhouse with individual “changing rooms�, each door hand numbered. inside each room, a photograph from a very special book, Fishing with my Dad, by Corey Arnold.

Film

“The architecture cult movie!”

El Pais

“Heartfelt, thoughtprovoking and hilariously funny” The New York Times

“A thoroughly delightful film” The Wall Street Journal

“Magique!”

Le Monde

Caretakers of the Guggenheim The film “Gehry’s Vertigo” takes us to the top of Frank Gehry’s exquisite and complex architecture, through the unique perspective of a team of glass cleaners

The film Gehry’s Vertigo offers to the spectator a rare and vertiginous trip on the top roofs of the Guggenheim Museum of Bilbao.Through the portrait of the climbing team in charge of the glass cleaning, their ascensions, their techniques and their difficulties, this film observes the complexity and virtuosity of Frank Gehry’s architecture.

Technical informations Title: Gehry’s Vertigo A film by: Ila Bêka & Louise Lemoine Image & Sound: Ila Bêka Editing: Tiros Niakaj, Louise Lemoine Production: Beka & Partners Timing: 50’ Year: 2011

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About Living Architectures Series “Living Architectures” is a series of films that seeks to develop a way of looking at architecture which turns away from the current trend of idealizing the representation of our architectural heritage. The cult of perfect, disembodied forms entirely devoid of people, inevitably leads to a break-up between architecture and living space.

Through these films, Ila Bêka and Louise Lemoine put into question the fascination with the picture, which covers up the buildings with preconceived ideas of perfection, virtuosity and infallibility, in order to demonstrate the vitality, fragility and vulnerable beauty of architecture as recounted and witnessed by people who actually live in, use or maintain the spaces they have selected.

Thus, their intention is to talk about architecture, or rather to let architecture talk to us, from an “inner” point of view, both personal and subjective.

Unlike most movies about architecture, these films focus less on explaining the building, its structure and its technical details than on letting the viewer enter into the invisible

bubble of the daily intimacy of some icons of contemporary architecture. Through a series of moments and fragments of life, an unusually spontaneous portrait of the building would emerge. This experiment presents a new way of looking at architecture which broadens the field of its representation.

The buildings they have chosen are mainly of architectural renown, and designed by the so called “star architects” who were awarded the Pritzker Prize.

Living Architectures, The DVD-Book Collection can be purchased at the MA Launch event’s Pop Up Store at ADAC, Friday, 7 June; and at the screening at Whitespace on Saturday, 8 June.

Gehry's Vertigo Screening, Whitespace Gallery Saturday 8 June, 6:00pm-7:00pm 814 Edgewood Ave. NE, Atlanta, Georgia 30307 404-688-1892 Limited Seating

Photography: Ila Beka & Louise Lemoine living-architectures.com

Fashion

Cult fashion shop breaks new ground Leeds’ MKI pops up during MA, inspired by 1960s Japanese youth culture, Ivy League fashion and minimalism.

MKI Miyuki (Mee-You-Kee) -Zoku opened its doors in 2010, is inspired by a mix of 1960s Japanese youth culture, Ivy League fashion, and minimalism. MKI’s founder and creative director Vik Tailor, set down with MA founder Bernard McCoy to talk about MKI and what it takes to be Miyuki-Zoku.

MKI BLACK makes its first USA appearance in Atlanta in the form a PopUp exhibit at upstairs Space2, next to The Sound Table in Edgewood Design District. Items from the exhibit are can be purchased.

MA: What is your professional background in?

MKI: My background is in interior design. It is what I studied at university. However, I graduated university at the worst possible time, when there were no jobs. It was tough getting into the field, finding work, even just to do an apprenticeship proved challenging. If you are out of design for an extended time, it sweeps you away from prospects. There is so much young talent coming up that there is never a lack of people wanting to enter the field.

MA: Why interior design?

MKI: Early on, my parents pointed me in the direction of architecture. Once I started looking seriously at a career path, it was architecture and interiors. I decided on a path in interior design rather than designing structures, buildings.

MA: As a student, were you aware of the competitiveness of the industry?

MKI: No, it was a passion thing, something I really wanted to do. I’m inspired by people who love doing what it is they enjoy.

MA: You, like so many young designers, discover the real challenges in landing that first job.

Having gone through that yourself, what

would you say to a young designer fresh out of university?

MKI: I know you can blame it on the economy, and I do know that for me, there were no jobs, and in a field like interior design, is seen as a luxury, not a necessity for people. But at the end of the day, if what happened had not been, I may not have started MKI and opened a shop.

Until Paul Smith, I’ve never really cared about the clothes of the brands I’d worked for, but I’ve always love the Paul Smith brand. The reason I eventually left PS was because I landed a job as a design consultant for a big furniture company.

I took the job because I thought it would get me back into interior design, my first love. That particular job was disappointing because it turned out being very much a sales job. I was there about a year. My girlfriend and I eventually moved back to Leeds to go into business. It is all hindsight and I’m glad it has worked out in this manner. So, what I say is never give up.

MA: So, Paul Smith was the fuel in launching MKI? MKI: School, graduation, interning, job-hunting.

I came into a stalled design industry with no future job prospects All the experiences working in menswear, fashion, led me to believe we could run our own boutique. All the jobs I’ve worked in since 16, have been in fashion retail.

I’ve always been surrounded by menswear, moving around from Zara, to Reis, to Selfridges, to Harolds, allowed me to move up the ladder in terms of signature brands and experiences. I landed a job at Paul Smith, eventually becoming head of tailoring at Paul Smith’s flagship store in Notting Hill in London. It was a very cool job. Ironically, at university and because of the competitiveness in fashion, I stirred away from fashion, thinking interior design would afford me the best opportunities.

MA: You smile when you say that. How about that name, Miyuki Zoku? Where did it come from?

MKI: We went through a lot of names. We had the idea to add the word ‘store’ in the name, or to have ‘project’ in the name, basically just making up names really. Next, we starting examining concepts. I’ve always dressed Ivy League, rolled-up Chinos, tailored tops, with oversized jumpers (sweaters) as my preferred style. I also loved Japanese culture. We started to mix the two and discovered Miyuki Zoku. The Miyuki Zoku were a young and fashionable social cult, much like the ‘Mods’ and ‘Rockers’ back in the sixties. MZ was the first to take Ivy League from America, and bring the style to Japan, back in the sixties.

MA: Who are the MZ? MKI: You would have been part of the MZ, it was a group. From our research, the MZ was not that big in numbers, but were very influential in Japanese fashion. We knew people would not remember the name Miyuki-Zoku, so we took the M, K, and I out of Miyuki and came up with MKI. MA: Describe the MKI experience?

MKI: It starts with the MKI logo. We took a particular Japanese anchor, the symbol of an important port in Japan, and it became part of our logo design, and because of its history, has a great story. We also wanted products that reflected positively on MKI, so there is Commes des Garcon, Wood Wood, and MKI BLACK, our premium outerwear line. We don’t want to chase trends; MKI wants to be considered timeless. Over time, we are adding new brands to a select curated stocklist. As you know, MKI BLACK is part of our first activity in the United States, a PopUp exhibit during this year’s Design Is Human Week, the first such

project for MKI. We’re obviously excited to introduce the collection to new audiences abroad.

MA: I’m curious, the fact that you are a young boutique, how did you land an account with Commes des Garcon?

MKI: We put a lot of time and effort into Commes des Garcons. We hadn’t even opened the store.

With my CAD skills from interior design, I mocked-up what a MKI interior would look like in a fictitious shop. We didn’t even have this space at the time. We compiled a ‘brand’ list of companies we wanted to approach. We knew it would be the snowball effect; as soon as we secured one, it would attract others, and so it goes. We visited Commes des Garcons in London.

MA: Is that the Dover Street Market location?

MKI: Yes, the head office is about three doors down form DSM. MA: Was it an email that landed the meeting or much more preparation?

MKI: Yes, initially it was an email, followed by a phone call. They responded -was amazing; but the interview was nerve-wrecking because of all the brands we carry, we really wanted to land CDG, even just for the accessories, wallets, fragrances, would be great. We set down with the rep and showed her everything MKI had to offer, the visuals and MKI concept. CDG said yes straight away.

MA: Is it also because a CDG’s presence in Leeds presented CDG a nice opportunity?

But also remember, at the time MKI branded merchandise was first a project, an experiment, we had no real plans on starting a branded label.

But we had so much fun doing that project, creating something, stocking our own design, was so gratifying, that we wanted to do another project.

MA: The design process, are you a hands-on designer?

MKI: We are as hands-on as we can be; concept, sketch, design, material research, site visits, sample editing, all those elements.

MA: What else can you comment on about materials?

MKI: The projects grew and today the stock is roughly sixty-percent MKI-branded. Fabrics and materials quality scale upwards as the designs become more intricate and detailed.

Example; in MKI BLACK, our high-end outerwear label, we select high grade leather and stitching and quality wools for best for outwear clothing. Using nappa, a very soft leather that is chrome-tanned, which is what nappa is, a process of shining leather. So there is that focus on materiality. We are working with a new manufacturer at the moment for our spring/ summer shirting. We research producers/ suppliers up and down the country for really quality fabrics over a wide variety of textures and weights.

MKI: Think lifestyle. For example, one thing that I brought in for myself is a leather-braided wallet chain/clip, but because I wanted one, I thought why not have some for the store. I’ve only seen these in Japan, so we visited there and had some shipped over for MKI. Another successful collaboration is the MKI wallets, our collaboration with the Italian leather company Calabresa. It comes in rich leather and wool versions. We have scarves, but also sweathers made in collaboration with a local Shetland wool company, spun, back-brushed, and manufactured on the Shetland Islands. And of course, CDG fragrances and wallets are available. The accessories basically play up an important part in pushing the brand experience even further.

MA: Lastly, let’s talk about this amazing space?

MKI: We are at the Corn Exchange. This location is not on the high street where rents are a lot more expensive, but its architectural details are exemplary. The building is on the historic register, so there wasn’t much we could do it, nor was there the real need. It has original high arches and more natural appeal than any of the other locations we were considering at the time.

We designed this ‘wave light’ as an organic piece based purely on function and minimalism.

With this project, I’m my on client and interior designer. I love this space, it makes the time pass fast, its been two years here.

MA: Thanks Vic.

MA: What colors are symbolic of the MKI style?

MKI: When we roll out collections, we generally do whites, greys, navys.

MKI: You are welcome and we’ll see you in Atlanta at MKI Black PopUp exhibit.

MA: Why are those three colors important?

MKI: I’m sure. No one in Leeds was stocking CDG. Because we moved up from London, we were thinking hosting brands not available in Leeds. Everything offered in MKI is exclusive to us.

MA: MA examines materiality not just in terms of architecture but also in the other disciplines including textiles and fashion? What are your thoughts on materiality applied to MKI? MKI: We had an idea for having our own branded jacket, a leather jacket at that. We scoured manufacturers for producing a run of around twenty to thirty garments. For such a small number, most manufacturers would balk at the undertaking.

MA: Can I stop you there? In the United States, we’ve lost a lot of manufacturing, and young designers dealing in low volume production have the same problem. How did you convince a manufacturer to collaborate?

MKI: Negotiation. Telling them that MKI will bring them repeat orders again and again. And convincing them that they are about to partner with a new brand worth it. Letting them know MKI is going somewhere and that the brand will deliver them a repeat customer. But also, the manufacturer was interested in us as well. From the perspective of new challenges in design processes and a break from routine are very attractive prospects for manufacturers too. On MKI’s part, we were speculating, but it paid off.

MKI: As mentioned before…timeless, they look great with everything, and these colors retain integrity and style over time. You find these colors in anyone’s wardrobe as stocked clothing.

MA: What about MKI accessories curation?

Miyuki - Zoku MKI BLACK PopUp Exhibit Bang & Olufsen B&O PLAY Exhibit 8-11pm, Friday & Saturday, 7-8 June 2013 Edgewood Design District Upstairs at Space2 485 Edgewood Avenue SE, Atlanta, GA 30312

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Competition

10Up: young architects compete to install The Young Architects Forum of Atlanta (YAF Atlanta), a program of the American Institute of Architects Atlanta (AIA Atlanta), announces the winners of its 4th annual design competition.

This year, Modern Atlanta (MA) and YAF Atlanta teamed up with the Lifecycle Building Center and The Architecture and Design Center to create a series of events around the 10Up installation. This year also marks the first time 10Up is installed inside an historic structure, a factory designed by world renowned architect Albert Kahn.

Jury Doug Hanna, AIA Emerging Professional Director Brent Amos, AIA Emerging Professional Director Gordon Beckman, Principal & Design Director at John Portman & Associates Tim Frank, 10Up 2012 Winner Chip Clark, 10Up 2012 Winner

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st Prize Winner

Dancing Harps, Mahmoud Riad

Le Corbusier’s Philips Pavilion, designed for Expo ‘58 in Brussels, was arguably one of the significant design milestones when bridging both music and architecture.

The design, which was helmed by Le Corbusier’s protégé, Greek architect and famed 20th Century composer Iannis Xenakis, used musical principals as a form generator, and was itself explored as a musical instrument for its unique spatial and acoustic properties (Edgar Varese’s Poème électronique was performed and spatialized during inauguration). Xenakis fashioned a compositional representational method, using graph paper, to conjure the form that was both used for the architectural pavilion and his acclaimed atonal musical composition Metastasis.

In the same spirit of Xenakis’s methodology, the Dancing Harps was designed through musical principals to allow the Lifecycle Building Center to be used as a musical instrument.

Adhering to the 10up challenge dimensional requirements, the installation is a 10’x10’x40’ composition of two parallel groups of strings that are laid out to a 10’x10’x10’ grid. Each string would be tuned to a different note, to encourage visitors to interact with the installation and perform. The sound produced by the plucked strings would dramatically resonate throughout the LBC’s reflective surfaces, allowing the design to extend out of its physical 10’x10’x40’ boundary and utilize the aural space of the LBC in its entirety.

10Up 2013 ‘Dancing Harps’ Installation Life Building Center 1116 Murphy Avenue SW Atlanta, Georgia 30310

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nd Prize Winner

Cloud Caterpiller, Mary O’Malley

Cloud Caterpillar lays the groundwork for the future home of the LifeCycle Building Center by acting as an anticipatory construction lantern. The installation spans the length of the warehouse’s clerestory windows and glows gently, creating an intimately scaled nexus for gathering that dramatically defines a passing moment of use. Much as lighting balloons are brought on site to facilitate short-term productions, such as construction work or film shooting, Cloud Caterpillar is designed as entirely pre-fabricated lighting balloon that is deployed to support the staging activities leading up to building’s new life. The major components will be developed

prior to the event and installed on-site in order to facilitate the social interactions that Modern Atlanta Design is Human Week centers around. Beyond the week’s events, Cloud Caterpillar suggests the future construction and use that will animate the space when the warehouse undergoes its future renovation.

Just as groundwork or site grading are essential first steps to the construction of a new building, these events will help create a stable beginning for the LifeCycle Building Center by strengthening the community that supports it. A metaphorical construction lantern Cloud Caterpillar transforms the space of the warehouse and sets the stage for new production.

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Honorable Mention

Honorable Mention

Shining Anemone, Junsang You

Sponsor:

GRAPHISOFT® ignited the BIM revolution with ArchiCAD®, the industry first BIM software for architects. GRAPHISOFT continues to lead the industry with innovative solutions such as the revolutionary GRAPHISOFT BIM Server™, the world’s first real-time BIM collaboration environment, and the GRAPHISOFT EcoDesigner™, the world’s first fully integrated building energy modeling application. GRAPHISOFT’s innovative solutions have fundamentally changed the way architects around the world design and collaborate. GRAPHISOFT® has been part of the Nemetschek Group, since its acquisition in 2007.”

Flux Capacity, Halle Hannaford, Jennifer Trezek, Mayur Patel, and Ian Reves

Partner:

The mission of the LBC is to make the lifecycle use of the built environment increasingly efficient and sustainable. The LBC operates a building material reuse center as an alternative to material disposal. Capturing and reusing building materials diverts them from landfills and is more energy efficient than recycling materials. Proceeds from the reuse center’s sales fund grass roots community outreach that promotes green building practices. These programs empower communities to raise market demands for green building products and makes green building accessible to everyone.

Competition

MA prize 2012: Green dwelling MA Prize 2012 called for designers to submit projects of all scales that critically consider today’s notions of sustainability as applied to the modern dwelling the home as well as projects that thoughtfully deal with the unique geographical, social, political or cultural conditions.

Winner

Project: Haus D Yes-Architecture, Marion Wicher Team: Udo Huber, Christian Felhner

2nd place

Project: Home Spun Design: Laura Garofalo, Omar Khan with assistants: Trinadh Pydipally, Abhishek Mathur

Competition

MA prize 2013: Share/shift This year’s MA Prize highlights innovative projects that provide a fresh perspective on the idea of ‘SHARE’, or ‘SHIFT’ the way we perceive ‘SHARE’.

We commonly understand the idea of share as a fairly simple concept: when two different parts interact with each other to produce a new outcome. But, what does sharing mean to design; or what can design provide to sharing? The prize will be given to outstanding ideas of creative minds addressing various issues related to share through the implementation of design thinking.

MA Prize 2013 welcomes design projects of all scales with forward-looking ideas that can shape the future, as well as solve problems currently facing the human race. It could be a creative public space design idea, objects we share with others, or even a communication design which makes sharing much more fun and desirable. The design idea can be built or theoretical as long as it showcases innovative, forwardthinking concepts of share across various design practices.

The competition is open to all individuals, firms, groups, and students. Visit www.maprize.org for details on MA Prize 2013 and its organizers.

Honorable Mentions:

Housing Complex Buchheimer Weg, Cologne

Gambier I

Project: Housing Complex Buchheimer Weg, Cologne Design: ASTOC Architects and Planners, jbbug Landschaftsarchitekten

Project: Wheelly Design: Paolo Emilio Bellisario, Cristian Cellini, Andrea Cingoli, Francesca Fontana

Project: 125 Haus Design: Atelier Jörg Rügemer, Jörg Rügemer, M anuela Vojnovic

Project: The Socrates House Design: Theodora Kyriafini, Androniki Lymperiadou, Fotini Lymperiadou, Aristotelis Veniamin, et al.

Project: Wedge Side Table Design: Andreas Kowalewski Project: Gambier I Design: David Battersby, Heather Howat, Josie Grant

Project: Canned Housing Design: Zeca Franco, Leonardo Lopes, Leonardo Penteado, Lina Corrêa, Thiago Grabois

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Wedge Side Table

Project: Domestic Capsules Design: M.A.A. Arq. Román Cordero Tovar Project: 25th Street House Design: Shimizu + Coggeshall Architects (Joshua Coggeshall, Janice Shimizu, Sean Harris, Ryan Klinger, Danny Mascari) Project: Connected Residential Area Design: Frank Etc. AB (Nikolaus Frank, Cecilia Frank), Ericsson (Erik Kruse) Project: Perez-Inostroza House Design: ZO_loft (Paolo Emilio Bellisario, Andrea Cingoli, Francesca Fontana)

maprize.org

Competition

Designs of the year The Oscars in design awards.

Exhibition runs from March 20 to July 7 2013 “Designs of the Year is the Design Museum’s authoritative review of the most innovative, forward-thinking and culturally relevant projects from the past twelve months. The work selected demonstrates the many ways in which design can transform our physical and cultural landscape.”

Pete Collard, Curator of Designs of the Year

Bang & Olufsen Beolit 12 Design: Cecilie Manz Product Category, Designs of the Year Awards 2013 Nominated by Bernard McCoy, Founder Partner at MA “As an avid lover of music and great design, I’ve always enjoyed innovative products that delight the imagination and are a testimony to its time. It was precisely that way when I got my first boombox, Sony Walkman, and iPod. In Beolit 12, Bang & Olufsen sought creative input outside the industry by collaborating across design disciplines in art, fashion, and furniture; mass production converged industry and craft; functionality and advance technology are intuitive without clutter. The result is a new design icon about how we hear and see music today. I appreciate Beolit 12’s small size, portability and its progressive design-thinking linking B&O’s exceptional sound quality to Airplay technology to smart devices. The leather strap and perforated aluminium suggests a handmade feel and love of craft reminiscent in early industrial equipment design - combined with that Danish design sensibility we all love.”

Design Museum Shad Thames London SE1 2YD 2013 Designs of the Year Catalog available at MA Home Tour launch and Design Exhibition.

designmuseum.org

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Competition

Designs of the year The Oscars in design awards.

Exhibition runs from March 20 to July 7 2013

Contenders for the sixth annual Designs of the Year includes the best designs from around the world, across seven categories: Architecture, Digital, Fashion, Furniture, Graphics, Product and Transport. Selected by a panel of distinguished nominators, the awards compile the most original and exciting designs, prototypes and designers in the world today – brought together in a Design Museum exhibition from March 20 – July 7, 2013.

Plug Lamp Design: Form Us With Love Product Category, Designs of the Year Awards 2013 Nominated by Bernard McCoy, Founder Partner at MA “Too many plugs, not enough sockets.

In Plug Lamp, Form Us With Love has an ingenious and beautifully-designed solution to the age-old phenomenon and source of much discontent and frustration facing millions of gadget nomads worldwide. Finally, a dimmerlamp with added bonus of an electrical socket for charging laptops or smart devices. Additionally, Plug Lamp brings a smile, because its human and humorous qualities may have singlehandedly ended domestic quarrels and workplace spats, whereas finally we can all just get along . The lamp’s dual-purpose utility and bold minimum design equates to a functional product desirable in any interior environment.

The design gives new life to the lamp, whose origins dates back to 70,000 BC; and is relevant to the demands of modern day consumers who multi-task at will and live metaphorically wired to smart technology. If everyone had a Plug Lamp, the world might be a happier place.”

MA Collection, Craig Green Gravity Stool, Jolan Van Der Wiel,

Zumtobel Annual Report Brighten the Corners and Anish Kapoor

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Medici Chair, Konstantin Grcic for Mattiazzi Plug Lamp, Form Us With Love

Atlanta Design

Do it right, do it yourself Bob and Lori Butler’s Bonway Drive Renovation

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If you want something done right, you’ve got to do it yourself.

Or at least that’s what Bob and Lori Butler did when they were looking for a home two years ago.

As they searched Atlanta for something modern and modest, they had a few criteria on which their decision hinged. Bob, a photographer working from home, wanted “an open space with natural light” that would inspire creativity. Lori desired the balance of distance between her job in the suburbs and city life. They wanted to have enough room to entertain but still be cozy for themselves and their two dogs. Minimalist not sterile, modern yet timeless. They found this to be more challenging than they anticipated in a market dominated by traditional 1940s bungalows, newer craftsman-style houses, and brutalist concrete modern homes.

Having been a fan of mid-century furnishings and architecture for some time, Bob realized that their goals of efficiency and affordability aligned with those of the Case Study House program. Growing up in Australia, he dabbled in carpentry and construction before moving to the States. The idea of building a home that was “just right” from the ground up became increasingly attractive to them but was cost prohibitive.

They would use the bones of an existing house and augment it to fit their vision.

Then inspiration struck: they would use the “bones” of an existing house and augment it to fit their vision. They settled on Belvedere Park, a neighborhood of simple 1950s ranches, and bought one. They took the existing blueprint and used it to draft a new one with modern touches (which Bob learned by looking at Case Study plans), the most ambitious of which was a new low pitch roof. “Instead of viewing the project as one big job, we chose to see it as a series of smaller tasks,” Bob says. “That helped a lot.” Over a few months, Bob acted as both contractor and laborer (with a little help from his friends) and they finished the house for a fraction of the cost of the average Atlanta modern home. He also learned a fair bit the process. “It was a lot of work,” Bob says, “but it was totally worth it.”

“Instead of viewing the project as one big job, we chose to see it as a series of smaller tasks�

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Text: James Abercrombie Photography: Bob Butler cargocollective.com/3146bonwaydrive

Atlanta Design

Setting modernism on its head Architecture has long been an inspiration to artist Scott Ingram. Growing up in the Midwest, he was heavily influenced by the great modernists who built their innovative masterpieces in cities like Chicago.

Architecture has long been an inspiration to artist Scott Ingram.

Growing up in the Midwest, he was heavily influenced by the great modernists who built their innovative masterpieces in cities like Chicago. He also had the opportunity to develop ongoing explorations of interior spaces while working for the Des Moines Art Center, which was built in successive stages

by Eliel Saarinen, I. M. Pei and Richard Meier, and later at Meier’s High Museum of Art in Atlanta.

Bringing that to his fine art practice, in 2001, Ingram began his ongoing Case Study Project paintings. The series is based on the Case Study House Program initiated by Art and Architecture magazine in 1945, which challenged young architects like Charles and Ray Eames, Richard Neutra and Eero Saarinen to propose low-cost alternatives to the massproduced houses springing up around the country. Not only do Ingram’s paintings honor the architects’ proposed elevation plans, but they also reflect the introduction of materials instrumental to the period. Cast concrete slabs, MDF, and steel are regular components of the work.

where the blocks were made from wood and the plank shelves of concrete. He made I-beam sculptures that were not steel but wood, often having them pierce through walls rather than support them. He also challenged pre-conceived notions by making a cinder block, which is supposed to be a solid, weight-baring object out of lightweight foam.

These foam cinder blocks are the inspiration for a new series of furniture that the artist will premiere as part of his installation at Modern Atlanta. They literally become building blocks for glass-topped side tables, coffee tables and benches that share the clean, cool aesthetic of his other work. The modular structure of the components allows for a variety of possibilities, which can be determined by the artist, or perhaps, by patrons with a desire to collaborate on a special piece.

The continual interplay between Ingram’s two and three dimensional work is not unlike the practices of Donald Judd or Jorge Pardo, whose work floats easily between art and design.

The ideas explored in one usually weave back to inform the other. Watch for lines of wallpaper and fabric to debut soon.

A few years later, Ingram also began to make work that reflected his interest in the space between art and design.

While still honoring the past, these works contain a playful irreverence. He began to subvert the traditional materials, designing a set of cinder block and pine plank bookshelves

These foam cinder blocks are the inspiration for a new series of furniture that the artist will premiere as part of his installation at Modern Atlanta.

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Words: Rebecca Dimling Cochran Photography: Scott Ingram & Fredrik Brauer

Top 5

Pass it on to your kids Today’s designers often focus on innovation.

Sid Mashburn’s Matt Lambert wants things to last forever. Here are the five most essential objects in his collection.

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Maestro Echoplex EP-3

Mackintosh Kellas jacket

Rega RP1 turntable

I have used this early 70s effect unit for a ton of shows & recordings.

It’s always there to add a little pixie dust... whether it be the perfect Sun Studio slapback or to add some ambient weirdness to the mix.

Macks have been handmade with the same patented bonding technique and rubberized cotton they’ve been using since the 1820s.

This version is extra cool to me because it has a button-out liner & a detachable hood, so it’s extremely versatile and completely waterproof.

You can’t wash it or dry clean it, so the break-in process is a little like a pair of rigid 501s, but times ten — it truly conforms to your body more & more each time you wear it. Sid & I both fell in love with this particular model a couple years back & we are running it again for Fall 13.

It’s perfect.

As simple & straight forward as it gets.

UK-designed & manufactured, it’s reliable & extremely easy to use.

I turn it on almost every night after work — it transforms our dining room into a dance hall with the kids.

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Autographed baseball This is a little throwback to my childhood & those summer days when I would play pickup baseball with the neighborhood & come in to catch the afternoon Cub’s game. I remember seeing Mark Grace play for the first time in 3rd grade & immediately becoming obsessed with him. He was never a power guy or super star, but he was always consistent & there with a clutch hit or defensive play. He kind of represents everything I think is so cool about the game, and for that matter, design: it’s not trying too hard, it’s fluid, it’s easy, it’s natural.

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Sid Mashburn cap toe boot Sid nailed it with this English cap toe boot.

I wear it like our version of a Doc Marten 1460… almost every single day, for half the year, with everything from suits & tweed jackets to jeans & a sweatshirt (just not a tuxedo).

This boot definitely makes it easier to get dressed every morning.

Photography: Jason Travis Words: Matt Lambert Words & Illustration: Stefán Kjartansson

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Atlanta Design

Marni fashion meets Eames design We found photographer JasonTravis shooting fashion models on a Saturday night

At 2012 Design Is Human Week, Atlantabased photographer JTrav (Jason Travis) equipped with only his trusted camera and natural talent to create, accepted MA’s challenge to go under the radar and gave major props to the iconic work and designs of Charles and Ray Eames, plus introduced us to the eclectic and much loved Italian fashion of MARNI, courtesy Jeffrey Atlanta/ New York. The other catch, was the event had to be open where the public could discover by chance.

Not short of creative outlets, we found JTrav on a Saturday night in Edgewood upstairs in an abandoned raw space full of character directly above Space2 where below visitors were checking out the Duralex exhibition and sipping on Negronis at London-based DesignMarketo’s Bar Alto.

The result was expected fun and live entertainment for the lucky few able to stumble upon JTrav’s live photo shoot.

Whether Jason is shooting a wedding, creating editorial work for clients such as Scoutmob, Adult Swim, Vidal Sassoon, or taking portraits for a gallery show, Atlanta photographer Jason Travis brings limitless enthusiasm and creativity to every shoot.

And it’s paying off.

approach complements the thoughtfulness and dedication with which he approaches every shoot. As a result, Jason’s work feels authentic and vibrant, each shot telling its own story.

A fixture of the Atlanta art scene, Jason has held gallery shows at Young Blood, Puritan Mill, and the Marriot Marquis. In addition, he has curated exhibitions for galleries such as MINT and Beep Beep. He’s getting national attention as well. CNN commissioned Jason to take his acclaimed Persona series to SXSW, joining publications like USA TODAY, Marie Claire and Kotaku in showcasing his work. He’s shot weddings in every setting imaginable, from backyards in his hometown to beaches in Costa Rica, and his background in graphic design helps him create stunning editorial work as well.

Atlanta Celebrates Photography included Jason in its 2011 “Ones 2 Watch” list of emerging photographers, and Photo District News named him a One Life 2011 Category Award Winner. Jason’s laid-back Marni fashion courtesy Jeffrey Atlanta Eames furniture courtesy Room & Board Photography: Jason Travis jasontravisphoto.com

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Atlanta Design

Empowering dynamic shifts for a real design education Education is retrofitting Modernist principles, and a new Modernism is emerging.

This is such a wonderful time to be a student—maybe the best time ever. As the profession experiences a realignment, one that parallels life interests and makes audience-centered design the focal point of the creative process, the design industry holds the promise of a dynamic future. Design is evolving into a new Golden Age, where profitability may be defined by ethos and personal growth, as well as financial well being. Technology within Design has exploded with innovation and has opened up a revolution in the ways we communicate ideas. Design and design education are being transformed in the process. Education is retrofitting Modernist principles, and a new Modernism is emerging.

Today’s student has to learn to lead with intelligence and creativity, to work and build within teams, to apply art and imagination to practical solutions.

Students will have to lead in way that is heroic and allows the ideas to be multi-purpose, convergent, and driven by design across many platforms. As we move forward in education, students will draw from—and for—all aspects of culture. What started out as graphic design (form) became communication design (form and content) to now experience design (form, content, and context over time). Context and time are the real challenges ahead, for both effective design and for the profession.

While young designers need to realize that they are different in that they are blessed with creativity, they must understand, too, that being different is not effective if they mistake that difference for being set apart, on the edge or the margins of the real world.

As Ric Grefé, Executive Director of AIGA puts it, they “must seek to learn the dimensions of the humanities, the social sciences, history and literature, so he or she can be the most talented person in the mainstream, not the clever person on the side.”

Portfolio Center welcomes the opportunity to prepare young designers to apply their own values to a model that expresses a liberal and broad way of learning and thinking. We expect our graduates to impact the culture and to drive social initiatives with the work they do. Education has to fulfill the promises it makes more than ever! Competition for jobs out there is fierce, with the industry demanding the best passion and motivation, the best fundamental thinking, the best concepts, the best execution, the best ability to work within every medium, and the best people and presentation skills, all of which requires a best education.

We seek students who are both booksmart and street-smart, adventurous and courageous enough to work through their fears and overcome them. We look

“Students will have to lead in way that is heroic and allows the ideas to be multi-purpose, convergent, and driven by design across many platforms” for those students who aren’t afraid to venture into places like hospices and nursing homes, environments outside their own experience. We want students who desire to make a difference, who have a sense of personal integrity, and who are on fire with passion. Those students will then become the designers who render content with significant meaning and value to society.

Words: Hank Richardson portfoliocenter.edu

Atlanta Design

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Words & Illustration: Rick Anwyl

Atlanta Design

Connecting the dots with Melissa Monk Melissa and her company, map contract, connect interior designers with product designers.

And they have a very specific aesthetic —modern, of course.

The minimum Favorite designer: Patricia Urquiola On her desk: Mac Book Pro & a cappuccino Eyes on: Japanese design Eats at: The Sound Table, The Shed, Restaurant Eugene, Parish Refuels at: Octane Plays on: The Beltline Current projects: restaurants, corporate headquarters, hotels & education. It’s a good time in Atlanta!

Melissa Monk’s apartment, where she lives, works and practices yoga, overlooks the cemetery. Only in Atlanta would this be a bragging point. The space is simple and clean—so clean that I assume she has straightened up before I arrived.

(She hasn’t.) We sit on two Emeco bar stools and talk and eat.

Melissa may have inherited her modernism. Her mother is Dutch and her father was a military man, so she grew up in an efficiently run home with little clutter or decoration.

Simple but beautiful is how she’s used to living and what makes her comfortable.

Melissa and her company, map contract, connect interior designers with product designers. And they have a very

specific aesthetic—modern, of course. Thus the “map,” which stands for “modern architectural products.”

Melissa comes across as friendly and approachable, yet confident and self-assured. She has a humor and spunk and complete enthusiasm for the people she represents.

“My primary goal is for designers and architects to partner with me as a resource to enhance their projects,” she tells me.

In fact, Melissa discovered early on how important it is for her to “only represent products that I have a certain feeling about.

Even if it’s a great product, if I’m not enthusiastic about it, it doesn’t sell well.” What is she enthusiastic about? Moroso, for starters, a family-run Italian furniture company that she represents. She even traveled there recently to tour the factory with MA’s own Bernard McCoy. Melissa loves good design because it improves the end user’s experience without them even realizing it. “Design,” she tells me, “can ease your stay at a hospital, enhance your experience at a sporting event and make your meal more enjoyable at a restaurant. Design can bring comfort while traveling in an airport or a hotel and help you focus while learning. Design is always altering your experience and to be involved in that dynamic is very exciting and satisfying.”

Such enthusiasm is apparent as she swipes through her recent projects on an iPad, from Moroso, Emeco, Arktura and Sandler Seating.

Is Atlanta ready for modern design? According to Melissa it is. She cites structures with a minimalistic approach, like the High Museum’s new Renzo Piano addition and the King and Spaulding building in Midtown. As architecture becomes more modern, she says, interiors are sure to follow. There is even a Moroso installation in the Chick-Fil-A headquarters. Public taste seems to be going that way.

And restaurants are leading the way. Melissa worked on Restaurant Eugene, Flip Burger and the Sound Table—where the role of the chef has become more auteur than hired hand.

She counts food high on her list of experiences, and as she says, “A life that is rich in experience fosters joy.” That joy inspires her to do good work.

Another significant experience for Melissa is her recent trip to Italy, where she attended the Venice Biennale and visited the Kristalia and Moroso factories. She fell in love with Italy’s quality of life as much as its design. “The Europeans just have it figured out,” she says.

Melissa wants the designers she works with to be inspired by experience as well, so she often arranges private viewings at galleries like whitespace in Inman Park. “When partnering as a resource, I hope to bring ideas and inspiration,” she says.

“When you create on demand, every little bit helps.”

Besides art viewing, I wonder what advice Melissa has for modernists in Atlanta. She answers, “Get out and experience the city.” Not just monuments to modernism, but the Georgia Terrace and the Fox Theater—even non-modern buildings can inspire. “If you are a modernist,” she says, “you can find modern design anywhere. There is so much energy in the city right now; it’s an exciting time to be in Atlanta.”

Konstantin Grcic chair for Emeco

That’s the simple truth.

Words: Acree Graham Photography: Shannon McCollum mapcontract.com

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Atlanta Design

Expanding on space with Cynthia Hovorka Interior design Cynthia Hovorka wants to get one thing out of the way before we start talking. She won’t be designing interiors much longer.

The minimum Go-to products: reclaimed wood, quartz Pantone color: blues and greens in the 300s Tools of the trade: Pinterest, PaletteApp, SketchUp Role model: Ray Eames On her desk: nothing Eyes on: Susan Tick & the new Teknion Textiles collection Current project: transitioning to her new role as Teknion’s A&D Market Manager for Atlanta Eats at: The Optimist Cynthia Hovorka wants to get one thing out of the way before we start talking. She won’t be designing interiors much longer.

In fact, by the time this book is printed she will have joined Teknion, the global furniture manufacturer, as a full-time Architecture & Design Market Manager for Atlanta.

In her old life as a designer for Hughes | Litton | Godwin, Cynthia was able to travel to Italy with MA’s own Bernard McCoy plus Melissa Monk of Map Contract and interior designer Meena Krenek (also featured in these pages). Cynthia tells me she loves Europe for its ultra-modern designs plopped down onto traditional landscapes. Take the Guggenheim in Bilbao, Spain, for example. “The juxtaposition between old and new feels effortless,” she observes.

When I ask her how European design compares to Atlanta’s cityscape, she says this city strikes her as more forwardthinking than where she grew up. “I’m from Oklahoma so I know Dallas; I know big-box and generica, and Atlanta doesn’t feel like that to me. As an interior designer I have to cater to client tastes, but even law firms are going more modern.” In fact, Cynthia has designed such successful commercial spaces as CNN, SunTrust, Kimberly Clark and AutoTrader.com.

Of course, not everywhere in town meets her aesthetic ideals.

“When design is overdone, it’s like nails on a chalkboard. I try not to critique the interiors at restaurants, but my husband is an architect and I always have to tell him to stop pointing.”

Cynthia points out that Midtown, where she lives, can feel cold with its lack of overhead planes (awnings, to the rest of us) that leave pedestrians exposed. The average person may not notice such design choices, but they affect him anyway.

To help grow Atlanta’s design community, Cynthia serves as President of the International Interior Design Association’s Georgia Chapter, where she works to recognize good design with awards like B.O.B. (Best of the Best) and to stimulate collaboration through contests like Dressed, where interior designers and manufacturer’s reps create garments for an annual runway show. “It’s a way to fend off tunnel vision,” she says. Something this designer could never be accused of having.

Words: Acree Graham Photography: MA

Atlanta Design

Quick quips with Meena Krenek Friendly and approachable at five-foot-zero, Perkins + Will Interior Designer, Meena Krenek, talks faster than the average person thinks and is insatiably curious about others.

The minimum Go-to products: Dupont Corian, Koroseal Custom Wallcovering Pantone color: Orange 021 C Tools of the trade: Revit, 3D Studio Max, InDesign Role model: Zaha Hadid On her desk: photos, magazines, materials Eyes on: inspiring people & spaces, a pair of Warby Parker glasses and a Marc Jacobs purse Current projects: fresh new corporate spaces, the INSANITY workout program Eats at: Two Urban Licks, Taqueria Del Sol If you try to interview Meena Krenek, she will end up interviewing you. Friendly and approachable at five-foot-zero, she talks faster than the average person thinks and seems insatiably curious about others.

Meena has just finished a project with Perkins + Will, her full-time employer since 2005, for IMG College, a brand management company for college sports teams. On YouTube you can watch her tour the space, calling attention to the details that make it all come together—for instance, a door handle made of real pigskin and the leather stitching of a

football. In an industry where ego can be the norm, Meena proves that good work comes from making it about the client, not yourself.

From IMG to Brunner (an advertising agency) and Autotrader.com, Meena creates commercial interiors that act as extensions of their companies’ identities. To do so, she gathers inspiration from the people who encounter these spaces the most—employees. How will they feel walking into work every day? How can the space inspire them to do their best work? “If I can understand [a company’s] DNA and exhibit it in a space,” Meena says, “[employees] will come to work and feel a connection.”

I ask Meena if promoting a modern aesthetic in the South presents challenges. “You have to be able to sell your design ideas with passion to your clients,” she admits. “Most people feel the energy and creativity and can believe in the design idea—passion can be contagious.” We’ve caught yours, Meena.

Words: Acree Graham Photography: MA

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MA Talks

Journeys+Paths is an inspiring panel discussion about young designers and their challenges and paths to finding success and happiness Panel

Donald Burlock Designer, IDEO

Mariel Harding Senior Designer, Armchair

Courtney Burton Designer, Alternative Apparel

An effective problem-solver, diligent in producing solutions that celebrate both form and utility. Donald holds a Master’s with high distinction in Industrial Design from the Georgia Institute of Technology, and a BS in mechanical engineering from Kettering University. He finds inspiration through international travel, exploring the work of local artisans, and spending time with family.

Originally from the Midwest, Mariel migrated south to study Graphic Design at Savannah College of Art and Design. After a brief stint in book design, she landed at Armchair.

Since 2010, she has been an integral force on some of Armchair’s largest projects—for the College Board, HLN, Phillips-Van Heusen, and Coca-Cola.

Graduated from Georgia State University with a BFA in English, and a Concentration in Literary Studies.

She then set her sights on design and attended Portfolio Center.

Getting her start at MailChimp, she then moved to Razorfish.

She is currently on duty at Alternative Apparel where she gets to marry her love for design and fashion.

Moderator

Scott Woelfel Managing Partner, Armchair A graduate of University of Missouri’s School of Journalism, Scott spent 15 years in television news – much of it at CNN – before co-founding and building the business of CNN.com.

Under Scott’s watch, CNN.com won four Webby Awards and became the most visited news site on the web.

At Armchair, he’s managing partner, overseeing new client relations and strategic initiatives.

June 8 6PM at Armchair 950 Joseph E. Lowery Blvd Atlanta Georgia 30318

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W h At in en la nt a

Atlanta Attractions

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Text: Larry Luk Photography: David Naugle, Larry Luk & Jorge Menes

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Star Provisions

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Star Provisions is like Disney World for the gourmet food enthusiast.

Check out the individual markets for wine, cheese, meats, seafood, and baked treats. Don’t feel like preparing your own meal? Do yourself a favor and order something to eat at the sandwich counter. There are no low points on the menu. Insider’s tip: upgrade the reuben by adding potato salad and fresh jalapenos to the sandwich. Don’t question it. Just take a bite, smile, and hold it up like a trophy because you’ve treated yourself to one of the most delectable sandwiches in the city.

1198 Howell Mill Rd NW, Atlanta, GA 30318

Sid Mashburn Sid Mashburn runs Atlanta’s favorite men’s store. Many folks get sticker shock at Sid’s, but what they don’t realize is that aside from luxury suiting and footwear, one can also score a tailored pair of Levi’s 501’s for less than $55 and some Tretorns for $60.

Sid’s inspires confidence in fit. Drop in to see a beautifully curated collection of menswear, vinyl records, and taxidermy pieces that you’ll want to post on Instagram. Go ahead though, it’s cool. They don’t mind.

1198 Howell Mill Rd NW, Atlanta, GA 30318

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Empire State South Reality-cooking television’s most famous unibrow, Hugh Acheson, is chef/partner of this popular, modern Southern restaurant. Contemporary approaches to Southern fare, a casual interior, and a knowledgable staff make for an unparalleled experience.

Dine-in or have a cocktail while challenging a friend on the outdoor bocce court. Perhaps one of the most under-the-radar perks of dining at ESS is the expertly brewed coffee by Counter Culture.

999 Peachtree St NE #140, Atlanta, GA 30309

Honorable Mentions Ann’s Snack Bar Farmburger Little Tart Papis Bocado Chef Liu The Porter Yakatori Jinbei Top FLR Floataway Cafe One Eared Stag Local Alluvia/Cheetah Landmark Diner

Clermont Lounge When visiting Atlanta for the first time, one must visit Clermont Lounge. Is it a strip club? Sort of. Is it a dive bar?

Yes, that too. Is it fun? Well, are you fun? There is a common agreement by locals that the Clermont Lounge is a right of passage for visitors, and thus, they will be taken to the Clermont Lounge. Don’t fight it. Ask for Blondie.

789 Ponce de Leon Ave. NE, Atlanta, GA 30306

Belly General Store

This retro-themed general store is located in the heart of the Virginia Highlands neighborhood. It is a great place to duck into between a morning run or an afternoon shopping excursion.

Belly is known for it’s bagel sandwiches, assortment of bottled drinks, cupcakes, and throwback candies that will take you back to your childhood. Interesting tidbit: Belly was transformed into a pastry shop called “Fraiche” for the filming of the movie “Life as We Know It” starring Katherine Heigl, Josh Duhamel, and Josh Lucas.

772 N Highland Ave NE, Atlanta, GA 30306

Ria’s Bluebird

Grant Park’s Ria’s Bluebird has been a breakfast staple for many years. Chef Ria Pell’s fish and grits, daily omelets, and breakfast burritos frame the menu.

However, what keeps folks coming back are the made-from-scratch buttermilk pancakes, named “The World’s Best Pancakes” by the NY Times in 2009.

421 Memorial Dr SE, Atlanta, GA 30312

Ink & Dagger Tattoo

In the South, when tattooing is being discussed, Ink & Dagger owner, Russ Abbott, is always mentioned. How popular Highland Row is he? His recent Kickstarter to fund an Ornamental Archive reference book for Antiques tattooers and designers was funded Bring home an amazing souvenir! within hours and reached 500% of the Highland Row Antiques is the Atlanta initial goal. Make an appointment with one thrift world’s best kept secret. The of Ink & Dagger’s talented artists or swing unassuming facade makes the store look by and pick up a graphic tee from the shop like a 300 square foot room. What one for instant street cred. doesn’t realize is that there is a magical stairwell that unlocks a wonderland of 1036 W College Ave, individual vintage collections ranging Decatur, GA 30030 from classic tin toys, 90’s pop culture relics, women’s wear, and designer Rumi’s Kitchen furniture.

Ask anyone familiar with Persian cuisine 628 N Highland Ave NE, in Atlanta, and they’ll tell you that it starts Atlanta, GA 30306 and ends with the newly-renovated Rumi’s Kitchen. The open kitchen concept allows you to see the chefs at work on beautifully The Optimist prepared dishes. It is easy to fill up on Accomplished restauranteur, Ford Fry, dips, so the best strategy is to bring a brings an upscale, classic seafood friend so you can share each other’s experience to landlocked ATLiens. Even plates and taste the range of what Rumi’s prior to being named Esquire’s Restaurant can do. Don’t sleep on the lamb kabob! of the Year for 2012, scoring a table at Evening diners: call ahead and make a The Optimist during peak hours was a reservation to avoid a long wait. small victory. The Optimist has become a place to be, as you can almost guarantee 6112 Roswell Rd, Atlanta, GA 30328 that you’ll rub shoulders with some sort of actor or celebrity while waiting for a Sister Louisa’s table. However, the hype is valid. The menu has so many bangers that it’s hard Church to pick favorites. Try the frothy she-crab From the street, “Church” looks like legit soup, lobster roll, duck fat poached place of worship.

Once you get closer, swordfish, or the red snapper and rock you realize the schtick and order yourself shrimp in curry butter. Oh Lordy! a drink. The walls are covered by owner/ bartender/artist Grant Henry’s campy, 914 Howell Mill Road, tacky, and over the top artwork that he Atlanta, GA 30318 produces under the name “Sister Louisa.”

It is what it is. Sister Louisa’s Church of The Bookhouse Pub the Living Room & Ping Pong Emporium is one of the Edgewood area’s cornerstone While the menu has changed several times over the few years that it has been hot spots, and remains to be a favorite among actors such as Ben Stiller and open, The Bookhouse Pub remains a Woody Harrelson. You will not find a local favorite among hipsters and frat television or an internet connection at boys alike. Everyone gets along at The Church. Instead you are encouraged to Bookhouse Pub where you can get reasonably priced seasonal brews, craft challenge a fellow “parishioner” to a ping pong match or to strike up a beers, and stick-to-your-ribs grub. Plan on The Bookhouse for Tiki Tuesday where good conversation. island-themed drinks are served inside 466 Edgewood Ave. SE, assorted souvenir ceramic vessels.

Atlanta, GA 30312 Which one will you get? The shark?

The totem pole? Or the Budda with a miniature erection?

736 Ponce De Leon Ave. NE, Atlanta, GA 30306

Th Fri Sa Su Holeman & Finch

This is Atlanta’s premier head-to-tail restaurant, specializing in all kinds of gamey-meaty wonders, small plates, and slightly-pretentious-yet-not-toopretentious-cocktails. You can’t go wrong with any of the entrees on their menu (Steak Tartare, Lamb Liver Pudding, or Alligator Point Clams), but what people really talk about are their uber-hyped cheeseburgers served nightly at 10pm. They only serve 24 burgers per night so you should saddle up to a table no later than 8:30pm and wait. It has yet to be determined if the hype makes burgers taste better, but many folk claim it is “the best burger ever.” Insider’s tip: they have plenty of burgers available during their Sunday brunch hours. Swing by and grab a bagful of “Limited-Edish Burgers” to-go and be a hero among your hungover friends.

2277 Peachtree Road, Atlanta, GA 30309

Criminal Records

Elliott Street Deli & Pub

Just a stone’s throw from downtown Atlanta in the Castleberry Hill area, Elliot Street Deli & Pub proudly prepares sandwiches with Boar’s Head meats and fresh breads delivered daily. Order up a pint and a Mad Italian sandwich as you gaze back on the area of downtown Atlanta that was used extensively in the filming of The Walking Dead, Season 1.

51 Elliot St. SW, Atlanta, GA 30313

Dancing Goats Coffee Bar Dancing Goats is the first business to open in the newly restored Sears building on Ponce de Leon Avenue. The seating area has a ton of natural light on a nice day. Take a load off and enjoy a Batdorf & Bronson brew while tweeting at your friends about how you’re living it up harder than they are.

Got a few hours to kill? Well, you’re going to need a few hours to properly take in all that Criminal Records has to offer. Atlanta’s most popular independent record store carries music 650 North Ave. NE, Atlanta, GA 30308 on vinyl and CD, books, comics, and toys. There’s always so much going on at Criminal that it is not uncommon to Gio’s Chicken stumble onto a live set or artist signing.

Amalfitano

1154-A Euclid Ave NE, Atlanta, GA 30307

Giovanni Di Palma is quickly becoming a stalwart of Atlanta’s foodie scene. Despite his refusal of the “chef” title, his dishes Peter C hang’s Tasty are all winners. His newest Italian creation, Gio’s Chicken China II Amalfitano, combines quality Award-winning Szechwan chef, Peter ingredients with simple chicken Chang, does some really amazing things and pasta recipes from southern with flavors and ingredients at Tasty Italy and the Amalfi coast.

China II. Every dish has some kind of Folks swear by the Sorrento hot, numbing, spicy, sweet, or sour lemon chicken, and you will too profile that teases your taste buds. Your if you try it. mouth will be totally confused by what you are tasting and the only solution to 1099 Hemphill Ave., your confusion is to continue shoveling Atlanta, GA 30318 tasty morsels into your mouth. If you’re a fan of spicy foods, this place was Trader Vic’s made you.

Bringing the Pacific Islands to 6450 Powers Ferry Rd NW, downtown Atlanta, Trader Vic’s Atlanta, GA 30339 features traditional tikis, giant blowfish, and palm-thatched ceilings. The custom-made, The S ound Table wood-fired Chinese Oven This gem, located in Old Fourth Ward, allows chefs to innovate is perhaps the most chill place to with Polynesian and Chinese bring a date or get together with influences. While the food friends for small plates and expertly menu is tasty, you can’t deny prepared cocktails. DJs play to the their $6 Mai Tais on Thursdays. mood of the crowd with a keen eye The heavy-handed bartenders and great skill. Also, how could anyone ensure that any island drink you deny the wonders of a design-savvy order will be enough to get you establishment with a minimalist interior rowdy for one of their Hawaiian and Helvetica branding? shirt clad house bands.

483 Edgewood Ave., Atlanta, GA 30312

255 Courtland St. NE, Atlanta, GA 30303

Taqueria del Sol

West Egg

Similar to many fast-casual restaurants, the infamous line for Taqueria del Sol spills out of the front door. Quirky etiquette requires keeping the front door closed until there is space for you to enter the restaurant. Make sure you don’t hold the door open as you’re waiting to cross over the threshold to avoid gassy-gas-face from employees and to keep yourself from looking like a total n00b. Belly up to the bar and order a round of margaritas for your crew as you wait in line. While inspired by Mexican fare, much of the menu consists of cross-cultural mash-ups. Rotating weekly tacos and blue plate specials keep things fresh.

Local favorites are the fried chicken taco, Memphis taco, and shrimp corn chowder. Order yourself something off-menu: ask for a George.

West Egg is one of Westside Atlanta’s most popular brunch spots. Breakfast is served all day.

Grits, biscuits and gravy, fried green tomatoes, and pimento cheese and bacon omelets round out the Southern-heavy menu.

Save room for dessert, as Pastry Chef Chris Marconi makes a mean Coca-Cola cupcake.

1200-B Howell Mill Road, Atlanta, GA 30318

Octane What’s great about Octane is that they believed in Atlanta’s Westside long before anyone else did. Unlike many coffee spots, their team of genuine baristas are knowledgable about coffee and tea and they love sharing their love with you. For years, Octane supported local roasting until they got it right. You can know that having a cup at Octane is supporting something truly Atlantan.

1009-B Marietta St., Atlanta, GA 30318

JCT Kitchen Another signature Ford Fry restaurant featuring trendy, upscale comfort food. JCT is a great place to show up before the rest of your party so you can have a pre-meal drink from their extensive wine and cocktail list. Live music on Thursday through Saturday evenings just adds to the ambiance.

Truffle fries, north Georgia trout, fried chicken, and angry mussels will have you doing the cabbage-patch dance while you eat. Go shorty!

1198 Howell Mill Rd, Atlanta, GA 30318

Octopus Bar This is East Atlanta’s best kept secret for tasty late night food and cocktails. What makes Octopus Bar special is that it operates out of So Ba Vietnamese restaurant on select nights of the week. However, you won’t be slurping down giant bowls of pho at Octopus Bar. Popular dishes include salt and pepper Georgia shrimp, daeji bulgolgi, rabbit and shrimp wonton, and sawagani river crabs.

560 Gresham Ave. SE, Atlanta, GA 30316

1100 Howell Mill Road, Atlanta, GA 30318

Tara Theatre Tara Theatre is Atlanta’s most popular art house movie theater for catching indie flicks. While the stars are typically on screen, it is not uncommon to run into famous folks having a low key afternoon or evening night out at the Tara. Little known fact: the theater’s name memorializes the Tara plantation from Gone with the Wind.

2345 Cheshire Bridge Rd, Atlanta, GA 30324

Miso Izakaya Old Fourth Ward’s newest Japanese restaurant is one of the most hyped restaurants in Atlanta right now. In May of 2011, Miso Izakaya was selected as one of the Top 6 Izakaya restaurants in Bon Appetit. Avoid a long wait by calling ahead. Order lots of small plates and share with friends.

Menu highlights are the duck bun, agedashi tofu, and shumai.

619 Edgewood Ave. SE, Atlanta, GA 30312

El Bar For those looking for something off the beaten path; this underground, closet-sized space brings the party. Located underneath one of Ponce’s most unassuming Mexican restaurants, this place is literally underground. El Bar boasts a rotating cast of local and national DJs, spinning everything from Reggae classics to Dirty South Trap. Trinidad James recently filmed part of his “All Gold Everything” music video here.

Order yourself a “shawty” (tequila shot + 8oz. Miller High Life) and turn up! If you want to dance, this is your spot.

939 Ponce de Leon Ave. (Underneath El Azteca), Atlanta, GA 30306

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Another one bites the dust I.M.Pei’s early work emerges from its own rubble At the end of February this year, Atlanta’s (and America’s) original I.M. Pei building, The Gulf Oil Building, became merely a pile of rubble shining in the light of the full moon. Now an emptied lot, one could only peek behind the fabric, stretched taughtly across a chain link fence, to catch a glimpse of its remains.

Historic buildings do not always look like Greco-Roman temples, Tuscan country homes or the high-ceilinged brick spaces leftover from industry. Perhaps it’s time the tradition-loving South begins to acknowledge Modernism as part of our Architectural History. This recent destruction of the I.M.Pei building on Ponce De Leon Avenue and Juniper Street perhaps marks a pivotal moment in Atlanta’s shifting attitude about preservation. The Gulf Oil Building (built in 1949, according to Pei) may have disappeared, but developers intend to resuscitate the building as a matter of marketing their new multi-million dollar live-work project.

Let’s be clear. It may not be for the love of art or architecture, but it seems to make good business sense for Sereo Group and Faison Enterprises Inc., to highlight that the first building I.M.Pei ever built—with his longtime partner Harry Cobb—once stood on their property. Interestingly, they will go through the trouble of bringing the original façade back to life both as a landmark and a distinguishing factor for their large-scale development.

Not produced with the sensitivities of designer architects, the renderings are like so many mainstream beige-and-brick projects of this ilk, with one exception: Squeezed up against the 285-unit apartment mid-rise is the façade of Pei’s building with a pool on top... It’s a rather honest mash-up.

As an architectural citizen-observer, I watched this humble and yet significant building lay in wake for years, next to the big empty space where another great Modern beauty died at 615 Peachtree

Street in 2006. I expected the inevitable.

So finding the old Pei building in a pile of rubble at the end of February only confirmed my expectations. Therefore, I am surprised and pleased to report that some trace of its existence will live on, regardless of how bizarre its journey.

I quickly spoke with Atlanta-based architects Mack Scogin and Merrill Elam of the firm Mack Scogin Merrill Elam Architects, and bldgs architects Brian Bell and David Yocum, asking them to weigh in on these issues.

Karen Touches: Are you all fans of I.M.Pei’s work and do you think the Gulf Oil Building was aesthetically and historically significant enough to preserve in the traditional sense?

Merrill Elam: Yes, significantly—the curtain wall was emerging at the time that this building was built, and this curtain wall was quite delicate and refined. Also, it was I.M. Pei’s and Harry Cobb’s first building together.

Brian Bell: The Gulf Oil Building is quite modest, tepid and delicate. This is not a tough one. He’s better known for big, solid, concrete buildings—so this makes the [Gulf Oil Building] interesting.

David Yocum: It was a building very characteristic of its time. So in that way it is actually not that significant. However, it’s an exceptional example of the style.

Buildings like this reflect a suburban, not urban attitude. You can see this in the pseudo-monumental stairs and landscaping. (I wonder if Pei would shed a tear... was this building valuable to him in his career?)

KT: So, if a Beau Arts building had been destroyed, do you think we’d be having this conversation?

ME: Everything is erasable in Atlanta, it seems.

B&Y: Would we be having this conversation if we were talking about the early work of Frank Lloyd Wright?

KT: Modern Buildings—as well as Contemporary buildings—are such a hard sell in the South. What is the psychology behind Atlanta’s fear of Modern Architecture? Do you think we’re making progress integrating new and old styles in the South?

What are your hopes?

ME: What we’ve learned from the Georgia Trust is that modernist buildings are coming into their territory. Also Docomomo is beginning to preserve modernist buildings. There is hope.

Mack Scogin: We live in a contemporary world that has an appreciation for the new and the old. If there’s hope, it’s associated with the future, not the past.

Obsession with nostalgia only slows the inevitable.

KT: According to the Atlanta Journal Constitution, Creative Loafing, Atlanta Business Chronicle, and the Midtown Patch the Sereo Group and Faison Enterprises Inc. intend to preserve a third of the demolished Pei building!

“We had a crew out at the site for three plus weeks removing the marble panels as required by the city,” said Kris Fetter, Faison’s manager for the project “The panels are in storage and the facade will be reconstructed off site.” What do you think of this? Do you trust these big developers to replicate Pei respectfully?

This sort of preservation idea has a lot of potential...

KT: Do you think this will be like putting the old columns out in front of the equitable building as public plop art? Is such a treatment of a historical building acceptable?

MS: If you hired the greatest painter alive today to replicate the Mona Lisa, what would you have? It’s not a matter of trust; it’s a matter of knowing.

ME: Rigorous and exacting reconstruction if they do it at all.

Anything less will trivialize the original.

MS: We all have trinkets.

ME: Sounds like it would be more than that. Something is better than nothing.

B&Y: Perhaps we should call it a reenactment, a re-preservation of the building...

KT: What might other options look like?

MS: Ask Mr. Pei. B&Y: Trust may not be the issue. The hope is that the new hybrid building will act like urbanism somehow. Will it integrate and react with the city or ignore it? Pushing back, even in a brass or clever way is a form of respecting the past.

KT: Pei is still living and several of his children are practicing architects. When the real estate is worth $6.5 million, is it unreasonable to think they might hire a smaller architecture firm or individual to handle the details of preserving and displaying this Pei artifact?

MS: Yes. Hire Pei and his sons. It is unreasonable to recommend someone else.

Words: Karen Touches Photography: Stephen Fenton / K. Tauches.

Editing: Rachel Reese

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Music

Local manoeuvres in the dark Atlanta based record label Geographic North celebrates the intersection of music, art and design. With an undeniable and unique aesthetic, this music imprint weaves itself into the tapestry of hallowed labels.

Harmony In an ideal collision of function and aesthetics, art harmonizes the two. Music is a compelling example, in that it’s a medium within a medium. Whether browsing a dusty record store or clicking through online catalogs, you are in a combination museum and library. The art hides behind art. It speaks to you before you ever hear it.

Of course, a record sleeve is first and foremost a container.

It keeps the product safe. It is responsible for revealing the contents of what it holds, like a practical container should.

But almost as early as the first pressings of vinyl records, design has evolved into a symbiotic relationship with the music it presents.

History The ambassadors of Geographic North do not take this lightly. While a record sleeve is nothing without the record, the Atlanta label is curatorial, blending sounds with visual accompaniment in a way that lets that symbiosis breathe.

Geographic North’s design is a doorway into the music, but importantly there are stairs that spiral back outside to the design, a circle that speaks to itself beyond the initial experience on the turntable.

Founded in late 2007, the four operators of Geographic North have adhered to their passions. From the first moments of choosing the label’s name—two words that were at home together—Farbod Kokabi, Farzad Moghaddam, Bobby Power, and Lee Summers wanted to put the music they loved out into the world. And to do so in a fashion that would truly deepen the legacy of the artists they admired.

Legacy Like many labels they started life on a small scale, but that’s where the word curatorial really sinks its gentle claws in. A limited-edition seven-inch from beloved Michigan duo Windy & Carl might not warrant pages of mentions in the scope of their discography. But fan out their many records and the Geographic North release, Vol. 7 of the label’s subscription series of singles, stands out with its vivid transparent blue vinyl and starkly textured design. And the inimitable feeling of holding one of only three hundred copies focuses that connection with legacy.

Mystery As curators Geographic North launched the “You Can’t Hide Your Love Forever” seven-inch vinyl subscription series in 2008. A subscription to Geographic North requires an additional layer of trust; one is buying blindly without even knowing whose music will show up in the mailbox.

But that trust denotes yet another symbiotic relationship.

The music enthusiast receives a periodic burst like a love letter, crafted to the last detail by fellow music lovers.

Each thrives upon the other.

Maybe the postal carrier will deliver a double dose of ambient drones from Windsor for the Derby, a sound normally woven into the band’s work but rarely allowed to flourish with real majesty on their studio albums. Or perhaps a dreamy pair of comedown club tracks from up-and-coming duo Test House, the sleeve of which features a playfully post-modern typesetting complimented on the flip side by a gorgeous black and white photo of a small canyon partially erased by brushstrokes. Either way, in the interchangeable cover art, the post-modern snuggles up against the organic when you slide the record sleeve from its plastic. Intrigue blooms.

Trust is rewarded.

142 Consistency The “You Can’t Hide Your Love Forever” subscription series, in particular, is an exercise in unity. Lined up in neat rows, each record could be seen as incongruous at first glance, but within moments the eye gathers the voice of the designs. In their different skins they are all siblings.

This brings to mind Peter Saville, the legendary graphic designer best known for his work with groups such as OMD and the seminal English label Factory Records. The striking images Saville selected to present the revered band New Order—a classic Fantin-Latour painting of flowers marred beautifully by a color-based computer code of the band and album names; packaging the “Blue Monday” single to resemble a floppy disk—were also deceptively disparate, yet each captured the essence of the group as well as the music behind it. Geographic North’s sensibilities fall elegantly between these and the early Factory cassette releases, which were also familial, though their stark minimalism relied upon color scale to distinguish the albums. They all occupy spaces within a spectrum of memorable beauty.

Vitality Simply put, whether through the subscription series or the full-length releases, Geographic North presents music that will endure in a shifting world that often finds itself distracted.

Their passion is manifest in the attention to detail: offset printing, letterpress, hand packaging. Record art that could hang on a wall will more often be pulled from the shelf. But at its root, it comes back to that symbiosis: between listener and artist and presenter; eye and ear; art and design.

Family Geographic North hearkens back to vibrant eras in record design, both modern and nostalgic. Classical and jazz giants ECM Records have for decades maintained an impressionistic minimalism in their album art, and it’s easy to see a kindred spirit in Geographic North’s work, even with the latter’s broader palette. From Jon Wozencroft’s distinctive photography and design that inextricably links each of his Touch label’s releases, to the iconic covers of jazz label Blue Note’s heyday, Geographic North have a deep understanding of intimacy and passionate recognition. In the end the music sings for itself. These four gentlemen love that music and have set out to complement it with keen aesthetics and present it in a way that may outshine its visual forebears. No one image can capture the truth. But it can carry ancestral blood from one arrestive piece to the next.

Words: Michael Wehunt Photography: Mariel Harding geographic-north.com

Home Tour

Modern Atlanta Home Tour Experience the latest in modern architecture by stepping foot inside the South’s most distinctive residences.

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Koblick 1075 Balmoral Lane Roswell, GA 30075

13 Congregation Or Hadash Synagogue 7460 Trowbridge Rd Sandy Springs, GA 30328

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Bongers

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637 Longleaf Dr NE Atlanta, GA 30342

Sarvis

11 Schlumberger Residence 4477 Rebel View SE Atlanta, GA 30339

2980 Argonne Dr. Atlanta GA, 30305

4 Nancy Creek Pool House

1180 Empire Road Atlanta, GA 30329

765 East 765 East Avenue Atlanta, GA 30312

PollanHernandez Loft

2914 Nancy Creek Rd Atlanta, GA 30327

Fier Studio

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878 Peachtree St Unit 425 Atlanta GA, 30309

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Dyson 1729 Dyson Atlanta, GA 30307

Lightroom 2 Whitespace Gallery

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814 Edgewood Ave NE Atlanta, GA 30307

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Seal Pavilion

1 Conquest Residence 934 Prospect Ave SE Atlanta, GA 30316

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510 Gordon St Decatur, GA 30030

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115 North McDonough St Decatur, GA 30030

1 Conquest Residence 934 Prospect Avenue transformed from an existing dilapidated structure to a newly constructed mid-­century modern residence with superb linear appeal.

Coming from a more traditionally styled home, the owner desired a home that would truly reflect his way of living. It’s obvious he was inspired by Frank Lloyd Wright, and certainly influenced his house plans.

A once dilapidated structure transformed into a mid-century modern residence.

seamless eaves, brick, cast stone accents, and casement/awning windows compliment the exterior.

An intimately contained front porch sized for outdoor entertaining and relaxation welcomes you at the front entry. Many pocket doors throughout the home compliment its positive free flow.

Skylights at the stairwell and kitchen positively illuminate this West facing home throughout the day.

Along with its infill appeal, the home’s energy efficiency/sustainability is enhanced with whole house blown-­in cellulose insulation, tankless water heating system, skylights, 4-­‐zone HVAC system with 90% furnace/14 SEER condenser, dual-­‐flush toilets and aseparate 110v electric water heater directly located at kitchen sink for immediate hot water delivery to reduce water waste.

Positioned on back sloping grade and shadowed by trees with full heavy canopies, the home sits subtly below the street positively complimenting the later-­days streetscape.

An iron flat bar rail assembly leads you to the terrace level passing opaque interior stairwell windows letting in additional natural light.

934 Prospect Ave SE Atlanta, GA 30316

This 3,301-­square-­foot home hosts primary living on the main floor and secondary living on the terrace level, which daylights to the rear yard. Deep

The terrace level offers a secondary living room with fireplace, guest bedrooms and baths with suspended vanities.

3,301 sq ft Architecture: Ute Banse, Ute Design Construction: JR McDowell, AMODERN Interior Design: Lyndsy Woods, L Kae Interiors Landscape Design: Tracy King

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Whitespace Gallery The re-creation of Whitespace was a process of distillation.

The three-room brick carriage house dates from 1893. The ceiling had aged to a pale brown patina. Emptying the space, uncovering the windows, and cleaning the walls uncovered a silver grey paint partially covering the brick.

Within this setting, the program was to provide for the presentation of art objects, images, and projections. The context was a given, and the objective was to utilize and amplify its presence without nostalgia.

The project starts when you pass through the new threshold of custom glass and steel doors. Infrastructure for air, power, and sound were inserted to provide a viable facility for the display

The three-room brick carriage house provides for the presentation of objects, images and projections. of art. Pre-existing holes, haphazardly cut into the ceiling, were utilized.

Custom light fixtures were fabricated as utilitarian devices.

Six new wall panels are cantilevered off of the brick walls. Framed in steel, they are painted white and touch neither the ceiling nor the floor. One of the six panels is a 14’-6� long, fully cantilevered concealed steel truss that rotates 90 degrees to change the space from path to destination.

Through the uncovered windows, natural light spills from behind the new panels, floating these surfaces.

814 Edgewood Ave NE Atlanta, GA 30307 Type: Commercial Architecture: bldgs Photography: bldgs bldgs.org whitespace814.com

3 765 East The journey began in 2001, when we built our first home/studio on Kendall Street. We fell in love with the Old 4th Ward, and wanted to stay. We found and purchased an empty lot for our future studio.

Following the U.S. Green Building Council’s LEED rating system and partnering with Southface as our Green Rater we achieved a LEED Silver rating.

We are also participation with the Build for America program, which monitors and measures the results of our green strategies to that of a typical home.

As one of the sustainable construction technique we panelized the house, the panels were fabricated in a factory 12 miles from the site. The walls were framed and sheathed in the factory, shipped to and installed on site. We

Creative ‘Green Strategies’ define an Old 4th Ward residential and studio space.

used a sheathing product made in Georgia that has an embedded moisture barrier. By utilizing 2x6 exterior wall framing, we were able to provide a deeper cavity for sprayed insulation as well as a wall system that produced less wood waste and required less labor for construction.

The concrete tile is manufactured locally in Atlanta. The home can be divided into two areas; the public side (the studio) and the private side (the home), with large pocketing doors. The living level is focused on the exterior pool/ koi courtyard and opens onto the deck based on the Japanese engawa.

The high performance windows are strategically placed for optimal day lighting and cross ventilation. The house has a geothermal mechanical system that employs 5 wells at a depth of 250 feet each, in lieu of the typical outdoor compressor units. In hot weather we have the ability to pull cool air from the courtyard, thru the stair well and out the roof. The tile in the guest and master bathroom floors and walls contain 20% recycled content, made in Tennessee.

The 2nd level studio was designed for the north light (similar to traditional painting studios) allowing us to work with even natural lighting throughout the day.

765 East Avenue NE Atlanta GA 30312 Type: Residential/Studio Architect: TaC studios Contractor: TaC studios Photography: TaC Studios tacstudios.com

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PollanHenandez Loft Located in an early 1950s contemporary building that was once used as office space, the Loft was originally two units that were combined into a single more generous two bedroom unit. Creating a smaller television viewing area separate from the primary living space allows the living room and kitchen area to function solely as gathering and social space.

The bedrooms and private spaces are separated from the public areas with glass walls and drapery in lieu of typical framed walls to create a sense of openness visually enlarging the space.

Initially the space was quite industrial with virtually all of the mechanical and electrical elements exposed. To eliminate this industrial aesthetic, a central element housing the kitchen and television room allows most of the HVAC elements to be hidden in the soffit

A 1950’s complex-industrial office transformed into a simple and clean living quarter.

and opens up the primary area ceilings creating the illusion of higher ceilings and more clean, simple modern space.

This central element is kept away from the exterior walls freeing up all exterior glass allowing natural light to permeate most of the space evenly.

The overriding design direction was to change an overly complex space into a simple, clean and modern space that feels open and light almost creating a showroom effect for the owner’s extensive modern art and furniture collection.

Floor, wall and millwork finishes reflect the owners desire for a cool neutral palette focusing more on interesting textures such as the pebble wall texture on the master bedroom wall and in the master shower. Exceptions to the neutral palette are the occasional pop of color such as the master bath sinks and the decorative wall covering in the living area.

878 Peachtree Street NE, Unit 425 Atlanta GA, 30309

The interior furnishings reflect the owner’s extensive world travels and eclectic but restrained taste.

Design Architect: Sean Key Architect of Record: Kemp Hall Studio Photography: Sean Key seankeydesign.com

5 Seal Pavilion Called Seal Pavilion, the wooden structure extends the existing house by adding a series of decks, rooms, screens, a garage and a driveway.

Central to the pavilion is a fireplace with seating, forming a living room that’s open on three sides.

Seal Pavilion consists of a carport, driveway, exterior deck, outdoor living room, and garden. The clients are proponents of the Case Study House program of the 1940s and like the work of Alvar Aalto, Richard Neutra, and Donald Judd, thus influencing the design.

The project blurs the boundaries between minimalist sculpture, architecture, and landscape through features like the outdoor fireplace

Blurring the boundaries between minimalist sculpture, architecture and landscape.

and the planar language that defines the outdoor rooms. Abstract references to the southern vernacular of shotgun shacks and dogtrot houses are other influences to the design. The carport and pavilion reference dogtrot houses allowing southeast breezes to flow through.

The Semperian fireplace creates a cross reference to the burnt-out houses of the Georgia countryside and defines the outdoor living room. Careful arborist input was sought and implemented for the existing white oak tree, which pierces the roof. Materials and construction decisions were all made in compliance with LEED. 510 Gordon St Decatur, GA 30030 Architecture: Lightroom Studio Photography: William Carpenter

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Lightroom 2 This urban project is located in the heart of downtown Decatur and forms a threshold between Oakhurst and the Decatur Square. The project contains a storefront modern art gallery, a new office and studio, a residential level with kitchen dining and living area, two bedroom and two bathrooms. The rooftop is an outdoor terrace and movie theater that frames the view of Midtown Atlanta and the forests of Druid Hills and Inman Park.

The concept for the project is an urban casting taking the new Decatur city plan and street-scape guidelines and interpreting them as a casting of the zoning itself. Mixing east (sunrise) and west (sunset) light; the project imbues the passage of time as a central theme.

Structurally; the two tall shear walls allow for the use of the engineered

Mixing sunrise and sunset light, this multi-purpose space imbues the passage of time as a theme.

wood and the cantilever, which reaches across the existing driveway and becomes a strong sculptural element.

The stair vertically becomes an organizing device and is constructed also of engineered wood and laminated plywood referencing the work of Donald Judd and the Eames studio.

The sculptural laminated plywood stair ascends up and slips behind the shear wall and connects each of the four levels. Open risers allow vertical interpenetration of space and light.

A wooden structural frame of stacked dimensional lumber and large storefront windows frame the horizon line and the sky differently from each level.

115 North McDonough St. Decatur, GA 30030 3000 sq ft Architecture: Lightroom Photography: Fredrik Brauer lightroom.tv

7 Fier Studio

A remote, quiet, meditative space for family members to get away from the daily rigor.

This 450 square foot studio includes a lounge area, a small office area, and a compact library. The exterior features a wrap around covered deck and lookout roof deck perch.

1180 Empire Road Atlanta, GA 30329 450 sq ft Architecture: Dencity LLC Photography: Fredrik Brauer dencity.us

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Dyson The 1960’s ranch home was completely gutted except for hardwoods in the guest bedrooms which were salvaged and refinished later in the project.

The majority of the interior walls were reworked to create an open floor plan in the kitchen, dining and living room.

A repurposed structural beam was installed between the kitchen and living room. This enabled the team to remove all interior walls and open up the living space, and the beam was left exposed as a unique design element.

The home’s renovated design brings the outdoors inside, and creates a very functional 750 square-foot outdoor courtyard which provides a comfortable outdoor living space. This was accomplished by creating a 400 square foot master suite addition, an adjacent covered deck and porch, and a large covered breezeway that connects the deck and porch to the garage.

A 1960’s ranch home gutted and renovated to create an open and elegant interior.

The master suite’s true masonry fireplace connects to the outdoor courtyard, and is enjoyable from both indoors and outdoors. Rain chains add a decorative yet functional element to the home’s exterior.

The home’s interiors feature an elegant foundation of six inch wide hickory flooring. The chef’s kitchen features modern kitchen base cabinetry, walnut upper cabinetry, honed/leathered granite countertops, and a custom-built walnut butcher block kitchen table that serves a dual purpose as both a prep area and dining room table.

Both the master bathroom and guest bathroom feature custom-built vanities created specifically for this home.

Skylights in the master bedroom and living room allow natural lighting to fill the home, while reducing heating bills.

The Dyson Residence was built to Earthcraft standards, which ensure proper, sustainable construction techniques. The various insulation techniques combine to produce a well-insulated building envelope for a modest price. A tankless water heater provides the homeowners with hot water on demand (without the cost of constantly heating a traditional hot water tank), and the 15-SEER HVAC system provides efficient heating and cooling.

1729 Dyson Atlanta, GA 30307 Type: Residential Renovation Draft: EarthStation Architecture Builders/Construction: Cablik Enterprises Photography: Fredrik Brauer cablikenterprises.com, earthstationarchitecture.com

9 Bongers Our new home came about from an afternoon drive through Buckhead on New Year’s day 2011. While we lived only a mile away in a modern home we built in 2005 we happened to find a vacant double lot right behind Phipps Plaza. It was one full acre in the heart of Buckhead no one had ever built on it due to a winding stream that bisected it virtually making it unbuildable.

After several discussions with the owners they allowed us six months to complete a stream buffer variance with the City of Atlanta and by February of 2012 we received a building permit.

While the permit let us build our home, the distance to the stream still required a unique design that allows a portion of the front corner of the home to cantilever over 100 year flood area. Our designer was able to creatively “hang”

An efficient, contemporary home built around a winding stream in the heart of Buckhead. a portion of our home over a carport that keeps the entire home from encroaching too close to the stream.

Interestingly enough the audit said we needed less insulation but better window glazing that in the end cut our heating and cooling loads in half.

From a design perspective we also wanted a home whose size worked for our family, was efficient, contemporary (but not too stark) and buildable in our budget. Since we are homebuilders and have built several modern homes over the years we understood how costs for modern homes can escalate from cost of a traditional home. Because of our needs we spent more time on the design and also used Southface Energy Institute to perform an energy audit before construction.

The audit uncovered several areas that not only reduced our construction cost but also lowered the homes energy usage.

637 Longleaf Dr NE Atlanta, Georgia 30342 Builder: Bongers Home Builders Designer: Price Residential Design Photography: Fredrik Brauer bongershomebuilders.com

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Sarvis The Sarvis residence is a 3,900 sq ft house in Buckhead near North Atlanta High school. Located on a half acre site at the corner of Arden and Argonne streets the house sits up on the far side of its site where the properties grade of the site is at its highest.

Great care was taken to preserve as many trees as possible and to leave the site elevations in as natural a state as possible. The driveway winds through the trees and allows one to see the house both straight on at first and eventually from the side where the two main cantilevered volumes can be recognized.

The house materials are local stone, cypress, European stucco and commercial glass. The t shaped plan

The preservation of trees and attention to site elevation propel this Buckhead residential.

of the house creates a private area in the back that contains an outdoor patio and pool. The house is organized around a suspended focal entry point that light ups at night and is visible from the street. The three wings of the house connect at this point. A cantilevered stair that hovers above a reflecting pool serves as the main entry.

Inside the main floor material is a large white ceramic tile, a material that is common in Puerto Rico, which is where the homeowners originate. The house opens up to the patio and pool from the inside using large expanses of glass.

The roof form, which is designed to look like it is lifting off from the house, is revealed from the house using ribbons of glazing. Most ceiling material throughout the house is the cypress.

The Argonne Residence is built to Earthcraft standards, which provide sound construction techniques and increased energy efficiency. Passive design objectives to minimize solar gain are achieved through the careful design of overhangs where the large surfaces of glass open up to the south and west.

2980 Argonne Dr. NW Atlanta GA, 30305 3900 sq ft Type: Residential Architecture: Dencity LLC Interiors: Dencity LLC General Contractor: Cablik Enterprises Landscape Design: Core Studios Photography: Fredrik Brauer dencity.us

11 Schlumberger Residence In 2002, when owners Claire & Axel Schlumberger acquired a 1974 California style split level home in Vinings, they had a vision of how to capitalize on the open floor plan, ample ambient light and potential for a complete modern makeover of a home in a neighborhood with mostly traditional structures.

Surrounded by woods and often referred to as “The Tree House”, they wanted to bring the structure back to its modern essence.

Early priorities included a larger master bathroom, natural maple wood floors, custom stainless railing and many incremental interior projects to address a generation of inconsistencies in style.

By the end of the decade, it was time to tackle a comprehensive scope of work that required an integrated approach:

1974 California style split level takes on a complete makeover, reviving its modern essence.

The entire building envelope needed to be rebuilt as the siding, windows, roof and HVAC systems had reached their end of life. A new kitchen with an ergonomic layout was needed and, equally important, the east side of the house needed to be opened toward a prior screen porch and roof addition, both of which would be eliminated in the process.

Natives of France and Germany, the owners knew that they wanted a European design and an energy efficiency concept for the home that would not be available off the shelf.

The energy efficiency concept further includes foam insulation in the attic and cathedral ceilings, where foam was applied as part of the roof replacement, dense-packed fiber insulation for

the stud exterior walls, new high efficiency hybrid HVAC systems and the aforementioned reflective metal roof.

“We wanted to see how far we could push energy efficiency when renovating an older, very inefficient home and our energy use for heating and cooling has been reduced by over 50%..” says Axel, an engineer and energy expert.

4477 Rebel Valley View Atlanta, GA 30339 Builder / Contractor: Pinnacle Custom Builders, Robert Soens Architecture: EarthStation Architecture, Jeff Wren Photography: James Klotz pinnacle-custom-builders.com

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Nancy Creek Pool House

Guest quarters and outdoor entertainment addition to a mid-century modern home.

The Nancy Creek Guesthouse & Swimming Pool were placed on a 60-by-120-foot site once occupied by a tennis court. Each element of the design was carefully positioned to enhance its relationship to the existing house and to the movement of the sun.

The program called for a large swimming pool, a stone terrace for entertaining, a lawn for playing ball and a free standing 800 sf guest house with living space, kitchen, bathroom and guest room. The pool is located along the western edge to avoid morning shadows from the wooded site.

southern facade create an open pavilion aesthetic. Primarily a wood framed structure, the guesthouse utilizes concealed wood posts and beams to accommodate large window and door openings along the southern facade.

The guesthouse, situated along the northern edge, provides a backdrop to the pool and terrace when viewed from the main house. Sliding glass panels & clerestory windows along the

To maximize its relationship with the surrounding site, the guesthouse incorporates a customized lift & slide glass door system along its three principal facades. When opened, the

sliding doors disappear behind wood wall panels creating an open-air pavilion with uninterrupted views to the pool, garden and existing house. Continuous head guides and recessed floor tracks allow the panels to travel more than 22 feet across the facade.

A tapered four-foot roof overhang provides summer shade for the 12-foot high south-facing glass wall. Concealed micro-lam beams and metal straps at top and bottom of each wood joist support the cantilever. The concealed beams help create a “floating roof� aesthetic by allowing the clerestory windows to continue up to the ceiling.

2914 Nancy Creek Road NW Atlanta GA 30327 800 sq ft Architecture: Philip Babb Architect Photography: Erica George Dines Photography

13 Congregation Or Hadash Synagogue* Formerly a Chevrolet paint and auto body repair shop, the site is being repurposed as a conservative Jewish synagogue for 400 families, including a sanctuary, chapel, social hall, offices, and classrooms.

The existing concrete tilt-up panels and pre-engineered long-span steel frames are used to house both interior and exterior spaces, including courtyards and gardens for special functions and celebrations.

Sliding glass doors between the sanctuary and social hall allow for varied seating arrangements; rotating wood panels in the middle of the building permit the social hall to adjoin an entrance lobby for overflow seating and tables.

A paint and auto body repair shop is repurposed as an inventive space for a Jewish synagogue.

The project is rooted in the acceptance of the existng structure as a compelling starting point, allowing for inventive re-use and unexpected indoor and outdoor connections.

* This location is only open for the tour on Sunday, June 9, 10am - 4pm.

7460 Trowbridge Rd Sandy Springs, Georgia 30328 24,000 sq ft Architecture, Interior Architecture: bldgs Landscape: HILLworks landscape architects Photography: Fredrik Brauer bldgs.org

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Koblick Residence The Koblick Residence is a 12,265 square foot modern showcase. The front of the house faces the street with sensitivity to the language and proportions of the adjacent homes while maintaining its own strong modern style.

The design of the home had to satisfy three constraints: the neighborhood design standard, the Owner’s program and list of amenities, and the Land. The Land was the highest standard to abide.

The vision for the design of the home was all about the site. The building was to compliment, reflect, and not interrupt the natural beauty surrounding it. It reflects the designer’s intrinsic understanding that there is no built structure that can be compared to natural beauty.

A residence built to compliment, reflect and uninterupt the natural beauty surrounding it.

The site is dramatically vertical. The lowest point starts in a wetland nature preserve and rises steeply to street.

All points have stunning views to the wetlands and the rolling Georgia hills.

A custom glass and masonry elevator serves as a connection between the lowest level of the house to the highest point and, simultaneously, offers seamless views to the rich scenery.

The floor plan and materials salute the water. Several water elements are strategically placed to simulate water carving through rock and land. A quiet coy pond starts the journey, a dramatic waterfall feature completes it, and there are many surprises along the way.

Every opportunity to use natural light is used. All exterior glazing elements are double-insulated commercial-grade

storefront and curtain wall. All materials require zero long term maintenance.

A stunning bio-retention area offers a beautiful garden appearance while functioning as a natural water filtration area for all site and roof water run-off.

Color was integral through the design agenda because it had to be transparent.

Custom furniture was designed to complement the creative expression of the internal space and the structure.

1075 Balmoral Lane Roswell, GA 30075 12,265 sq ft Architect: KSGW Architects Builder/General Contractor: BMP Ventures, Inc. /KSGW Architect Landscape Designer: Archstone, Inc. /KSGW Architects, LLC Photography: KSGW Architects ksgw.net

Home Tour

Modern Satellite Home Tour This year the MA HomeTour expands out of Atlanta and into the North Carolina cities of Charlotte, Raleigh and Chapel Hill, further examining the Southeast’s burgeoning modern architecture.

For a Google map of the tour visit modern-atlanta.org/nc-map

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Chapel Hill 85

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Stoneridge Residence 98 Stoneridge Place Chapel Hill, NC 27514

Charlotte

Raleigh Chasen Residence 827 East Hargett St Raleigh, NC 27601

Schรถenberg Residence 4015 Arborway Charlotte, NC 28211 77

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Charlotte Schöenberg Residence The Schönberg residence second story addition showcases a sophisticated use of color, an expert and unconventional approach to materials and construction and an eye for detail.

“Boxes within boxes” construction and a sophisticated use of color define this visionary home.

of successful innovation. The client's involvement created an environment where the renovation inspired trust and invigorated daily life without disrupting it.

The “boxes within boxes” construction of recessed shelves reveals shadow lines that seemingly float the shelves inside the library walls. From the walls to the floors, doors, and windows, the entire renovation is a study in clean functionality and visual ease.

Additionally, the ordered elegance of the library’s interior shelves is echoed to dramatic effect with the protruding iconic red boxes that stop traffic and define the space’s exterior.

Visionary, thoughtful, and collaborative, the Schönberg project is an example

4015 Arborway Charlotte, NC 28211 2,030 sq ft Design/Build: Dialect Design dialectdesign.com

Chapel Hill 166

Stoneridge Residence Our clients approached us to substantially renovate and make an addition to an existing Deck House north of Chapel Hill. The original house was a 1986 replica of a sixties-era Deck House.

When our clients approached us, they had not yet purchased the property. Our first effort was to help them imagine the potential of improving the house.

After a successful feasibility study, they purchased the home in December 2010.

Our clients have one child, an extended family that visits often, and a range of interests, including a love of listening to and making music. The design of the renovation and addition therefore had to accommodate fluctuating numbers of people and partition activities in a manner that would minimize “hobby creep.” Our response was to peel open the primary public spaces in

A 1986 replica of a 1960's-era Deck House is renovated to meet its uniquely modern potential.

the main living, kitchen, and dining areas, consolidate and organize existing bedroom areas to easily accommodate children and guests, provide sequestered study and music areas in the existing basement, and extend a “satellite” master suite off the end of the house that is attached to the main house via a glass hall and screened porch. The existing Deck House, ironically, had an anemic deck. Our design significantly expands the deck and other outdoor spaces.

The gable roof portion of the house over the living and dining rooms has been lifted to the north, creating a two-story wall of glass. The main house and the master suite addition take on different forms, and they are set apart from one another to distinguish existing from new.

The logic of the existing structural system is very direct, and the renovations build directly from it. The master addition has a bolder presence, taking the form of a rectangular tube that cantilevers off an extended existing foundation and directs attention to the forest north of the house. The existing house was sited in a manner that exploits prevailing breezes and captures natural light. Our changes and addition amplify these functions.

98 Stoneridge Place Chapel Hill, NC 27514 4,650 sq ft Architect: in situ studio Contractor: Redfoot and Weber Construction Photography: Richard Leo Johnson institustudios.us

Raleigh Chasen Residence

Affordable, small and urban, this efficient space represents a new house type in Raleigh.

The Chasen Residence is in a hip and growing, yet historic, neighborhood several blocks east of downtown Raleigh.

Representing a new house type in Raleigh, this house is affordable, small, modern and urban. The efficient plan confines the entries, stairs, hallway, kitchen, and half bath to one side of the house, opening up the rest of the space for living.

The house has an efficient envelope and uses several sustainable strategies to collect and preserve energy. The upper floor is pushed towards the back of the lot to create a double-height living space at the street and a screened porch fronting the back yard. Total construction cost was $117 per square foot.

827 East Hargett St Raleigh, NC 27601 1,451 sf Architecture: in situ studio Contractor: Axiom Green Build institustudios.us

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Colophon & Contributors

Why and w and how Art Direction

Graphic design

The design direction was intended to be effortless and simple, mixing traditional values with experimental elements.

The goal of the design was to enhance storytelling and core essence of the content.

Typography You’re reading the versatile Univers® typeface family

by Adrian Frutiger.

Armchair A design agency with a focus on digital, Armchair was established in 2001 by a team of digital strategists, designers, technologists and programmers. Located in a renovated soap factory on Atlanta’s Westside, Armchair has served content providers and consumer brands, Fortune 500 giants and innovative start-ups.

Project management Kevin Byrd Kevin was born in Charleston, SC and received his BA in Architecture from Southern Polytechnic State University.

His work has been exhibited at the One Twelve Gallery, Imaginary Million, Swan Coach Gallery, and Art Paper’s Annual Auction. He does creative for Alternative Apparel and Modern Atlanta, and also produces the CHIRP sound series.

Kat Kim Emory business school grad with a penchant for music & a tendency to ramble. Sheds bobby pins more than a cat sheds its fur & can out-bake Martha Stewart any day. 22 years young.

Although designed in the fifties it has gotten better with age.

Copy

Color

Acree Graham

This years MA! called for a bright and raw theme color.

Green was the natural choice.

Elizabeth Kelley

Paper

Elizabeth graduated from Furman University with a degree in Studio Art and Philosophy. She is currently a student at Portfolio Center and design intern at Armchair. She is a type nerd, will read anything she can get her hands on and is known to always have a disposable camera on hand.

This page is printed on Utopia Two Matte, 80lb. Text, 118 gsm and cover is Utopia Two Dull, 100 lb. Cover (9pt.) 270 gsm.

All paper from Utopia Paper.

Mariel Harding Mariel balances both the creative and cerebral. Born in the midwest, she migrated south for school and graduated Magna Cum Laude from Savannah College of Art and Design.

Since 2010 she has been an integral force on some of Armchair’s largest projects.

A lit-nerd-turned-copywriter, Acree has helped MA form words since 2011. From editing a Swedish lighting designer’s bio to interviewing some of Atlanta’s most intimidating modernists, she loves partnering with visual people and feels lucky to live at the center of so much Southern creative energy. Among her modern collectibles are the threeingredient Negroni (which she met at a MA event in 2012 and has been drinking ever since), extra-fine-point pens, and clean lines of writing. Her hope for MA 2013 is that someone will hook her up with an Eames chair.

Photography Farbod Kokabi Farbod, a graduate of the Ernest G. Welch School of Design, was born in Tehran and migrated with his family to America in the mid-’80s. As a designer for Armchair, his work is incorporated into nearly all of the company’s wide-ranging projects. Additionally, he co-operates and serves as primary designer for the Atlanta-based boutique record label Geographic North.

Stefán Kjartansson As Creative Director of Armchair, Stefán oversees a team that has won Armchair every major interactive design award.

His work has been featured in design publications like Creative Review, Print Magazine and I.D. Magazine.

A graduate of Iceland Academy of the Arts, Stefán has designed best-selling typefaces and taught typography, logo and experimental media at Portfolio Center and Georgia Tech.

Fredrik Brauer Born in Stockholm. Lived in Boston, Chicago and Atlanta. Loves his family, friends, jazz, good food and baseball.

Photography is the best way he has found to relate to his surroundings.

hat we did we did it Art Brock Davis (pg 11-12) Brock Davis is an award-winning, multidisciplinary artist and creative director with a knack for creating ground-breaking work. Brock has worked in advertising for the past 17 years. Most recently as group creative director at Carmichael Lynch, Brock concocted the memorable “Messin’ With Sasquatch” campaign for Jack Links Beef Jerky as well as compelling work for Subaru, Harley-Davidson, Porsche, Rapala and many others.

His work has received national and international acclaim, acquiring every notable industry award including the prestigious Cannes Lion. When he isn’t busy making ads he’s busy making other things, like one piece of art every day for a year in his “Make Something Cool Every Day” project, and t-shirt designs for his line of Brock Davis kid’s tees at Target stores. He is a regular contributing artist to the New York Times, Wired, Esquire, Fast Company, O Magazine and recently created the October 10, 2011 cover of Time magazine. His professional and personal work is viewed and shared millions of times over. He has been written about and featured on NPR, USA Today, Wired, Comedy Central, G4 and Boing Boing among others.

Bryan Collins

Farbod Kokabi (pg 71-72)

Jeff Jarvis (pg 191-192) Originally from upstate New York, Jeff Jarvis is freelance designer living and working in Brooklyn. Jeff is a graduate of the University at Buffalo and the Portfolio Center. He has a passion for type and simple, direct design solutions.

Josh Boston (pg 93-94) 80 inches of pure optimism, Josh Boston is an art director/artist/ illustrator/designer with a love of interactive and animal metaphors.

Raised in the mid-west and refined on the west coast, he’s done just about everything from advertising to print to digital to illustration & animation.

He’s also worked for an assortment of international brands, little brands, non-profits, big agencies and tiny agencies. His work has been featured internationally in the Coke Side of Life Remix Exhibition as well as in publications such as Beautiful Decay, RE:UP, and Relevant. He gets really excited about storytelling, improvising, and connecting forms to emotion.

Currently stationed in Portland, Oregon as an Art Director at Wieden + Kennedy.

(pg 33-34)

karlssonwilker

Bryan Collins is a self-trained multidisciplinary creative specializing in branding, illustration and music packaging. Over the last 15 years, his work has been internationally recognized by organizations such as SHIFT / JAPAN to Semi-Permanent in New Zealand. The diversity in his work has also led him to produce creative work for Fortune 500 companies ranging from Budweiser to Motorola. Bryan has recently moved from Brooklyn, New York to a nice quiet corner of Stone Mountain, Georgia with his wife and 2 sons.

(pg 101-102) karlssonwilker is the design studio of Icelander Hjalti Karlsson and German Jan Wilker, founded late 2000 and located in the heart of New York City. Together with a small team, karlssonwilker work directly and independently for an eclectic mix of cultural and commercial clients, from local non-profits to global corporations. They have numerous international awards, and have been featured in all national and international design magazine of importance.

They frequently lecture and hold workshops across the globe. Their book “tellmewhy”, on the first 24 months in design business, was published by

Princeton Architectural Press. Hjalti and Jan are members of Alliance Graphique Internationale. Combined, they should have over 80 years of experience ahead of them.

Kevin Byrd (pg 115-116)

Mariel Harding (pg 47-48)

Megan Huntz (pg 83-84)

Fashion designer Megan Huntz is originally from Atlanta, GA where she currently resides and produces her own brand, Megan Huntz Dresses, a limited edition line of dresses focused on textile enrichment through hand washing, dyeing and creating original prints. She previously studied and worked in Italy and Spain for nearly a decade. Domus Academy took Megan to Milan in 2003, where she completed her Masters in Fashion Design. After her studies, she worked as a womenswear denim designer for Meltin’Pot, Spazio Lazzari of Treviso, as well as for Max&Co and New Penny, brands of the Max Mara group. In 2010 she returned to her hometown of Atlanta, GA and re-launched her line in the US. Megan Huntz Dresses is now available in boutiques in Atlanta, as well as by appointment. Megan is the owner and co-creator of Huntz & White Ties, a new men’s neckwear line, launched in December of 2012. She is also a part-time professor of fashion design at SCAD Atlanta, and regularly contributes as a consultant, researcher and strategist for Son & Sons.

Michael Cina (pg 169-170) Michael Cina is an internationally recognized Creative Director and Arist who is currently leading a multi-disciplinary design studio, Cina Associates. Michael is known globally for originating YouWorkForThem, a graphic design boutique, and its’ sister company,

WeWorkForThem, an award-winning design studio. His design portfolio includes many prominent Fortune 500 companies including Apple, ESPN, Facebook, Pepsi, Coke, Disney, HP, Microsoft, and Victoria’s Secret.

Cina’s work is consistently featured in numerous publications and he has spoken at many global design conferences about his unique vision for design.

Stefán Kjartansson (pg 145-146)

Thor Stefánsson (pg 193,195) 7th grader Thor Stefánsson resides in Candler Park, Atlanta. He likes Calvin & Hobbes, Walking Dead and South Park. He wants to be an artist when he grows up. He will be hitting you up for an internship in few years.

Printer ElandersUSA Located just north of Atlanta, Georgia in the quiet, quaint little town of Acworth.

It’s one of the newest members of the worldwide Elanders family. Founded in Sweden in 1909, Elanders is a global printing and media solutions company. With local presence in over 10 countries on 4 continents, Elanders provides innovative print and media solutions for marketing, publishing, packaging, personalized printing, literature distribution and web-based applications, serving a diverse global customer base.

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