Interior Design August 2019

AUGUST 2019

stand up for art

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Design: Jessica Engelhardt

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CONTENTS AUGUST 2019

VOLUME 90 NUMBER 12

ON THE COVER Jorge Yázpik sculptures in parota and volcanic rock stand tall in the Italian Ocean Blue travertine–clad courtyard of Grupo Arca, a premium building materials showroom in Guadalajara, Mexico, by Esrawe Studio.

081.9

Photography: Genevieve Lutkin.

FEATURES 120 THREE’S COMPANY

by Alexandra Cheney

A designer-chef collaboration has yielded Casa Maria Luigia, an art-filled hospitality venture in northern Italy.

128 MATERIALS STUDY

by Raul Barreneche

Esrawe Studio highlights Grupo Arca’s goods at its experiential showroom in Guadalajara, Mexico.

138 ACROPOLIS NOW

by Casey Hall

146 OFF THE

BEATEN PATH

by Wilson Barlow

From urban ruins to a rural hillside, unconventional ven­ues invite inventive installations.

160 A MATTER OF PERSPECTIVE

by Rebecca Lo

For Cun Design’s own Beijing studio, the secret was to think like a client—and design it like a gallery.

170 ROOM SERVICE

by Colleen Curry

Hellas House, a multiuse cultural center by KCA/ Kostas Chatzigiannis Architecture, brings Greece, ancient and modern, to Shanghai.

At BnA Alter Museum, a boutique hotel in Kyoto, Japan, installations mix with interior design to provide guests with culture and comfort.

ROLAND HALBE

146

ox chair designed in 1960 by hans wegner - corona chair designed in 1964 by poul volther - made in denmark by erik jorgensen

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erik jorgensen verpan carl hansen vitra kartell bensen herman miller knoll os artek artifort foscarini moooi and more!

081.9

CONTENTS AUGUST 2019

VOLUME 90 NUMBER 12

35

walk-through 45 HIGHER EDUCATION

by Edie Cohen

coda awards 87 STANDING OVATION

by Georgina McWhirter

Let’s hear it for the winners of this year’s CODAawards for international art and design.

departments 23 HEADLINERS 29 DESIGNWIRE

by Annie Block 36 BLIPS

by Annie Block 38 SKETCHBOOK

by Daniel Libeskind 40 PINUPS/MATERIAL

BANK

by Wilson Barlow

115 CENTERFOLD

by Colleen Curry Second Time Around

Frances Kéré’s installation at Tippet Rise Art Center in southern Montana gives felled trees new life.

190 BOOKS

by Stanley Abercrombie 191 CONTACTS 195 INTERVENTION

by Mairi Beautyman

SALVA LÓPEZ

49 NEOCON

by Mark McMenamin,

Georgina McWhirter,

Colleen Curry, and

Wilson Barlow

95 MARKET

by Rebecca Thienes and

Wilson Barlow

95

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e d i t o r ’ s welcome

art, craft, and rocket science OK, friends, I need to get something off my chest. While not admitting to a miss in any shape or form, mind you, I have to confess how demanding a task it has become to assemble an album of design projects focusing exclusively on their relationship to art. My problem? The difference between this issue and that of any other month is not so easily, obviously, or clearly discernible.

My lament goes like this: Art, art, art everywhere, and not a word to add!

Hee hee! Albeit, truth be told, all this art is astonishingly nourishing and fulfilling. Today we live in a platinum age—almost literally—and possibly as never before, art is thickly woven into our daily activities and surroundings. From Banksy to Old Masters, upper or lower case, objects of our highest expression can be found practically everywhere. Naturally, the problem I was ruing above remains: Our July issue (and every month before) was and our September issue (and every month after) will be strong art competitors. But hey, beyond being art-broken ;) all I can say is boo-hoo, or better yet, hooray to that!

We little things (I wish!) can only bring a finite number of examples to your attention. But I made sure our August portfolio offers the widest window and the sharpest view on the finest of this Heaven-made match of art and design.

The latter, our craft, is the intrinsic interest and the other part of the equation, of course. Inside, Cun Design’s art-overflowing studio in Beijing, the art-centric Casa Maria Luigia boutique hotel in Northern Italy by Catia Baccolini, and the art/design experiential nexus devised by Esrawe Studio in Guadalajara, will positively prove the unbreakable bond between the two. And the cherry on top of all this artiness is our annual celebration of the CODAawards highlighting winners that successfully integrated commissioned art into interior, architectural, or public spaces.

And finally, after art and craft, let me get to rocketry, and give a loud shoutout to our new colleagues, Amanda Schneider and the team at ThinkLab. A group of jolly-good-and-talented folks where reality is concerned, these unequalled master-weavers of research are debuting in our new Business of Design section (right after the features...check it out!), and we are beyond delighted to call them partners, as they share their keen eye into the future.

Beam yourself up to their dimension, Scotty...pronto!

Give me an “A,”

MONICA CASTIGLIONI

Follow me on Instagram

thecindygram

AUG.19

INTERIOR DESIGN

21

Great minds don’t sit alike.

Š 2019 Keilhauer LTD.

With a variety of distinct seating options, the Elevate collection lets people choose the way to work that inspires them the most.

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by Keilhauer

“Be no slave to empirical design. Be no chaser of aesthetic trends.

Never stop finding our own way.”

h e a d l i n e rs

“A Matter of Perspective,” page 160

Cun Design

founder: Cui Shu. firm site: Beijing. firm size: 45 architects and designers. current projects: An office for Funs Group F1 and a studio and gallery for Liu Zongyuan Photography in Beijing. honors: Interior Design Best of Year Award; Red Dot Award; IF Design Awards. role model: Andy Warhol for being the most unassuming artist. air: An extreme-sports enthusiast, Cui skydives every year. road: He owns two Harley-Davidson motorcycles. cunchina.cn

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Esrawe Studio “Materials Study,” page 128 director: Héctor Esrawe. architecture coordinator: Laura Vela. firm site: Mexico City. firm size: 47 architects and designers. current projects: A hotel in Mexico City; Grupo Arca showroom in Miami; Denver Art Museum Learning & Engagement Center. honors: Interior Design Best of Year Awards; AZ Award for Design Excellence. role model: Olafur Eliasson for linking physics, geometry, art, and design to build atmospheres that evoke nature. tangible: Esrawe collects objects that represent the memory of a place or a situation. cerebral: Vela has a master’s in architecture. esrawe.com

h e a d l i n e rs

NORTHWEST FLORA

KCA/Kostas Chatzigiannis Architecture founder: Kostas Chatzigiannis. firm site: Shanghai. firm size: Four architects and designers. current projects: L’Oréal Learning Academy in Shanghai; building renovation in Athens; resort complex in Sabah, Malaysia. role model: Louis Kahn for his nonclassical yet monumental creation of building volumes and the negative space between them. sharp shooter: Chatzigiannis does arts and crafts at home, mostly wielding a glue gun. keen spotter: When traveling, he collects decorative objects. kcarchitecture.org

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“Acropolis Now,” page 138

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The Los Angeles cultural cognoscenti may be experiencing déjà vu. SelgasCano’s Serpentine Pavilion, which debuted in London in 2015, has made its way across the pond to La Brea Tar Pits, courtesy of the Natural History Museums of Los Angeles County and Second Home, the U.K.–based social business committed to supporting entrepreneurship and creativity (it counts Kickstarter and Taskrabbit among its London members). In keeping with Second Home’s commitment to sustainability, the pavilion reuses the same multicolored ETFE and steel from the first installation; only the weatherproof boating rope securing them together is new. In addition to offering public programs focus­ ing on culture and design—architecture critic Christopher Hawthorne is speaking there September 24—the pavilion is also a lead-up to the fall opening of Second Home Hollywood: the company’s first U.S. location, a 90,000-square-foot workplace campus, also by SelgasCano, composed of 60 studios with sunny yellow roofs.

in a new light IWAN BAAN

The Second Home Serpentine Pavilion by SelgasCano is at La Brea Tar Pits in Los Angeles until November 24.

interiordesign.net/salgascano19 for images of Second Home Hollywood AUG.19

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the comprehensive “Long Story Short” opens, featuring 60 works spanning nearly 18 decades, as far back as 1849.

Alongside traditional photographs by Man Ray, William Eggleston, and others will be different mediums by such younger artists as Elisheva Biernoff and Liz Deschenes. In the spring, the gallery kicks off its 41st year with a show of new color photographs by Hiroshi Sugimoto.

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snapshots of history

From top: Alfred Stieglitz’s Georgia O’Keeffe, a 1919 palla­ dium print, is appearing in “Long Story Short” at San Francisco’s Fraenkel Gallery, October 24 through January 18. Wardell Milan’s Eddie Middleton, a 2018 cut-and-paste printed paper.

Contortions on the Ground, an 1887 collotype by Eadweard Muybridge. The 1969 gelatin silver print, Untitled (Dinosaur Balloon), photographer unknown.

d e s i g n w ire

CLOCKWISE FROM TOP RIGHT: COURTESY OF WARDELL MILAN AND DAVID NOLAN GALLERY, NEW YORK; COURTESY OF FRAENKEL GALLERY (3)

“In the thick of the digital era, we still believe that the physical presence of artwork can affect a person in the deepest ways,” Jeffrey Fraenkel states.

He would know. Fraenkel Gallery in San Francisco has been exhibiting pieces, mostly photography, by the likes of Diane Arbus, Nan Goldin, and Irving Penn since 1979. So far, its 40th anniversary exhibition schedule has presented solo shows by Lee Friedlander and Carleton Watkins. In October,

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About 50 miles northwest of London, an eye-catching building has taken root. It’s MK Gallery, the “MK” standing for British town Milton Keynes, and it’s the work of 6a Architects, a practice known for its contemporary art galleries, partic­ ularly in historic environments.

Which applies to this project, as the firm’s contribution is an addition to an original 1990’s structure

by Andrzej Blonski Architects, and brings the gallery’s new square footage to nearly 5,400. Some original elements were retained, but the facade, panels of corrugated steel interrupted by an enormous, sunreminiscent circular window, is purely 21st century. Inside, however, the vibe skews slightly ‘70’s, thanks to artists Gareth Jones and Nils Norman, who selected the color palette.

They then collaborated with graphic designer Mark El-khatib on the public spaces, such as the Sky Room auditorium and the café, where saturated red and yellow pop against the white-and-gray concrete and tile envelope. Currently on view in the galleries is “Paula Rego: Obedience and Defiance,” until September 22.

chip off the old block Clockwise from bottom: MK Gallery in Milton Keyes, U.K., has an addition clad in corrugated polished stainless steel by 6a Architects. Its auditorium. The café.

Spiral fire-escape stairs surrounded by perforated painted steel.

CLOCKWISE FROM TOP: JOHAN DEHLIN; COURTESY OF 6A ARCHITECTS (3)

interiordesign.net/6aarchitects19 for more images of the project

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INTERIOR DESIGN

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Foster + Partners

Element 03 Conference Meeting Table

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It’s been 20 years since the design world lost one of its greatest: Charlotte Perriand. To mark the milestone, Fondation Louis Vuitton in Paris is giving over all four floors of galleries in its Gehry Partners–designed building to her furniture and sketches as well as to the artwork that influenced her. Among the hundreds of pieces in the exhibition will be 192 by the architect, several of those she created with such well-known collaborators as Le Corbusier and Pierre Jeanneret, including the iconic Fauteuil Grand Confort from 1928. Among Perriand’s myriad lifetime achievements was being appointed in 1940 as the official advisor on industrial design to the Japanese government, for which she moved to Tokyo from France for six years. Her work thereafter displayed an Asian influence, as witnessed in her 1950’s triangular table and black-red rug, and the Maison de Thé, a teahouse she designed for the UNESCO garden in Paris in 1993. It’s one of nine of her environments being reconstructed for the exhibit.

Clockwise from bottom: From October 2 to February 24, Charlotte Perriand, shown here in 1987, is the subject of a comprehensive namesake exhibition at Fondation Louis Vuitton in Paris. A bookshelf she designed in 1952 for a house in Tunisia. Her hinoki wood table and wool rug, circa 1955. Her 1927 illustrations for Répertoire du goût moderne.

D E S I G N w ire

interiordesign.net/charlotteperriand19 for more pieces in the show 34

INTERIOR DESIGN

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CLOCKWISE FROM TOP: COURTESY OF ADAGP, PARIS, 2019, AND ARCHIVES CHARLOTTE PERRIAND; COURTESY OF ACHP AND ADAGP, PARIS 2019; COURTESY OF ADAGP, PARIS, 2019, AND ARCHIVES CHARLOTTE PERRIAND; COURTESY OF FONDATION LOUIS VUITTON

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BL IPs And now Nigel Peake. They compose the star-studded roster of designers who’ve collaborated with J. Hill’s Standard, which makes contemporary cut crystal ware by hand in Waterford, Ireland. Peake’s new Hand Drawn Glass collection makes its way across the ocean to Les Ateliers Courbet in New York, where it’s on view from September 18 to October 16. His training as an architect and illustrator is evident in the organic forms of the tumblers, carafe, decanter, and bowl, each accompanied by an oak lid signed by Peake.

Alongside them will be “Archaeos,” an ensemble of textured vessels handcrafted by fashion designer turned ceramicist Peter Speliopoulos.

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Martino Gamper, Scholten & Baijings…

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INTERIOR DESIGN

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dynamic range A Chilean museum by Daniel Libeskind will evoke the nearby Atacama Desert

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INTERIOR DESIGN

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a pen and paper—I might do it on a sand dune with a stick. The execution comes at the moment of inspiration. No premeditation.

This felt-pen drawing is one of the first I did for the Museo Regional de Tarapacá in Iquique, Chile, which breaks ground in 2020. The landscape there is very dramatic— there are actually dunes in the city between the Cordillera de la Costa mountains and the Pacific Ocean, and the sketch brings those elements together in harmony. The project’s shape, three pairs of parallel concrete walls, will take the form of the dunes without being sentimental.”

FROM TOP: STEFAN RUIZ; STUDIO LIBESKIND; DANIEL LIBESKIND

“Drawings are the most beautiful part of architecture. They’re the origin of everything, and everything at Studio Libeskind comes from a sketch. In fact, for many years, before I designed a single building, I just drew. The method yields a prophecy of the building to come and offers you freedom beyond reason and logic—something completely immune to limitations, like worrying if it is affordable or can realistically be built. And, for me, the idea is for the final building to come as close as possible to the original drawing. But that drawing might not even be with

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INTERIOR DESIGN

AUG.19

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WALK through

firm: darin johnstone architects site: pasadena, california

ART GRAY/COURTESY OF ART CENTER COLLEGE OF DESIGN

higher education In the Hutto-Patterson Exhibition Hall at Art Center College of Design, artworks, such as Sunburst by Patrick Hruby, are protected by polyester film that’s been applied to the clerestory windows.

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It makes total sense. That an art school would have prominent gallery space to showcase student talent. That was the thinking of Ann Field, the undergraduate illustration department chair at Art Center College of Design in Pasadena, California, and architect Darin Johnstone. Since 2013, Darin Johnstone Architects has renovated four of the school’s buildings, including 870, for fine art and illustration, and 1111, for drawing and painting, both now featuring ample and accessible exhibition space.

The former is a two-story 1979 building that had previously housed a post office. DJA took advantage of its existing skylit central atrium and transformed it into the bright and airy Hutto-Patterson Exhibition Hall, which is open to the public.

Newly polished concrete flooring flows through the doubleheight space, now connected to the clerestory above by a new stair in painted steel. Field adds layers of vibrancy with three annual shows. Recently on view was “CloverScout,” an exhibition of works by such alumni as Patrick Hruby, who has collab­ orated with Todd Oldham, featuring “hand-painted replicas of graphics projects that have been scaled up,” she says. The 35,000-square-foot volume also contains new classrooms, studios, and staff offices.

Nearby stands the latter, larger building, a six-floor, circa 1983 structure, and it functions as a gateway to the ACCD campus. At its ground level is the Peter and Merle Mullin Gallery, also open to the public. On the top level of the 128,000square-foot structure are “student living rooms,” Johnstone notes, black-painted break-out areas with built-in banquettes.

In between top and bottom are three additional galleries, one of which is currently exhibiting artwork by faculty member Jayson Holley. Originally part of the stage design for the International Illustration Conference, it’s recreated here as a 30-footlong, painted-wood mural. At ACCD, art is not only a multi­ media affair but also a multi-venue one. —Edie Cohen

ART GRAY/COURTESY OF ART CENTER COLLEGE OF DESIGN

w a l k through

Clockwise from opposite, top: In another building, Jayson Holley’s 10-by-30-foot mural Tall Tales is composed of painted wood sections affixed to drywall. Parakeets is also by Hruby. A new painted steel stairway connects the hall’s two levels.

Built-in MDF seating flanks a student lounge. Polished concrete flooring outfits the hall, displaying gouache and digital works

by Loris Lora and Ellen Surry.

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neocon edited by Mark McMenamin text by Mark McMenamin, Georgina McWhirter, Wilson Barlow, and Colleen Curry

ombrĂŠ wonder Anyone can invent a new carpet. But a new color?

Shaw Contract tackles that with Gradation, a modular tile system that, true to the name, reveals multiple mutations of a single hue as it transitions from light to dark, resulting in a brand-new spectrum of proprietary shades. Using 72-DPI dye-injection technology, vice president of global design Reesie Duncan and her team created innumerable soft and complex gradients that would have been impossible to replicate using traditional tufted construction. The 24-inch, PVC-free tiles are constructed from Eco Solution Q nylon and are Cradle to Cradle Certified Silver. shawcontract.com

GRADATION

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CLOCKWISE FROM TOP LEFT: COURTESY OF MATERIAL BANK; ERIC LAIGNEL [4]

N E O C O N wrapup

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new in town Material Bank debuted its first physical location, Material Bank Lab, at NeoCon this year. The first-floor location at theMART in Chicago will remain a permanent storefront, giving specifiers a place to explore, discover, and collaborate.

“We opened Material Bank Lab with the intention of creating a completely new way for designers to discover and in­ter­act with brands and the products they create,” says Adam Sandow, CEO and founder of SANDOW, which developed Material Bank’s proprietary platform to answer the architecture and design community’s need to streamline and speed up the material searching and sampling process. And Sandow would know, as the owner of leading design brands in­cluding Interior Design, Luxe Interiors + Design, Material ConneXion, and ThinkLab. The Material Bank Lab also gives design professionals access to the platform’s new cutting-edge Material Desk™ technology and Smart Swatch™ system as well as Material Bank’s material experts. “Our Smart Swatches are a revo­lutionary system that dramatically improves the efficiency of sampling by seamlessly bridging the physical to digital,” Sandow continues, adding that the interactive Material Desk™ also helps designers create digital palettes and samples with a click of a button.

Material Bank’s powerful platform, which is becoming the go-to resource for designers when it comes to samples, allows specifiers to search textiles, wall coverings, flooring, paint, solid surfacing, and other materials from more than 160 leading manufacturers—all in one place. What previously took 2-plus hours trolling 12 websites and entailed five packages delivered over many days is now reduced to 3 minutes of browsing on one centralized site. And an order sent in by midnight (EST) is delivered in a recyclable box by 10:30AM the next day. materialbank.com

“A single click lands samples on your desk the next day”

AUG.19

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TWO-THIRDS

“The blend between natural and geometric is a familiar gesture engrained in our minds”

whole solution Looking for low tables and upholstered ottomans perfectly suited to today’s quick-change spaces? Meet Two-Thirds, a suite of funky forms by Joey Ruiter for Allsteel. Their lightweight design allows them to be easily maneuvered for impromptu deskside confabs or overflow seating in meetings. And, without a predetermined front, back, or side, users can sit how they choose. Myriad fabric options include two-tone color-blocking, and the gentle geometric shapes come in Pebble, Round, and Block. The latter gang together seamlessly, Tetris–style, for easy storage. allsteeloffice.com

wrapup n e o c o n

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Lattice Silk™... chic and refreshing

wall+covering

A Colour & Design Inc. Company

1.866.556.9255 colouranddesign.com

National Wallcovering Koroseal Interior Products Metro Wallcoverings Design Resource Midwest Fashion Architectural Designs

SOFT WORK

When technology freed workers from cubicles, it spawned a new breed of spaces: public-private hybrids called upon to do triple duty as meeting rooms, workstations, and pit-stops. Vitra enlisted Barber & Osgerby partners Edward Barber and Jay Osgerby to fuel the phenomenon with Soft Work, which mixes the best elements of residential, contract, and hospitality into a multipurpose modular landscape. Ergonomic seating is the cornerstone of the series, the flexible backrests and generously padded seats supported by tubular steel frames and die-cast aluminum legs. Integrated surfaces with painted, veneer, or melamine tops boost functionality, along with power-data outlets and clever wire-management systems. Designed to enable countless configurations, the kit of parts also includes platforms, ganging mechanisms, and privacy panels. vitra.com

JAY OSGERBY AND EDWARD BARBER

sofa culture “The workstation is going the way of the dining room—disappearing as an archetype” 54

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PR I ORIT Y

â„¢

“It creates a little habitat that surrounds like a cocoon”

social work

CABANA

Under the auspices of architect and Interior Design Hall of Fame member Patricia Urquiola, Haworth refreshes its Mart showroom annually. This year the theme was social spaces, a rallying cry to bring fun (and beauty) back into the office.

Echoing its popular NeoCon riverfront lounge, the team moved back its reception desk to make way for entry-zone seating vignettes featuring Urquiola’s latest mega-release, Cabana. The streamlined modular sofa system set on refined aluminum legs creates a workplace habitat that’s cozy as can be yet primed for business: See the demountable space-dividing acoustic screens, adjustable paintedMDF tablets and shelves, and integrated power outlets.

Quilted fabrics have thick batting for comfort, and the upholstery options, including woolfelt and leather, come in pastels or natural hues. haworth.com

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TOP LEFT: ERIC LAIGNEL

PATRICIA URQUIOLA

M75 | Vogtherr & Prestwich

davisfurniture.com | 336.889.2009

N E O C O N wrapup

PRESTON MYNE TOVA

the fab four

A quartet of designers had one object to conceive for Nucraft: a table. Crossbeam, by Interior Design Hall of Fame member Lauren Rottet, reveals her penchant for precision and luxury, its steel-fortified foundation concealing wire management, its top available in glass, laminate, solid surfacing, veneer, or stone. The Parsons table inspired Joseph Jeup’s Preston, its white-oak veneer feeling practically residential. Flexibility is on offer with Myne, an aluminum offering by Metrica partner Robin Rizzini featuring castors and a veneer or linoleum top that pivots into an upright position for storage. Mark Goetz devised Tova with a solid inner core that enables longer than average expanses—up to 20 feet—with no reinforcement beyond its four aluminum legs. nucraft.com CROSSBEAM

ROBIN RIZZINI

MARK GOETZ LAUREN ROTTET

JOSEPH JEUP

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ARCHITECTURAL TEXTURES COLLECTION

me m os am p l e s . c o m

“It combines a strong sense of simplicity with an expressive N E O C O N wrapup

hoop dreams Whether you’re perching solo or with the crew, Benjamin Hubert has the stool for you. The founder of British creative agency Layer, which counts powerhouses like Nike and Google among previous clients, adds Andreu World to his roster with the Hula stool. It’s named for the orbital positioning of the hoop-shape footrest, which interrupts the otherwise perfect symmetry of the seat and base.

A height-adjustable model—the manufacturer’s first— moves effortlessly up and down the central stem. The swiveling version comes in bar and counter heights.

Manufactured from injected aluminum and steel with ABS plastic elements, the stool is sturdy enough to withstand hard-wearing environments. Choose from 10 colors and a wide range of Kvadrat fabrics for the optional seat upholstery. andreuworld.com

HULA

BENJAMIN HUBERT

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n e o c o n wrapup

“It’s a minimized use of sustainable materials and a meaningful contribution to over-production”

FOLK

efficiency experts Create a robust, versatile chair that can be systematically packed, stored, and shipped globally. That was the ultimatum from Allermuir to PearsonLloyd partners Luke Pearson and Tom Lloyd. They responded with Folk, a family of seating that pays tribute to the archetypical café chair but has been reengineered for modern-day convenience. The chair and stool are constructed entirely without glue, which can disintegrate during transport through hot climates. Both are flat-packed, so they can be shipped and stored in volume and assembled anywhere in minutes, the beech or oak legs screwing into the aluminum frame and the low-profile plywood back trapped into place. Six nature-inspired powder-coats are available to match the plywood or plastic seat, along with optional upholstery. allermuir.com

LUKE PEARSON

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TOM LLOYD

The Fabrications Collection, inspired by the beauty in textures, patterns and colors of fabrics, is comprised of three styles. Stria, a 12”x48” plank, has a linear application of color with space-dye striations interrupting the continual lines, giving it a unique pattern and texture. Twill Weave and Fractured Plaid, both 24”x 24” modular tiles, are abstract translations of patterns with a soft tip-shear, giving them a rich high end feel to any space. jjflooringgroup.com

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1. Instyle Studio’s Ecoustic Apex ceiling baffles

in PET by Unika Vaev.

2. Flip ceiling baffles in Xorel woven polyethylene

by Carnegie Fabrics.

3. Hush Blocks panels in PET felt by 3form.

4. Blade acoustic pendant fixtures in polyester and LEDs by Luxxbox.

5. Mango personal work space in steel, birch plywood, HDPE, and polyurethane by Boss Design.

6. Jeffrey Huyghe’s BuzziDish swiveling acoustic wall and ceiling elements in powder-coated aluminum and recycled wool-polyacryl blend by BuzziSpace.

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See page 70 for sources.

now hear this N E O C O N wrapup

These vibrant acoustic solutions look and sound good 5

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Spinneybeck I FilzFelt is a Knoll brand.

Muro Plus

Dimensional Leather Wrapped Panels

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5

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N E O C O N wrapup

pretty in pink Blush and terra-cotta tones warm the workplace 4

1. Sarah Sherman Samuel’s Arch, 5 Stripe, Circle + Stripe, and Stripe tiles in tinted concrete

by Concrete Collaborative.

2. Bendtsen Design Associates’s Retreat Executive Conference Mid-Back chair in powder-coated

steel and wool by Allsteel.

3. Form Us With Love’s Nest High sofa, Easy XL lounge, and Easy chair in oak and wool

by Hightower.

4. Pop Up recycled nylon-polyester upholstery in Fuchsia, Stylist polyester in Redstone,

Epiphany polyester-nylon blend in Red Shimmer, all with Crypton backing, by Fabricut Contract.

5. Fluid& carpet tile in engineered polyamide in Rust by Modulyss.

6. Lievore Altherr’s Cila Go stools in polypropylene in Earthy Pink by Arper.

See page 70 for sources.

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Spinneybeck I FilzFelt is a Knoll brand.

FilzFelt is texture.

Conceived in a university project by Cabs Design, the clever slotted design of Scale allows the sound-soaking modules to assemble in customizable patterning with 63 colorways of 100% wool felt. Learn more about Scale at filzfelt.com/scale.

Ribsy

Acoustic Felt Tiles by Submaterial

N E O C O N wrapup

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1. Ronan and Erwan Bouroullec’s

Oblique Regular glass by Skyline Design.

let’s get graphic Patterns prove that corporate doesn’t have to be staid

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2. Mark Müller’s Chameleon case

goods and desk in oak by Darran.

3. Glow Type II wall covering in

TerraStrand polyester phthalate–free vinyl in Sapphire by Chilewich.

4. Gunta Stölzl Circle Jacquard fabric in acrylic-polyester by Designtex.

5. Sonnhild Kestler’s Amulet fabrics in cotton-nylon by Maharam.

6. iD Mixonomi LVT tile by Tarkett.

7. Mazarin wall covering in cork and metallic foil in Dresden by Innovations.

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See page 70 for sources.

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“Drop the Ball” by Keren Toledano, New York, NY. “Obsidian Sea” by Kamala Nahas, Ventura, CA. “Watermelons” by Sonya Percival, Chicago, IL. ©Minted LLC, 2019

LIMITED EDITION ART, FRESHLY SOURCED FROM INDEPENDENT ARTISTS

MINTED DESIGN TRADE PROGRAM

Access exclusive formats, complementary art curation for projects of any size, and an industry only discount. Learn more at minted.com/trade

neoconw r a pupsources

Crush™ PANEL @2011modularArts, Inc. Photo by Steve Hall, Hall +Merrick Photography. Designer: Eastlake Studio.

now hear this 1. Unika Vaev, unikavaev.com.

2. Carnegie Fabrics, carnegiefabrics.com.

3. 3form, 3-form.com.

4. Luxxbox, luxxbox.com.

5. Boss Design, bossdesign.com.

6. BuzziSpace, buzzi.space.

pretty in pink 1. Concrete Collaborative, concrete-collaborative.com.

2. Allsteel, allsteeloffice.com.

3. Hightower, hightoweraccess.com.

4. Fabricut Contract, fabricut.com.

5. Modulyss, through Bentley, bentleymills.com.

6. Arper, arper.com.

let’s get graphic 1. Skyline Design, skyline.com.

2. Darran, darran.com.

3. Chilewich, chilewich.com.

4. Designtex, designtex.com.

5. Maharam, maharam.com.

6. Tarkett, tarkett.com.

7. Innovations, innovationsusa.com.

Ventanas™ PANEL style: lime spritz™ ©2019 modularArts, Inc.

Chisley™ PANEL ©2018 modularArts, Inc.

modulararts.com

206.788.4210

Apollo™ BLOCK ©2011 modularArts, Inc. U.S. Patent 8,375,665

AuralScapes® Scatter™ Sound Diffusion Ceiling Tiles ©2019 modularArts, Inc. U.S. Patent 9,175,473

Made in the U.S.A.

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Venus Table

Angie Chair

Noren Table + Skin Chair

Slalom Acoustic Partitions

iBooth Wall and Freestanding

EXPRESSIVE ESSENTIALS ® Peter Pepper continues to add new opportunities with inspiring product lines, identifying needs, real solutions, while preserving the integrity of the design.

In collaboration with renowned designers like Josep Lluscà, Fabrizio Batoni, Henrik Kjellberg & Jon Lindström.

We continue to maintain the spirit of Peter Pepper’s vision; to enrich environments and uplift people with products for workplace, healthcare, education, hospitality and institutional.

peterpepper.com info@peterpepper.com

A canvas for your best ideas. clarus.com

Powered by Material Bank.

Flex Mobile

by Clarus.

Clarus was proud to partner with Material Bank, utilizing the new Clarus Flex Mobile system to create the signature Smart Swatch board. The custom interactive sample display premiered at the new Material Bank Lab at NeoCon 2019.

ADVERTORIAL

WHY BIOPHILIC DESIGN MATTERS Understanding the human-nature connection and the built environment

Presented by

Drawn Lines LVT

In touch with nature’s geometry.

In nature, the presence of fractals can relax and intrigue your mind. What if your floor could do the same? Drawn Lines™ LVT layers filament-fine marks in varying depth and scale, creating a geometric twist on woven textures.

And, it’s completely carbon neutral. A whole new way to look at the floor. interface.com/DrawnLines

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CAN YOU DESIGN A SPACE TO BE FULL OF LIFE? IN SHORT, YES. Biophilia, or “love of life,” is our innate need to connect with nature—something we all could use more of. Immersing ourselves in nature has proven biological and emotional benefits; what if our interiors could do the same?

That’s where we turn to biophilic design. As a practice, biophilic design has evolved into an industry-wide movement that recognizes the restorative effects of incorporating nature and natural elements into the built space. For example: ∙ Researchers are studying biophilia and quantifying its various benefits, including stress reduction, enhanced cognitive function, and faster healing. ∙ Certifications such as LEED, WELL, and the Living Building Challenge are incorporating biophilic design as part of their rating systems. ∙ Major companies such as Google are adopting biophilic design principles throughout their real estate portfolios. ∙ Consultants are increasingly able to strategically leverage biophilic design patterns within spaces to deliver particular outcomes for their clients.

There’s no question—we need to bring nature inside.

This idea is something we instinctively understand as designers, but first we must overcome the challenges posed by our contemporary built environments. It can be done, but where do you start? By using the following guide on the whats, whys, and hows of biophilic design in the built space.

Read it. Use it. Come back to it over and over again.

Chip DeGrace Vice President, Workplace Strategies Interface

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BIOPHILIC DESIGN & THE FUTURE OF THE BUILT ENVIRONMENT As the prevalence, acceptance, and application of biophilic design grows, how well do you understand it?

To truly grasp how nature and biophilic design impact well-being, productivity, and creativity—especially in the workplace—it’s vital to understand not only the science behind the concept, but also the ways biophilic design can be implemented in your work.

By familiarizing yourself with the ever-growing applications of biophilic design, you’ll be better equipped to recognize its potential to change the way the industry approaches spaces and the materials used to create them.

BIOPHILIC DESIGN DEFINED The linguistic roots of the term biophilia, coined by social psychologist Erich Fromm in the 1970s, reflect the heart of its meaning: love of life, according to the Biophilia Foundation. Biologist and author Edward Osborne Wilson then popularized the term in the 1980s by introducing the biophilic hypothesis in his book Biophilia, which posits the innate human need to connect with nature.

Environmental psychology research has indicated that being connected to nature is an adaptive human function that allows for, and assists with, psychological restoration1. In other words: it’s in our DNA that we need exposure to nature to thrive.

Biophilic design—the theory, science, and practice— is the industry’s solution. Those who’ve adopted it are seeking to address how millions of people across the globe can live in urban areas and work in office, retail, or medical settings, and yet enjoy exposure to natural elements that they need to thrive. It touches almost every aspect of the built environment, from overall structure to the texture of finishes.

The term “built environment” itself implies something that is unnatural. For decades that had been the case with the proliferation of massive office buildings filled with windowless corridors and claustrophobic cubicles. A review of more than 50 empirical studies cited in Interface’s study, “Human Spaces: The Global Impact of Biophilic Design in the Workplace” concluded: “An environment devoid of nature may create discord, meaning that such environments can have a negative effect on health and well-being.”2 Millions of people globally work in spaces that are the antithesis of natural—and surveys reveal that they want and are demanding more.

KEY FINDINGS FROM INTERFACE’S RESEARCH UNCOVERED

47% of office workers worldwide report having no natural light in their office—with the U.S. and U.K. well above average at 64% and 66%, respectively.

58% say their offices have no live plants.

67% report feeling happy when walking into bright office environments accented with green, yellow, or blue colors.

33% say that the design of an office would affect their decision to work at a company.

28% say they don’t have a quiet place to work in their office.

The global study asked workers what they most wanted in an office environment.

The top three elements cited were:

1Natural Light—44% 2Indoor Plants—20% 3Quiet Working Space—19%

The design industry, in conjunction with forward-thinking clients looking to meet the demands of an increasingly wellness-minded workforce, are beginning to make biophilic design a pre-requisite for any new spaces they commission.

1 Van den Berg, A. E., Hartig, T., & Staats, H. (2007). Preference for nature in urbanized societies: Stress, restoration, and the pursuit of sustainability. Journal of Social Issues, 63(1), 79-96.

2 Grinde, B., & Patil, G. G. (2009). Biophilia: does visual contact with nature impact on health and wellbeing?. International Journal of Environmental Research and Public Health, 6(9), 2332-2343

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THE RISE OF BIOPHILIC DESIGN Biophilic design goes beyond aesthetics—it produces real benefits backed by science.

In many workplaces, stress and anxiety are widespread epidemics, which impact employee performance and business success. As scientists increasingly examine the impact of everyday stressors by measuring heart rate, blood pressure, and cortisol levels, they’re unearthing that exposure to nature promotes fuller psychological restoration and greater attention spans.

There’s mounting evidence that nature-inspired spaces enable employees to focus more easily, which may restore—rather than deplete— mental energy and enhance creativity. One explanation is the Attention Restoration Theory, which posits that viewing and experiencing nature engages a different part of the brain than the part used for short bursts of focus, giving the brain an opportunity to reset3.

Research shows a clear link between productivity and office design, according to the Human Spaces report. In the report, Sir Cary Cooper, a professor of organizational psychology and health at Lancaster University, noted, “For the organizations that focus on their spaces, and work hard to deliver meaningful, inspiring workplaces, the dividends are made clear…”

He went on to say, “Performance jumps, as does creativity. Yet, there are no off-the-shelf templates for the utopian work environment.

Incorporate biophilia, yes, but listen to your people to make sure their preferences and ideals are reflected too.”

As another example, the Human Spaces report notes that environments designed with depth and randomness in mind—mimicking the mystery and disarray of natural settings—are known to stimulate reward signals in the brain and lead to increased cognitive activity.

Environmental strategist Bill Browning and his team at Terrapin Bright Green are leading the categorization of key elements in biophilic design by creating a definitive list of 14 patterns.

And since publishing the study, “14 Patterns of Biophilic Design: Improving Health and WellBeing in the Built Environment,” the team now has enough research to identify a 15th pattern – awe. This knowledge is powerful for designers.

THE FINANCIAL BENEFITS OF BIOPHILIC DESIGN Biophilic design is good for the bottom line.

There’s a common misconception that biophilic design is a luxury—accessible only to those with deep pockets. But small shifts in built environments, such as incorporating plants into a space in good proportion, can lead to a significant return on investment. Companies that prioritize employee engagement and wellness tend to outperform those that don’t by an average of 10%, according to studies cited in the report “Creating Positive Spaces: Using the Well Building Standard™.”

So how exactly does adding greenery yield financial benefits? To start, studies show that productivity costs in industries such as hospitals and corporate offices are 112 times greater than energy costs. If nearly 90% of costs per square foot in a workplace are set aside for employee salaries, as findings from the U.S. Department of Labor suggest, then it’s smart business to invest in employee well-being.

One way to appraise biophilic design is with lighting, which has an integral effect on wellness due to its link to our bodies’ natural circadian rhythms. Natural lighting solutions can cut costs by about $2,000 per employee each year and in hospitals, adequate access to daylight and windows with views of nature reduces healthcare costs by more than $93 million 4.

Measurable indicators of productivity, such as illness, absenteeism, staff retention, and job performance can all be translated into dollars lost or gained. In a study of university administratve employees, researchers attributed 10% of employee absences to an environment devoid of nature. Employees with a view overlooking trees took less days off than those with a street view or no outside view5. Biophilic design also alleviates “presenteeism”—the act of working while not fully engaged. According to the Foresight study of mental capital and well-being, presenteeism costs U.S. companies more than $200 billion annually 6.

3 Kaplan, S. (2001). Meditation, restoration, and the management of mental fatigue. Environment and Behavior, 33(4), 480-506.

4 Browning, B. et al. (2012). Why Designing with Nature in Mind Makes Financial Sense.

From http://www.terrapinbrightgreen.com/wp-content/uploads/2012/06/The-Economics-of-Biophilia_Terrapin-Bright-Green-2012e.pdf 5 Elzeyadi, I. “Daylighting-Bias and Biophilia: Quantifying the Impacts of Daylight on Occupants Health.” In: Thought and Leadership in Green Buildings Research. Greenbuild 2011 Proceedings. Washington, DC: USGBC Press. 2011.

6 Klachefsky, M. (2012). Understanding Presenteeism. Retrieved February 2, 2015, from http://workplacepossibilities.com/wp-content/uploads/Productivity_Insight_3_Understanding_Presenteeism.pdf

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NBBJ; The Spheres, Seattle, WA; Photography: Bruce Damonte.

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BEYOND THE BUZZWORD: HOW TO APPLY BIOPHILIC DESIGN The benefits of biophilic design are clear.

Focusing on scientifically-backed ways to apply its principles to contemporary spaces is the next logical step.

CERTIFICATION 101

Here’s how biophilic design is integrated into three green building certification programs.

WELL Five of the WELL Building Standard’s seven concepts directly incorporate biophilia.

While there is not yet a universal approach to creating a biophilic space, these three design concepts offer a solid starting point:

AIR Ensure quality levels to support well-being, including optimizing natural and mechanical ventilation

1. Nature in the Space integrating plants

LIGHT Minimize disruptions to circadian rhythms via access to daylight, preferably with a view to nature

and water 2. Natural Analogues specifying materials and

patterns that evoke nature 3. Nature of the Space designing configurations for depth, openness, and refuge

12 WAYS TO INCORPORATE ELEMENTS OF BIOPHILIC DESIGN INTO A SPACE 1. Green roofs, terraces, and living walls 2. Natural light or lighting that mimics it,

MIND Incorporate plants, green roofs, breakout areas, and social spaces COMFORT Create quiet zones, reduce acoustic disruption, and establish proper thermal controls NOURISHMENT Offer the space and tools to grow vegetables

LEED

3. Subtle, pleasant natural aromas

Buildings seeking LEED certification must use at least five qualitative and quantitative biophilic design strategies.

4. Indoor water features

• Provide regular access to Nature in the Space

5. Plant installations in common areas

• Design with Natural Analogues (nature-inspired shapes and forms)

with varying intensities of brightness

6. Accent colors, primarily greens, blues,

and browns 7. Use of minimally processed materials,

like wood and stone 8. Ventilation systems that enable air to

circulate freely 9. Textured fabrics with patterns similar to those

found in nature 10. Established places of refuge (think: Google nap pods) 11. Unimpeded views that spark the imagination 12. Temperature controls that account for humidity and airflow across skin

When in doubt, consider the range of sensations you experience in any natural environment, such as a forest. During a walk in the woods your feet will encounter hard and soft surfaces, such as dried leaves and matted dirt; your eyes will fixate on shifts in light and shadow, as well as height and depth; your nose will take in a variety of scents, such as fresh pine and eucalyptus; and your hands will touch a range of textures, from rough tree bark to velvety moss. Sensations in natural ecosystems are limitless. Why not create a similar range of possibilities in the built environment?

• Include spatial properties that align with Nature of the Space • Connect to locale, climate, and culture through indigenous materials or spirit of place • Create sufficient opportunities for human-nature interaction

LIVING BUILDING CHALLENGE The International Living Future Institute, which launched a Biophilic Design Initiative to increase awareness and foster broad adoption, sponsors the Living Building Challenge consisting of seven “Petals”—Place, Water, Energy, Heath & Happiness, Materials, Equity and Beauty—with biophilic design key to three.

PLACE Requires that the built environment relate to its surrounding nature HEALTH & HAPPINESS Promotes good indoor air quality and elements that nurture the humannature connection MATERIALS Encourages the use of natural, non-toxic, ecologically restorative materials, 50% of which must be sourced from within 1,000 kilometers of the site

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1. The hues and fluid lines in the Caspian collection call to mind the connection to nature highlighted in its colorways, such as Ocean Haze, Evening Tide, and Tuscan Sun, by Brentano Fabrics. brentanofabrics.com

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DRAWN TO NATURE

2. Karim Rashid’s Heartbeat sofa for Nienkämper takes on a

biomorphic form that mimics the ebb and flow of blood moving freely in the body. nienkamper.com 3. Human Connections, a carpet collection designed by David Oakey

Designs exclusively for Interface, takes a cue from natural elements, calling to mind moss between stone pavers. interface.com 4. Rios Clementi Hale Studios designed their Rio bench for Janus et

Cie as a tribute to the curves and contours of a flowing river. janusetcie.com

5. Metamorphic wall covering evokes the layered patterns found in the strata of sedimentary rock, by Anthology, through Style Library. stylelibrary.com 6. The complex linear patterning in Interface’s Drawn Lines LVT tile, designed by Kari Pei, reflects the fractal geometries found in nature. interface.com 8

7. Naava’s One Slim brings nature into any space with an air-purifying

living green wall, through Teknion. teknion.com 8. Reindeer moss wall panels absorb sound while adding textures

found in nature to a space, by Nordgröna, through Scandinavian Spaces. scandinavianspaces.com 6 7

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ADVERTORIAL

Complexity and Order, two concepts that may seem at odds on the page, are quite harmonious in nature.

Intelligent interior design and, more importantly, selection of products and materials can mimic the appeal of nature’s organized chaos. These fractal-patterned flooring options, non-linear furnishings, aqueous prints, and natural materials exemplify the best of biophilic design.

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BIOPHILIC PATTERNS FOR THE BUILT ENVIRONMENT Beyond sunlight and garden views, patterns that mimic those found in nature have also been found to reduce stress, improve creativity, and foster a healthier work environment.

In “14 Patterns of Biophilic Design: Improving Health and Well-Being in the Built Environment,” environmental consulting and strategic planning firm Terrapin Bright Green detailed the relationship between patterns in nature and their benefits to well-being. These patterns are not always the physical or material expression of nature that the term implies. They are also subliminal cognitive stimuli that humans in the built environment can benefit from without consciously realizing their effects. The foundational paper explored the science behind 14 specific patterns—developed through extensive interdisciplinary research involving more than 500 publications on biophilic responses and supported by empirical evidence—and how to best incorporate them into your work.

Here are the 14 original patterns that Terrapin Bright Green detailed within three distinct groups plus a new 15th yet-to-be-published pattern from their evolving research.

NATURE IN THE SPACE When nature itself—plants, water, soothing sounds, fresh air—are present in an indoor space, the human body reacts in positive ways.

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VISUAL CONNECTION WITH NATURE Windows or outdoor spaces with views of nature, such as a garden, park or body of water, are fundamental. They help reduce stress, improve concentration, and convey a sense of time and weather. While this is often dependent on location, a visual connection with nature can also be established via atrium gardens, aquariums, or green walls. Artwork or video screens with visuals of nature can serve as substitutes.

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NON-VISUAL CONNECTION WITH NATURE The benefits of interacting with nature go beyond what we see. Cues that are olfactory (calming and energizing scents found in nature), auditory (the sound of trickling water or gently chirping birds), haptic (involving the sense of touch with fabrics that emulate natural textures), and gustatory (keeping a rooftop apiary for fresh honey) play a role in biophilic design. Research shows they reduce cognitive fatigue and improve motivation.

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NON-RHYTHMIC SENSORY STIMULI These are randomly occurring elements that establish connections with nature: visual, auditory, or olfactory distractions (e.g. fabric billowing overhead, shadows cast against a wall, plant oils released into the air) that cue one to look up from a computer screen to relieve eye strain.

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THERMAL & AIRFLOW VARIABILITY Natural environments are not hermetically sealed. Factors such as subtle changes in air temperature, humidity, and flow that mimic being outdoors are ideal, whether mechanically created or via operable windows offering cross ventilation.

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PRESENCE OF WATER Seeing, hearing, and touching water— a stream or ocean view, the constant rush of a water feature, or a trickling fountain— increases feelings of tranquility and enhances the positive experience of a place.

DYNAMIC & DIFFUSE LIGHT Light and shadow wane and intensify over time. The human body responds to sunlight’s daily color changes from yellow in the morning to blue at midday to red in the evening. Biophilic design endeavors to recreate and leverage these conditions in the built environment via natural daylight from multiple angles and simulated sources such as color tuning and circadian color reference.

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CONNECTION WITH NATURAL SYSTEMS Seasonal and temporal changes occurring in a healthy ecosystem can enhance the workplace environment. This can be accomplished with an outdoor patio or green rooftop that’s available to employees for breaks and showcases seasonal vegetation along with the natural patina of metal and weathering of wood.

ADVERTORIAL

NATURAL ANALOGUES These are more likely what come to mind when thinking of patterns—they are visual, tactile, and tangible elements that help foster a connection with the natural world.

NATURE OF THE SPACE

The human brain, shaped by evolution, responds to spaces that mimic natural experiences.

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Biomorphic Forms & Patterns Humans have a visual preference for organic or biomorphic forms—the contours, patterns, textures, and numerical arrangements that persist in nature. Fabrics, carpets, and wallpaper based on the Golden Mean or the Fibonacci sequence along with acoustic paneling and free-standing sculptures encourage comfort and contemplation.

Material Connection with Nature Spaces built using minimally processed materials, namely woods and stones, that reflect the local ecology or geology create a sense of place. But ratio matters when it comes to wood: too much (90% coverage) decreases brain activity—great for a spa but not for an office.

Complexity & Order Nature has its own patterns and spatial hierarchy, known as fractal geometries.

Biophilic design attempts to replicate this rich sensory information within the patterns of everything from wallpaper and carpet design to exposed mechanical systems and structural exoskeletons.

Prospect An unimpeded view over a distance—as in the vastness of the African savanna where humans originated—stimulates the natural urge for surveillance and planning. Designwise, this translates to elevated positions or views across an expanse, such as balconies, catwalks, and partition heights of less than 42 inches.

Refuge Humans no longer hide in caves, but when deadline pressures or distractions from open-plan workspaces hinder productivity, a place with lowered ceilings where one can withdraw, such as dining alcove or modular nook—conveying a feeling of protection from above and behind—is beneficial to a healthy office environment.

Mystery Curiosity is part of human nature and replicating that sense of unknown encourages individuals to travel deeper into an environment with a sense of anticipation.

This is accomplished via partially obscured views, peek-a-boo windows, and curved edges that draw people through a space.

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Risk/Peril Combining an identifiable risk with a reliable safeguard triggers short doses of dopamine, which supports motivation, memory, and problem solving. Double-height atriums, infinity edges, architectural cantilevers, and transparent railings or floors impart feelings of exhilaration with reassurances of safety.

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COMING SOON: Awe The emotional response to perceptually vast stimuli that transcend current frames of reference. These spaces or stimuli cause pro-social behavior and generate communal feelings, epitomized by the way grand cathedrals inspire religion. They can be large or small, natural or manmade: works of art or natural wonders such as the Grand Canyon.

Ice Breaker

Bring the outside in.

Etched. Angular. Organic. Ice Breaker mimics the effect of scratched ice, moving fluidly in an unpredictable design. Complex patterns that delight the senses—just like you’d find in nature, except it’s on your floor. interface.com/IceBreaker

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coda awards

standing ovation Let’s hear it for the winners of this year’s CODAawards for international art and design Dedicated to fostering the commissioned-art economy, CODAworx is an online platform that stands for Col­lab­oration of Design + Art and connects artists, de­sign­ers, and fabricators with potential clients. For the past seven years, the organization has presented the CODAawards, a global competition celebrating the best of these collaborations. This year’s 18-member jury, in­cluding Interior Design editor in chief Cindy Allen and Hall of Fame members Alexandra Champalimaud, Robin Klehr Avia, and Mark Zeff, reviewed 435 entries from 27 countries, representing nearly $118 million in site-specific commissions. Winners and honorees have been awarded in 10 categories, such as hospitality, liturgical, and transportation.

Additionally, two People’s Choice prizes were determined by over 60,000 public votes, almost 10,000 more than last year. Here are some of our favorites. —Georgina McWhirter DAVID AND ELI HESS Broad Reach, winner of the landscape category, is composed of a pair of stainless-steel sculptures on grass berms at Wilmer Park in Chestertown, Maryland.

interiordesign.net/coda19 for all category winners and honorees

GEOFF T. GRAHAM

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MARC FORNES/THEVERYMANY The public space winner, Boolean Operator, is a painted-aluminum pavilion in Suzhou, China.

UNITEDLAB At the Space of Design and Architecture museum in Hwaseong, South Korea, Cloud Forests, a children’s play installation made of painted PVC poles and balloons, is the institutional category’s budget winner.

C O D A awards

CLOCKWISE FROM TOP LEFT: NAARO; PACE STUDIO; MATTHEW MILLMAN

CLB ARCHITECTS Town Enclosure, 22 13-foot-high panels of spruce-pine-fir arranged as a temporary community hub in Jackson Hole, Wyoming, is a landscape honoree.

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FROM LEFT: COURTESY OF THE MINISTRY OF PRESIDENTIAL AFFAIRS/ABU DHABI; COURTESY OF HELMICK SCULPTURE

HELMICK SCULPTURE Part of Abu Dhabi’s Founder’s Memorial visitor center, The Constellation, the institutional winner, is a portrait of United Arab Emirates founder Sheikh Zayed bin Sultan al Nahyan rendered in stainless-steel shapes strung on braided aircraft cables.

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GG-LOOP Top residential honors goes to the Freebooter, an Amsterdam apartment building wrapped in fixed louvers of Western red cedar.

C.F. MØLLER ARCHITECTS The healthcare category winner is an installation of 2,000 handblown glass panels, backlit by LEDs, cladding a stairwell wall at the Karolinska Institutet in Solna, Sweden.

KRIS LIN INTERNATIONAL DESIGN At the Dowell Real Estate sales center in Wuhan, China, the commercial category winner, LED strips illuminate coves that swoop down like a waterfall mid cascade.

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FROM TOP: MARK HADDEN; FRANCISCO NOGUEIRA; COURTESY OF KRIS LIN INTERNATIONAL DESIGN

C O D A awards

ph. Piero Gemelli Style Beatrice Rossetti

collezione NUVOLA design PAOLA NAVONE

North American Agent: Italian Modern Design - 305.321.6981 - piera@italianmoderndesign.com Austin: Scott&Cooner - 512.480.0436 Boston: Showroom - 617.482.4805 Birmingham AL: Design Supply - 205.910.5369 Los Angeles: Diva - 310.278.3191 Cincinnati: Voltage - 513.871.5483 Dallas: Scott&Cooner - 214.748.9838 Houston: Arka Living - 832.815.0201 Los Angeles: Niche - 310.855.1755 Malibu: Malibu Market and Design - 310.317.9922 Miami: Illimit - 786.558.7176 New York: Walters - 212.758.0472 Sag Harbor: JANGEORGe - 631.899.4848 Santa Fe: Moss Outdoor - 505.989.7300 Toronto: Interior Elements - 416.928.0222 South Hill Home - 416.924.7224

Designed for Productivity USM stands for timeless design, restrained yet inspiring. Create exible workspaces and custom private ofďŹ ces to get the best out of your business.

www.usm.com

Select USM Haller furniture pieces are in stock for Quick Ship delivery.

USM NY Showroom 28 – 30 Greene St. New York, NY 10013 Phone 212 371 1230

Sales partners U.S.: Atlanta, Austin, Boston, Chicago, Cincinnati, Dallas, Des Moines, Detroit, Fort Lauderdale, Houston, Los Angeles, Miami, Minneapolis, Naples, Orlando, Philadelphia, San Francisco, Sarasota, Seattle, Tulsa, Washington D.C. Sales partners Canada: Montreal, Toronto, Vancouver

MOHAWKGROUP.COM

Designed by 13&9 in collaboration with Fractals Research and Mohawk Group, the Relaxing Floors collection translates stress-reducing fractals into calming patterns for the built environment.

special lighting section

MARKET W151 EXTRA LARGE

points of interest edited by Rebecca Thienes text by Rebecca Thienes and Wilson Barlow New technologies have made for shrinking pendant fixtures. They no longer necessitate large bulbs or reflectors. But overscale rooms with tall ceilings still call for anchoring pieces. So, Wästberg tapped Claesson Koivisto Rune to fill the void. The firm’s W151 Extra Large series, now readily available in the U.S., includes three supersize pendants, their respective shapes being tall and narrow, low and wide, and somewhere in between. Lit by a dimmable LED, each conical shade is made of lightweight spun aluminum that has been powdercoated matte Jet Black, Traffic White, Red Orange, Carmine Red, or Purple Red, with the interior finished to match. Hang them together or individually. wastberg.com

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The industrial chain has been elevated. It’s the work of Trueing co-founders Aiden Bowen and Josh Metersky, who’ve swapped metal for delicate borosilicate glass in seven colors, including Emerald Green, Pink, and Clear. Their hand-formed Cerine line consists of two pendant fixtures—a straight-dropping five-link version and a swagged one of 22 interlocking pieces— as well as a floor lamp, anchored by a Carrara marble base, and a sconce. The orb is opaline glass, lit by an LED, and fittings come finished in satin or polished nickel, oil-rubbed bronze, or brushed brass. The chains are also offered unwired, as pure objet d’art. trueing.co

linked together

CERINE

“The pieces are about purity and nostalgia” m a r k e t collection lighting 96

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MICHELLE HUYNH

AIDEN BOWEN AND JOSH METERSKY

©2019 Eurofase Inc.

Arlington COLLECTION

Hollowed orbs of blackened chrome LED highlighted with a golden interior

INC.

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M A R K E T collection lighting

YUKO NISHIKAWA

objects of affection The inspiration for Courtship Behavior, a ceramic series by Yuko Nishikawa, came from someplace far from her New York studio. Eastern Australia to be exact.

It’s there that the satin bowerbird hoards blue objects to build into a nest to entice prospective mates. Watching the birds construct their structures with such deliberate care led the artist to reflect on the things people collect, the nests we build. The result is chandeliers, pendant fixtures, and table lamps—each hand-formed of stoneware clay and unique—that evoke the organic, irregular forms of nature. The matte glaze comes in various colors including, of course, bright blue. yukonishikawa.com

COURTSHIP BEHAVIOR

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CLOCKWISE FROM TOP LEFT: NICO SCHINCO (2), YUKO NISHIKAWA (4)

“The bird’s behavior, creating a built environment out of collected items, resembles so much in design”

Hado Collection

Captivating, contemporary, comfortable - Hado is everything lounge furniture should be. The collection is defined by a welcoming curvilinear form with tapered wood legs that lend an organic aesthetic. Lounge chairs, love seats and sofa models all feature ample cushions and a softly arched back that offer lasting support for exceptional seated comfort.

800 585 5957

encoreseating.com

Designed by Qdesign

• An Arcadia Company •

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feel the glow Amber and orange tones are warm and wonderful 1. Jordi Canudas’s Dipping Light portable, battery-

charged lamp and sconce in handblown glass and brushed brass by Marset.

2. Søren Ravn Christensen’s Clava Dine pendant fixture in aluminum in Ochre by Umage.

3. Geometria prototype desk lamp in 3-D printed nylon and leather fiber by Shinya Yoshida Design.

4. Derby pendant fixture with sound-absorbing shade by Linea Light Group.

5. Half Pipe table lamp in upcycled PVC pipe by Eugene Meshcheruk.

6. Blend floor lamp in oiled pine and sandblasted glass by Ward Winjnant.

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1: SALVA LÓPEZ; 6: RONALD SMITS

See page 101 for sources.

m a r k e t sources

feel the glow 1. Marset, marset.com.

2. Umage, umage.com.

3. Shinya Yoshida Design, sydesign.jp.

4. Linea Light Group, linealight.com.

5. Eugene Meshcheruk, behance.net/meshcheruk.

6. Ward Winjnant, wardwijnant.nl.

ALUMINUM TRIM

XtremeInterior by Tamlyn combines your design and our style to create a visual statement that not only meets your needs but enhances the beauty of your space. XtremeInterior offers an extensive line of extruded aluminum profiles with thousands of design and color options, allowing architects and designers to dramatically improve their building aesthetics and create modern architectural lines. aes

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844.365.9462 www.xtremeIAS.com

Chicago • Denver • Dubai • Los Angeles • Mexico City • Melbourne • Miami • Munich • New York • Southampton • Tel Aviv • Vancouver • Zurich

Keep your ceiling height. Recessed in less than one inch, Apure introduces Minus - a breakthrough in lighting technology and design. Producing >1000 lumens from source, Minus is felt before it is seen. On its own, it is invisible. A completely new aesthetic purist in form, material and design.

Apure Headquarters • 5555 Biscayne Blvd, Miami FL 33137 • 305.351.1025 apure-system.com • @apuresystem

SEDUCTION OF LIGHT

©2019. Apure Distribution, LLC ©2019. Porsche Design Studio | Minus is registered trademark of Apure Holding, LLC | Patent Pending

SPECIAL ADVERTISING SECTION

SPECIAL ADVERTISING SECTION

H I P AT N E O C O N !

A SPOTLIGHT ON THE HIPPEST WINNERS AND HONOREES OF 2019

SPECIAL ADVERTISING SECTION

Inspired by the classic hexagon, iD Mixonomi™ LVT includes seven graphic shapes and three mini-forms that combine to create traditional patterns and bold layouts.

With a diverse palette inspired by global travel, iD Mixonomi™ embodies a creative freedom where shapes and colors can be mixed together through thematic harmonies.

tarkettna.com facebook.com/tarkettcontract twitter: @tarkettcontract instagram: @tarkettcontract

Tarkett HIP 2019 WINNER ID MIXONOMI

SPECIAL ADVERTISING SECTION

Sandler Seating HIP 2019 WINNER FLAT SOFT

The Flat Soft is the newest addition to the Flat collection.

The award winning design by Martin Ballendat features a luxurious soft upholstery style, giving Flat a more casual aesthetic with enhanced comfort. Flat Soft is manufactured from a one piece flexible material, allowing the seat and back to be easily substituted to alternative versions. Flat’s slightly flexible seat gives an appearance of lightness while offering the highest level of comfort. The adaptable piece allows for effortless maneuvering while adding a relaxed ambience to any setting. Flat Soft is available in over 300 finishes with a choice of three bases.

DESIGNER Martin Ballendat

sandlerseating.com facebook.com/sandlerseating twitter: @SandlerSeat instagram: @sandlerseating

SPECIAL ADVERTISING SECTION

Bentley Mills HIP 2019 HONOREE

THE SORTED COLLECTION Define the verb “sort,” and words like separate, classify and categorize come to mind. That’s great for laundry, but not for humans. Yet, so many of us “sort” the people around us – labeling and then folding them into neat little stacks based on gender, skin color, political affiliation and sexual orientation. Bentley urges us to stop sorting – and start celebrating what makes us different, unique, special, distinct. This message doesn’t get lost in the wash with The Sorted Collection. Three patterns – Misfit™, Square Peg™ and Typecast™ – harmoniously interact while maintaining the unique characteristics that allow each to be unapologetically atypical. bentleymills.com facebook.com/bentleymillsla twitter: @bentleymillsla instagram: @bentleymillsla

TYPECAST™ (BOTTOM LEFT AND TOP RIGHT); MISFIT™ (MIDDLE)

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Elinor is an executive chair result of a pioneering vision of contemporary office furniture, characterized by a high level of aesthetic quality. It has an elegant base in die-cast aluminium, with refined sinuous lines. A weight-activated synchro-tilt mechanism integrated in the upholstered seat allows the tilting to be self regulated according to the user’s body weight, ensuring that the back is kept in the most comfortable position. Maximum comfort is guaranteed also by the polyurethane injected foam on both seat and back. A light strong armrest in die-cast aluminium defines the base of the backrest with its flowing line, accentuating the attention to detail that characterizes this unique chair.

DESIGNER Claudio Bellini

pedrali.it twitter: @Pedrali instagram: @pedralispa

Pedrali spa HIP 2019 HONOREE ELINOR

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Fractals are the building block of many of nature’s patterns and have been scientifically proven to reduce stress and so provide benefits to physical health. This visual language is the basis for Relaxing Floors, a carpet system designed by 13&9 in collaboration with Fractals Research and Mohawk Group as the culmination of art, science and human-centered design. The collection’s 12" x 36" styles are influenced by the flight paths of foraging birds releasing seeds, in addition to fractal-based electronics and the neurons of the eye. Relaxing Floors utilizes fractals to help end users take a break from the digital world while delivering the essence of nature to the built environment.

DESIGNER 13&9

neocon.mohawkgroup.com facebook.com/mohawkgroup twitter: @mohawkgroup instagram: @mohawkgroup

Mohawk Group HIP 2019 WINNER RELAXING FLOORS

SPECIAL ADVERTISING SECTION

HALCON HIP 2019 HONOREE STRATOS

STRATOS pairs modern, timeless design with a flexible, parametric system to create table solutions of any size and shape. Multiple power & data interfaces give more choice in technology selection, including dualflipping power access grommets and power modules around the surface perimeter. A formed metal base supports any surface size and shape, expanding its stable structure to adapt to every room. The beautiful form is complemented by the soft curves of the table surface, bringing people together to collaborate and achieve.

DESIGNER Jehs & Laub

HALCONfurniture.com

C O N G R AT U L AT I O N S T O T H E 2 0 1 9 H I P AT N E O C O N W I N N E R S A N D H O N O R E E S !

T H A N K YO U TO O U R PA RT N E RS

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HiP 2019 product winners and honorees [ w ] = winner

ACCESSORIES Paravan Mood, Arper [ w ] Evo Screen, Slyde Innovations Lada Shelving, Magnuson Group Lollipop, Karl Andersson & Söner thru Scandinavian Spaces Roo, OFS ARCHITECTURAL PRODUCTS Obeya, OFS [ w ] Arizona Summer Collection, NappaTile Acoustic Wall and Ceiling Panels, FSorb Ecoustic® Tango, Unika Vaev EDUCATION/GOVERNMENT/ INSTITUTIONAL: FLOORING Color Thesis, Milliken [ w ] Deconstructed Felt, Patcraft Learn & Live, Mohawk Group Winning Team, Interface EDUCATION/GOVERNMENT/ INSTITUTIONAL: SEATING Poufs and Tables Collection, Allsteel [ w ] Buncha, Keilhauer Cila Go, Arper Jumper, VS America HEALTH & WELLNESS: FABRIC & TEXTILES Clean Impact Textiles Collections, Duvaltex [ w ] Chiaroscuro Collection, CF Stinson Pallas Textiles Limn Collection, KI HEALTH & WELLNESS: FLOORING Subtle Impressions, Patcraft [ w ] Heavy Meta, Milliken Noraplan Environcare, Interface True Hues, Mohawk Group HEALTH & WELLNESS: FURNITURE Lasata, Carolina [ w ] Ascend, Krug Attessa, Stance Healthcare Hiatus™, KI Naava One Slim, Teknion HOSPITALITY: FABRIC & TEXTILES High Line Collection, CF Stinson [ w ] Clearwater, Brentano Harlequin Momentum, Style Library Hospitality Collection, Edelman Leather Majorelle Collection, Mayer Fabrics

HOSPITALITY: FLOORING ID Mixonomi, Tarkett [ w ] Community, Shaw Contract Edge Lit, Milliken Metroforms, Metroflor Corporation Spirit Moderne, Durkan HOSPITALITY: SEATING Back-Wing, Haworth [ w ] Anatra, JANUS et Cie Kin, Allermuir Sprout Collection, Teknion LIGHTING Tile, Pablo Designs [ w ] Acoustic Wing, LightArt Blade Acoustic, Luxxbox BuzziDome, BuzziSpace Lightcycle™, Dyson MATERIALS Knits, Haworth [ w ] HardStop™ Decorative Protection Panels, Formica Corporation Moving to Mood, Chemetal SSS X Concrete Collaboration, Concrete Collaborative Xorel Knit, Carnegie OUTDOOR Rio Connection Module, JANUS et Cie [ w ] Dune, Gloster Furniture Jett Collection, Jensen Leisure Furniture Nuez, Andreu World Vignelli Rocker, Heller WALL COVERINGS Louis, Momentum Textiles and Wallcovering [ w ] Anthology 06, Style Library Shimmering Burlap, Maya Romanoff TECHNOLOGY Intentek™ Wireless Charging Surface, Formica Corporation [ w ] Pure Cool Me™, Dyson Roam™, Steelcase MANUFACTURING PROCESSES Flat Soft, Sandler Seating [ w ] Deconstructed Felt, Patcraft RAL Color Service, House of Rohl Tatami System, Tarkett

WORKPLACE: ACOUSTICAL APPLICATION Xorel Artform Baffles, Carnegie [ w ] Botanica, Snowsound Brix Felt Tile Collection, Unika Vaev Flat, Snowsound WORKPLACE: FABRIC & TEXTILES Bauhaus Project, Designtex [ w ] Future Tense Collection, Luum Textiles Jens Risom Collection, Camira Fabrics Nomad Collection, Arc|Com Pallas Textiles Minim Collection, KI WORKPLACE: FABRIC & TEXTILES: DESIGNER COLLABORATION Veer, Aliki van der Kruijs

by Wolf-Gordon [ w ] Architectural Textures Collection, Sina Pearson by Momentum Textiles and Wallcovering Lost & Found, Cristiane Müller van Tol by HBF Textiles WORKPLACE: CARPET Relaxing Floors, Mohawk Group [ w ] Composition Series, Tarkett Gradation, Shaw Contract Interleave Modular, Tarkett Sorted Collection, Bentley WORKPLACE: HARD FLOORING Look Both Ways™, Interface [ w ] Change Agent, Milliken Drop Cloth, Tarkett Mixed Monolith Collection, Mannington Commercial WORKPLACE: FURNITURE Woodstock Sit/Stand™, Three H [ w ] Chameleon, DarRan Furniture Halo, Halcon Lagunitas Focus Nook, Coalesse WorkSmith, Arcadia WORKPLACE: FURNITURE SYSTEMS BuzziBracks, BuzziSpace [ w ] Blend, Dfm Free Address, Stylex Paradigm Panel System, Groupe Lacasse WORKPLACE: TRAINING TABLES/DESKING Nest System, Hightower [ w ] Arki-Table, Pedrali Array, The Senator Group A-Table, Davis Furniture Stratos, Halcon WORKPLACE: CONFERENCE TABLES Alev™, Nucraft [ w ] Inform, Davis Furniture Plexus, Nienkämper Status, Andreu World

WORKPLACE: TABLES Companions, Koleksiyon [w: HIGH TABLE ] Freehand, Studio TK [w: LOW TABLE ] Bubble, Blå Station and Scandinavian Spaces Cumbia, Martin Brattrud Hub/Bub™, Three H WORKPLACE: PARTITIONS + WALL SYSTEMS Flex Mobile, Clarus [w: MOBILE WALL SYSTEMS] Michelangelo Line, The Italian Space [w: PARTITION WALL SYSTEMS] Divy Mobile, 3form Panl, Fräsch Parban Space Dividers, Magnuson Group WORKPLACE: SEATING Fendo, Scandinavian Spaces and Skandiform [w] Angie, Vilagrasa Freya, ICF Pad Lounge Series, Allsteel Stact, Keilhauer WORKPLACE: TASK SEATING M75, Davis Furniture [ w ] Alya, Andreu World Elinor, Pedrali LV, Itoki Corporation WORKPLACE: LOUNGE SEATING Verge, Keilhauer [ w ] Belle, Nienkämper Cardiff, Martin Brattrud Drift, Global Furniture Group Twirl, Encore WORKPLACE: HIGH BACK SEATING Cabana Lounge, Haworth [w] Havn, Studio TK LeanTo, OFS Paséa, SitOnIt Seating and Ideon Reefs, Dauphin WORKPLACE: SOFA Nagare, Okamura [ w ] Crosshatch, Geiger Dado Curved, Andreu World Lauren Rottet Lounge Collection, Haworth WORKPLACE: BENCH Heartbeat, Nienkämper [ w ] A-Bench, Davis Furniture Axyl, Allermuir Clique Collection, Studio TK WORKPLACE: STOOL Hula, Andreu World [ w ] Alto, Humanscale Liv, Gunlocke Muse, Davis Furniture INNOVATION FOR GOOD IN PARTNERSHIP WITH INTERFACE Clean Impact Textiles, Duvaltex [ w ]

carlhansen.com

every piece comes with a story | CH24 |

wIShBoNE ChAIr hANS j. wEgNEr · 1950

“Master of the Chair.” That is how Danish furniture designer Hans J. Wegner is known all over the world. The CH24, popularly known as the Wishbone Chair, exemplifies Wegner’s reputation with excellence. Created from pure and sustainable natural materials, it is a brilliant icon of Danish cabinetmaking traditions represented for generations by Carl Hansen & Søn.

The Wishbone Chair is shown with Wegner’s CH338 dining table.

FLAgShIP STorES: NEW YORK: 251 PARK AVENUE SOUTH, 13TH FLOOR, NEW YORK, NY 10010 | +1 212 242 6736 SAN FRANCISCO: 111 RHODE ISLAND STREET, SUITE 3, SAN FRANCISCO, CA 94103 | +1 628 204 3339 FIND AN AUTHORIZED DEALER NEAR YOU. WWW.CARLHANSEN.COM

suspenders suspenders ®

®

offset rings offset rings

Suspenders, a delicately scaled modular system of LED luminaires, provides a broad range of architectural lighting capabilities. Clusters of three lighted glass bubbles, shown here, are suspended from Power Bar rings of varying diameters. They form dazzling luminous arrays of intersecting lights that shimmer with each other’s reflections.

Explore the possibilities at sonnemanawayoflight.com.

SEE THE LIGHT

Showroom: New York Design Center | 200 Lexington Ave. | New York 10016

Multiple U.S. and foreign patents granted and pending.

C ENTER fold 1. A polished concrete slab forms the foundation for Xylem, a permanent open-air pavilion by Kéré Architecture at Tippet Rise Art Center, a sculpture park and classical-music venue in Fishtail, Montana. 2. Untreated lodgepole and ponderosa pine logs, bundled with structural screws and steel-angle bands to form modules, arrive at the construction site following pre-assembly at Gunnstock Timber Frames in Powell, Wyoming. 3. Architect Francis Kéré, also founder of the ecologically focused Kéré Foundation, inspects a module’s logs, which were sourced from regional trees that had already been killed by mountain pine beetles. 4. Tippet Rise managing director of operations Pete Hinmon and a structural engineer inspect the roof’s steel armature, which is shaped into hexagons. 5. Each hexagon’s 10 log modules get installed via crane to have “topography,” or an uneven surface.

second time around Frances Kéré’s installation at Tippet Rise Art Center in southern Montana gives felled trees new life

“Xylem merges with the nearby hills but remains unique in this huge landscape”

CLOCKWISE FROM TOP: COURTESY OF KÉRÉ ARCHITECTURE; JAMES FLORIO/TIPPET RISE ART CENTER; LAURA VIKLUND/ TIPPET RISE ART CENTER; JAMES FLORIO/TIPPET RISE ART CENTER; EMILY RUND/TIPPET RISE ART CENTER

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1. Xylem takes design cues from togunas, the sacred congregational structures of the Dogon people in Africa’s Mali and Burkino Faso, where Kéré was born.

2. Tippet Rise occupies 12,000 acres of working ranchland.

3. The name of the 2,760-square-foot pavilion is borrowed from the term for plant vascular tissue. 4. For concerts by such musicians as cellist Roman Borys and violinist Annalee Patipatanakoon, guests sit on benches of the same wood inspired by the abstract paintings of microscopic life by Tippet Rise co-founder Cathy Halstead.

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august19 Take in the full spectrum of creativity

DAISUKE SHIMA

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A designer-chef collaboration has yielded Casa Maria Luigia, an art-filled hospitality venture in northern Italy

three’s company

text: alexandra cheney photography: filippo bamberghi/photofoyer

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Previous spread: Ai Weiwei’s Dropping a Han Dynasty Urn (Lego), a Lego bricks on panel triptych, lines the living room of Casa Maria Luigia, an 18th-century villa turned boutique hotel in San Damaso, Italy, by designer Catia Baccolini and own­ ers Massimo Bottura and Lara Gilmore.

Opposite: A trio of Ludwig Mies van der Rohe chairs joins a Murano glass chan­ delier and an oil on canvas by Philip Taaffe in a sitting room.

The country estate that renowned chef Massimo Bottura and his wife and collaborator, Lara Gilmore, transformed into a boutique hotel poises new-world sensibilities wrapped in old-world charm. Dating to the 18th century and nestled in the Emilian countryside in the province of Modena, Casa Maria Luigia, named after Bottura’s mother, ticks off all the Tuscan villa boxes: classic allée, original shutters, centuries-old oak trees intertwined with manicured lawns.

But inside, the eclectic environs prove it’s not exactly a conventional Italian casa.

“It’s something between new and old, with a little bit of nostalgia—but also irony,” designer Catia Baccolini says of the 12-room, three-story main building. A longtime friend and advisor, Baccolini previously worked with the couple on their four restaurants, including the three Michelin–star Osteria Francescana nearby, as well as their family home approximately 30 minutes away. “They both kept repeating that it had to be easy and refined, challenging but also familiar,” she continues. “These contradictions lead to unexpected design choices that make it feel like a personal and authentic space rather than a hotel.”

The communal kitchen is one such space. Its all-black Ernestomeda cabinetry could trend toward sterile, but with Bottura’s collection of vintage copper cake molds along one wall and Gilmore’s anthology of Empoli green and clear glass bottles peppered around, it’s instead warm and welcoming. Elsewhere, mid-century furnishings by Eileen Gray, Ludwig Mies van der Rohe, Eero Saarinen, and the Castiglioni brothers along with vintage Murano glass chandeliers keep company with original walnut floor planks and ancient ceiling

Top: Sandro Chia’s bronze Il Babbo stands at the hotel’s entrance, while Giorgio di Palma’s ceramic Coppe Gelato is on the first-floor balcony. Center: Casa Maria Luigia contains 12 rooms. Bottom: A modular sofa by Piero Lissoni stands beneath the vaulted frescoed ceiling, which dates to 1900.

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Top: A 1940’s desk furnishes the recep­ tion area. Center: Guest rooms feature wallpaper by Gucci, for which Bottura is a brand ambassador. Bottom: Ink on Paper by Ceal Floyer appears in another guest room.

Opposite: In reception, Tracey Emin’s neon piece is paired with sofas also from the ’40’s.

frescoes. They, in turn, juxtapose with elements of today, such as bright patterned wallpaper and minimalist pieces by the likes of Michael Anastassiades and Piero Lissoni.

Working within the existing structure to create a sense of timelessness meant moving Casa Maria Luigia’s walls was out of the question. Instead, the trio focused on designing from the exposed brick and walnut flooring up, literally. The layout of the guest rooms and bathrooms came first, with fixtures, tile, and wallpaper selections secured early. “Color was a big element,” Baccolini explains. “We tried to give each room a particular feel, picking up on elements already present, like the colors of a marble fireplace or the painted ceiling.”

Saturated shades such as Green Smoke, Stiffkey Blue, and Dead Salmon accompany guests throughout the house, complimenting and contrasting Gilmore and Bottura’s sizeable contemporary art collection, which includes pieces by Tracey Emin, Damien Hirst, Barbara Kruger, and Ai Weiwei. To assist Baccolini, Gilmore made detailed maps for which works went where and why. “They are precise and intense about their collection,” Baccolini notes. “Often, the art dictated the furniture, not the other way around.” Gilmore and Bottura have been acquiring pieces for the last 25 years: “We love sneaking them into people’s personal spaces,” Gilmore says.

“Here, we host people, we make them feel at home, and we give them a home,” Bottura contributes. “On the other side, we give them a dining experience. We’re creating a revolution in hospitality and fine dining.” He’s speaking of the two-story, circa 1900 carriage

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Top: Francescana at Maria Luigia res­tau­ rant occupies the renovated carriage house, outfitted with Alessandro Mendini tables and Damien Hirst’s screen print, The Last Supper. Center: Vintage sconces and side tables populate a guest room.

Bottom, from left: Gregory Crewdson’s photograph Untitled (Awake) overlooks Marco Zanuso’s chair in a guest room.

VB39 US Navy SEALs, a Vanessa Beecroft photograph, hangs in a hallway.

Opposite: The hotel’s cocktail room features artwork by Barbara Kruger and Jonathan Borofsky, a lamp by Michael Anastassiades, and a vintage armchair.

house that sits across the courtyard from the main building. It contains Bottura’s newest culinary experience, Francescana at Maria Luigia, a nine-course tasting menu from Osteria Francescana presented nightly to a small group of diners, either guests of the hotel or those on Osteria’s waiting list. By day, the carriage house serves as the casa’s breakfast space, with a buffet of locally sourced ingredients such as Parmigiano Reggiano, focaccia baked in the on-site pizza oven, and balsamic vinegar from the acetaia, the barrel-aged vinegar production zone in the attic (the region is famous for the liquid). Beneath the restaurant’s brick barrel vaults, Baccolini installed Ingo Maurer lighting, a trio of communal oak tables

by Alessandro Mendini, and leather-upholstered armchairs, while Gilmore chose a 13-piece Damien Hirst screen print, aptly titled The Last Supper, for the walls.

She and Bottura acquired the estate in June 2017, offering only a euro above the auction list price, but decided to take their time with the renovation, officially opening it this spring.

Now, in addition to the main villa and carriage house, Casa Maria Luigia offers guests a swimming pool, a tennis court, and gardens to roam, where sous chefs can be found picking fresh herbs and vegetables.

Harnessing the “power of food and hospi­ tality, to me, is a new frontier,” Bottura states.

“We’re opening up our home, hearts, and passions, and saying we love to share this with you.” To that end, the communal kitchen is always unlocked, a cocktail room allows guest to create their own beverage, and it’s not uncommon to find chef ending the evening in his preferred space, the music room, where floorto-ceiling bookcases hold thousands of vinyl records for guests to peruse and play. Bottura repeats his favorite phrase many times through­ out our interview: “We are home to slow food and fast cars.” He should know. He’s a brand ambassador for Maserati, its main production plant headquartered in Modena.

PRODUCT SOURCES FROM FRONT PAOLA LENTI: LARGE TABLE (LIVING ROOM).

LIVING DIVANI: SECTIONAL SOFA. GUCCI: WALLPAPER (SIT­ TING ROOM, GUEST ROOMS), CHAIR FABRIC (RECEPTION).

RIVA 1920: TABLE (RESTAURANT). POLTRONA FRAU: CHAIRS. CASSINA: GREEN CHAIR (GUEST ROOM).

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Esrawe Studio highlights Grupo Arca’s goods at its experiential showroom in Guadalajara, Mexico

materials study

text: raul barreneche

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Previous spread: At the Grupo Arca showroom in Guadalajara, Mexico, by Esrawe Studio, panels of Italian Ocean Blue travertine form the courtyard’s walls and floor, creating the sensation of being in a quarry. Photography: Jaime Navarro.

Top: Blackened concrete with travertine insets composes the entry facade.

Photography: Genevieve Lutkin. Center: In-house artisans crafted a mono­ lithic sink from Italian marble, which also clads the restroom’s walls, floor, and ceiling. Photography: Genevieve Lutkin. Bottom: The project includes a bookstore-café with custom maple-plywood furniture and millwork.

Photography: Jaime Navarro. Right: Esrawe’s leather-upholstered seating appears in reception, where it juxtaposes with the rustic Turkish marble desk. Photography: Genevieve Lutkin.

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Grupo Arca has big ambitions. With showrooms in Mexico City and Monterrey, it is a favorite of Mexico-based architects and interior designers, offering them premium building materials: wood flooring from France, an array of masonry bricks, Italianfabricated engineered stone, and exotic natural stone from around the globe. But Grupo Arca also takes pride in a higher purpose, to be “a node of creative connections that promotes design, culture, and art through extraordinary experiences,” according to a company statement. Those experiences include a handsome online design journal called Container as well as a new generation of design centers conceived more as museums that celebrate the art of materiality than traditional commercial showrooms. They will offer flexible, changeable venues for temporary exhibitions, film screenings, and musical performances. The first such venue has opened in Guadalajara, and it was designed by a likeminded and equally ambitious collaborator, Esrawe Studio.

“We like to provoke our clients to include a cultural component in their projects,” Héctor Esrawe begins. “In this case, we achieved both: a design that adds social value and is integral to the brand. This company has marvelous energy, wanting to grab the brass ring and reach for the stars.”

Esrawe’s team, led by architecture coordinator Laura Vela, conceived the 70,000-square-foot facility with two conjoined but clearly defined zones: a soaring, skylit warehouse for the massive stone slabs and other materials in the Grupo Arca inventory and a three-level showroom wing with product galleries, offices, and a bookstore-café. The latter public-facing portion, situated around a wedge-shape open-air agora, or

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courtyard, takes inspiration from the very nature of the stone displayed within. Portions of the entry facade, finished in blocky planes of blackened concrete, look as though they have been ex­ cavated to reveal stratified layers of lighter-hued Italian traver­ tine. Once through the front door, a discreet and subtle opening in the muted facade, visitors pass into the monumental agora.

The floor and walls of the courtyard are clad entirely in the same travertine used on the facade. Extending up the three-story height of the agora, its strong horizontal veining suggests the strata of an archaeological excavation or a stone quarry, precisely the meta­ phor Esrawe intended. “It conveys the power of seeing the origin of materials, not just the end product,” the designer states. “Few people have ever visited a quarry and think stone just shows up finished in the yard. Here, we created a link between the user and the raw materials.”

As with the interior patios of traditional Mexican houses, the agora, along with a pair of smaller light wells, brings daylight into the otherwise windowless structure. Recessed doorways and canti­ levered walkways flow around the courtyard’s trapezoidal form,

Top, from left: An outdoor corridor features the same travertine; photo­ graphy: Genevieve Lutkin. A sculpture in parota and volcanic rock by Jorge Yázpik, stands in the courtyard, where his work is temporarily exhibited; photography: Jaime Navarro. Bottom: Openings in the walls bring light into the showroom. Photography: Genevieve Lutkin.

Opposite: More Yázpik sculptures populate the stairway with teak steps.

Photography: Jaime Navarro.

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Top, from left: Numbered truck bays open into the warehouse; photography: Jaime Navarro. Granite paves the terrace off the bookstore; photography: Genevieve Lutkin. Bottom: White basalt flows through the showroom, where material samples are displayed in a gallerylike setting. Photography: Genevieve Lutkin.

Opposite: Steel girders line up in the triple-height warehouse containing slabs of natural and engineered stone. Photography: Genevieve Lutkin.

adding to the horizontality of the space. “Part of the experience of walking through this petrified mass is the expanding and contracting of the circulation,” Vela explains. Pockets of planted trees and shrubs recall the vegetation sprouting from geometric cliffs of cut marble in Edward Burtynsky’s famous photographs of abandoned Vermont quarries—nature creeping back to life. A massive flight of travertine steps, augmented with smaller lengths of rustic teak, offers a stunning backdrop for performances and exhibitions.

Currently on view is the site’s inaugural show of abstract wooden sculptures by Jorge Yázpik, a contemporary Mexican artist.

Inside, the Esrawe team similarly approached displays like artwork rather than samples. “The interiors are neutral, with gallery lighting to show off the drama of the materials,” Vela continues.

“It’s a pure, clean geometry of lines and planes, with steel frames that express depth.” The lobby, with black basalt flooring and walls and ceilings of blackened micro-cement, reinforces the conception of the building being carved from a solid masonry mass.

Even the reception desk is a hunk of rough-hewn Turkish marble.

The lobby overlooks the huge, skylit warehouse where immense stone slabs and pivoting steel-framed sections of wood flooring are contained, creating a clear, but easily traversed, separation between showroom and storage.

On the top floor, the bookstore-café has overlapping functions.

Opening onto a landscaped terrace, it’s a place to relax and flip through architecture books and magazines as well as a reference library for designers working with sales reps. Framed architectural photos add to the gallery feel—and the overall conceit of Grupo

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Arca’s showroom as a cultural hub, not just a place for commercial transactions. As in much of the building, Esrawe Studio designed the furniture, which here includes bar stools, benches, and bookshelves that harmonize with the honey-hued mapleplywood ceiling. Grupo Arca’s in-house craftsmen also contributed to the furnishings, including the reception desk and the restroom’s colossal sink of heavily veined French marble.

This first of Grupo Arca’s game-changing showrooms has been a hit, creating a newfound sense of community for Guadalajara’s design professionals while supporting and expanding the company’s international ambitions. In fact, additional outposts in Miami and Madrid are due to be unveiled next year.

PROJECT TEAM ANTONIO CHÁVEZ; MARÍA SANTIBAÑEZ; JACOBO MENDOZA; ANDREA GUILLÉN; BRENDA VÁZQUEZ; FERNANDO CARNALLA; TATIANA GODOY; FABIÁN DÁVILA; DANIELA PULIDO; JAVIER GARCÍA–RIVERA; YAIR UGARTE; MOISÉS GONZÁLEZ; GAEL FÉLIX; ROBERTO GONZÁLEZ: ESRAWE STUDIO. PAAR PAISAJE ARQUITECTURA: LANDSCAPING CONSULTANT. CADENA + ASOCIADOS CONCEPT DESIGN: CUSTOM GRAPHICS. LUZ EN ARQUITECTURA: LIGHTING CONSULTANT. GMA ARQUITECTURA E INGENIERÍA: STRUCTURAL ENGINEER. CASAS DE MÉXICO: MEP, WOODWORK, GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MILIA SEYPPEL THROUGH KARAKTER: VASES (RECEPTION). ESRAWE: SOFA, TABLE, CHAIR.

Myrtle trees, ferns, and monsteras add greenery to the travertine-wrapped courtyard. Photography: César Béjar; production: Revista Container.

“The showroom creates a newfound sense of community for design professionals”

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acropolis now

Hellas House, a multiuse cultural center by KCA/ Kostas Chatzigiannis Architecture, brings Greece, ancient and modern, to Shanghai

text: casey hall photography: anne-sophie heist

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A glimpse through the iron gates into the front courtyard of Hellas House in central Shanghai is enough to give even casual passersby an inkling that the building is taking design cues from somewhere other than its colonial-era surroundings. The pair of imposing Ionic columns guarding the entrance is a dead giveaway.

Hellas is the name Greeks use for their homeland—officially the Hellenic Republic—and the job of transforming a 1930’s brick-and-wood villa into a center for the nation’s culture fell to one of their own: expatriate architect Kostas Chatzigiannis, who has lived in

Shanghai since 2007. The gut reno­ vation took a full year for the design phase and five more for construction.

“I spent the better part of my youth on it,” Chatzigiannis says with a laugh.

The true challenge, according to the KCA/Kostas Chatzigiannis Architecture founder, was to follow a brief that demanded the 5,380-square-foot Hellas House “scream Greek” without tipping into kitsch. “There is a stereotypical ‘Grecian’ style for this kind of project,” he continues, “one that can’t seem to escape the blue-and-white thing or laurel-wreath crowns or chitons. It can go over the top very easily.”

Chatzigiannis’s client, Pavlos Kontomichalos, a fellow Greek expatriate who has lived in Shanghai for 25 years, has various Hellenic-centered business interests, including a honey, olive-oil, and wine import company and a boutique travel agency. Greece is a small country and the number of its nationals resident in Shanghai is correspondingly small, just a few hundred. So it was determined that while Hellas House should be a nexus for Shanghai’s tiny Greek community, it would also be available as a social and corporate events space where other groups can experience what Kontomichalos calls

Previous spread: A Klismos chair and Klini chaise join a custom cast-bronze olive tree in the lounge of Hellas House, a Greek cultural center in Shanghai

by KCA/Kostas Chatzigiannis Architecture.

Opposite: A cast-plaster replica of a female figure from the Cycladic period, 2800–2300 BCE, presides over the marble-floored entrance hall.

Top, from left: Custom velvetupholstered seating furnishes the garden-facing lounge. On the second floor, marble columns flank the portal to the living room. Bottom: Digitally mastered images of reliefs from the Parthenon, printed on fabric and backlit, join a pair of Diphros stools in the gallery.

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Top: Handmade reproductions of ancient Greek amphorae, kraters, kylixes, and other ceramic vessels are displayed in the lounge. Bottom: The entrance hall’s custom con­ sole, brass olive branches and wreaths, and sconces echo the Cycladic period’s minimalist aesthetic. Right: Inspired by the Minoan civilization of Crete, the dining room features a fresco depict­ing griffins, butterflies, and lilies, all motifs found in the Palace of Knossos.

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“the best Greece has to offer: history, culture, natural products, hospitality, and healthy lifestyle.”

Accordingly, along with an office for the travel agency and a store for the imported produce, the five-level center comprises a basement cellar stocked with Hellenic wines; a ground floor open kitchen, history gallery featuring replicas of ancient Greek artifacts— “My favorite room,” Kontomichalos says, “where visitors are immediately immersed in the essence of Hellenic civilization,”—and lounge, which backs onto a garden, pool, and dining patio; a mezzanine exhibition space; a secondfloor dining room, living room, and terrace; and, tucked under the pitched roof, an attic retreat, its restored ceiling beams among the few remaining elements from the original house.

To evoke ancient Greece, Chatzigiannis drew on materials and color palettes commonly used in antiquity: marble, bronze, and wood; black, white, and gold. For floors, walls, and

columns, large slabs of raw marble from the Aegean islands of Naxos and Thassos were shipped to the southern port city of Xiamen where they were cut and polished before being hauled to Shanghai—with more than one piece breaking en route or, worse, during installation.

Each space channels a different era in ancient Greek history. The entrance hall “starts at the beginning,” as Chatzigiannis puts it, with the Cycladic period, whose elegantly austere Bronze Age aesthetic is represented by a 5-foot-tall cast-plaster replica of a female figure from 2800–2300 BCE. Chatzigiannis complements the statue’s minimalist style with equally restrained custom elements: a graphic metal console in matte black, a simple geometric brass stair rail with a matte-gold finish, and a subtle, white-on-white plaid-pattern floor of polished marble.

The liberal use of customization— which, the architect estimates, includes more than half the project’s furnishings and architectural elements—is largely

due to necessity. “When you renovate a period building on the Bund or design a new villa for a Chinese client, you can find many local suppliers familiar with Italian, French, Spanish, or even Arabic style, because they’ve all infiltrated the market,” he says. “But when you want to go classical Greek, it’s impossible.”

Custom solutions to the problem include a plethora of chairs, chaises, and stools that reference the work of T.H. Robsjohn-Gibbings. The 20th-century designer, famous for giving principles derived from ancient Greek furniture modern form, moved to Athens in the mid-’60’s where he had classical pieces accurately reproduced. Chatzigiannis tracked down the few elderly Athenian craftsmen who still produce RobsjohnGibbings’s signature curved-wood furniture. “The tricky part is making those curves,” the architect confides. “Basically, they boil the wood, bend it, let it dry; boil it again, bend it, let it dry, and so on. It’s a long, painstaking process for every chair.”

Alongside the reproduction furniture, statues, and ceramics, Hellas House also showcases contemporary Greek art, such as paintings by the 84-yearold Athenian artist Alekos Fassianos, pulled from Kontomichalos’s private collection to hang in the lounge and offices. Most of the custom fixtures and furnishings are no less up to the minute.

The primary design inspiration behind the center may be the ancient world but moving through its free-flowing spaces— mostly connected by wide columnflanked portals rather than divided by solid doors—is a surprisingly light, even Top, from left: With a brick ceiling, floor, and wall vaults, the cellar is reserved exclusively for Greek wines and spirits. A replica of Kouros Kroisos, the statue of a young man made around 530 BCE, shares the second-floor hallway with a Trapeza table, which sports the legs of a deer. Bottom: At one end of the attic, custom armchairs create a quiet retreat overlooking the garden.

Opposite: A custom sofa and side table sit under the attic’s ceiling beams, which are original to the 1936 house.

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ethereal, experience. “We’re in downtown Shanghai, so you can’t give people a museum,” Chatzigiannis reasons.

“You’ve got to give them something contemporary. It has to feel right.”

PRODUCT SOURCES FROM FRONT FLOS: PENDANT FIXTURE (LOUNGE).

SARIDAKIS: KLINI CHAISE (LOUNGE), KLISMOS CHAIRS (LOUNGE, LIVING ROOM), DIPHROS STOOLS (LOUNGE, GALLERY), TRAPEZA TABLE (HALLWAY). DG ART SPACE: CUSTOM TABLES, CUSTOM SOFAS, CUSTOM ARMCHAIRS (LOUNGE, ATTIC), CURTAINS (LOUNGE, DINING ROOM), CUSTOM CHAIRS, CUSTOM TABLE (DINING ROOM), BAR­ RELS (WINE CELLAR). SOCRATIS GRIGORATOS: CUSTOM SCONCES, CUSTOM OLIVE TREE (LOUNGE), CUSTOM

PROJECT TEAM DAMOS BAO; CANDY CHEN: KCA/KOSTAS CHATZIGIAN­NIS ARCHITECTURE. MATTHIEU COURTIN: GRAPHICS CONSULTANT. BLUCE LIGHTING: LIGHTING CONSULT­ ANT. HONGMEN: WOODWORK. QUALITY ESSENCE: STONEWORK. SHANGHAI ANYU DECORATION & ENGINEERING: STRUCTURAL ENGINEER, MEP, GEN­ ERAL CONTRACTOR.

WREATHS, CUSTOM OLIVE BRANCHES (ENTRANCE HALL).

NISHABURI: RUG (LOUNGE). AMFOREAS: CERAMIC VESSELS (LIVING ROOM, LOUNGE). HANK CHEN: STATUE BASES (GALLERY). FYBOX: LIGHT BOXES, CUSTOM MEM­ BRANE. ESTILUZ: PENDANT FIXTURE (DINING ROOM).

FOSCARINI: SCONCES. XTOS: FRESCO. THROUGHOUT ARCHAEOLOGICAL RECEIPTS FUND: WALL RELIEFS, STATUES, BUSTS.

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off the beaten path From urban ruins to a rural hillside, unconventional venues invite inventive installations text: wilson barlow

See page 158 for the Universität Stuttgart’s Urbach Tower in Germany.

Photography: Roland Halbe.

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Archstudio project Hillside Dwelling, New Everbright Center ArtPark9, Beijing. standout Begging to be climbed, a hill of cork planks is laid on top of a welded steel structure to evoke early man’s cave dwellings as a precursor to an exhibition on future interiors. photography Jin Weiqi.

“We created a space where the primitive and the exquisite coexist”

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“The vegetation will grow around the building so it will eventually be part of the forest”—Carlos Castanheira

Carlos Castanheira & Clara Bastai Architects and Álvaro Siza Vieira project Saya Park Art Pavilion, Gyeongsangbuk-Do, South Korea. standout At the tallest point of the 32-foot-tall permanent pavilion, made from a monolithic concrete wall, Siza’s Cor-Ten steel sculpture emerges from an aperture in one of the three buildings in a meditation park collaboration between the Portuguese firms. photography Duccio Malagamba.

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“Only the skilled hands of experts are precise enough to create 1,000 unique colors”

Emmanuelle Moureaux Architecture + Design project 1000 Color Waves, Imabari City, Japan. standout As part of an exhibit celebrating the shipbuilding city’s renowned textile dying tech­ nologies, 1,002 seats in Kenzō Tange’s Imabari City Public Hall were upholstered in sail canvas in a gradient of 1,000 distinct colors for three days of events. photography Daisuke Shima.

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Snarkitecture project Hall of Broken Mirrors, Holon, Israel. standout Part of “The Conversation Show” exhibition at the Design Museum Holon, visitors can step through a series of mirrorlike cutouts made from varnished polyurethane foam, their jagged edges rough-hewn by hand for a finish that’s soft to the touch. photography Elad Sarig.

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“It’s like walking through a portal to another dimension”

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“Choosing the site is a symbolic reminder to never take our freedom for granted”

Kolmo project Memory of a Nation, Prague. standout Images of key events from the former Czechoslovakia’s history are projected using 3-D video and sound-mapping in a suitably historic venue: the ruins beneath the city’s monument to Joseph Stalin, which was demolished in 1962. photography BoysPlayNice.

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“We were impressed by what such a simple material can do in terms of performance and aesthetics”

Universität Stuttgart Institute for Computational Design and Construction and Institute of Building Structures and Structural Design

project Urbach Tower, Germany. standout The curvature of the 45-foot-tall permanent hikers landmark is derived from an innovative air-drying process used to naturally shape larch, which, here, was left untreated to weather over time. photography Roland Halbe.

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a matter of perspective For Cun Design’s own art-filled Beijing studio, the secret was to think like a client—and design it like a gallery

text: rebecca lo photography: su tang/wang jin and wang ting

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Previous spread: A metallic globe hanging in a mirror-topped shaft creates the illusion of height at Cun Design’s own Beijing studio.

Top: Glass separates the materials library, with its shelving for samples, from the stairwell’s fiberglass Tyrannosaurus and geese. Center: Yang Tao’s ceramic sculpture The Game of Power graces a mir­ror­ed stair landing, backdropped by a cus­ tom light projection. Bottom: A painted steel staircase rises from the bar, filled with employees’ favorite objects.

Opposite: In Cun Design founder Cui Shu’s office, a dog-shape Bluetooth speaker joins a printed paper insect.

When a firm designs its own studio, you might think it would be the perfect opportunity for creativity to reign—without the limitations set by demanding clients. But the reality is more complicated. Take the case of Cui Shu, who had decided to relocate his Beijing firm, Cun Design. “The project could not officially start,” Cui notes “until we shook off our identity as designers and saw ourselves as the clients.”

So he spent three months brainstorming with those clients, aka his 45-person staff, to determine what type of place everyone would like to work in. One wish list included a café on the ground level for regular caffeine fixes. Another designer felt that a workplace should have the feeling of a home. Cui ultimately came to the conclusion that the only way to address everyone’s bucket lists was to think of the office not as a single entity but as a series of zones, each one its own mini universe.

He found ample space to do that at a site on one of Beijing’s outermost ring roads—a onetime factory complex now home to a creative-minded redevelopment where neighbors would include shops and offices. “We liked the fact that it’s an integrated complex, with businesses that operate 24/7,” he says. After Cun Design leased one bay of a 40-year-old building there, Cui set about transforming it. The result needed to inspire hard work yet also be a place where events are held and where visitors can immerse themselves in Cun Design’s oeuvre. “We tried our best to avoid the typical features of an office, hoping to bring in coziness and comfort,” he says.

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Top: Custom copper-framed chairs with cotton-linen upholstery line up in the tearoom-themed meeting room. Bottom: Yang’s Parallel Cipher, 3-D printed in PVC, stands outside the administrative office.

Opposite top: Polished steel tops the custom table in Cui’s office. Opposite bottom: Alongside the stairs con­nect­ ing it to the tearoom, a niche contains Yang’s plaster What Is Intoxication.

Myriad quirky objects play a major role in that effort, starting on the ground level. Right past the main entrance is a full bar, set beneath a partially mirrored ceiling that reflects a seemingly random assortment of motorcycle helmets, books, and framed photos. “I asked my employees to bring in their favorite personal belongings to individualize the space,” Cui explains.

“During the day, we host client conferences or have internal meetings here. And sometimes we organize evening activities or gatherings.”

In his concept of distinct zones for the project, the ground level represents two important functions: to project the firm’s image, for marketing purposes, and to encourage social interaction. There is a bar, including its own pantry. Then a kitchen, a café for coffee, and a pair of cigar rooms take up the remainder of this level. At the back, a white open staircase rises from a landing that also hosts a prime example from his collection of contemporary sculpture by a Beijing artist, Yang Tao—a squat, muscular human figure stands with an outstretched arm, from which dangles a small child. Suspended above is Cun Design’s own artistic creation, geese playfully flocking around a Tyrannosaurus skeleton.

The staircase brings visitors up to a zone that serves as a transition between the splashy social venues below and the serious work areas to come. Designers often meet with outside contractors and suppliers in this intermediate space, which comprises the materials library, a conference room, and a slightly smaller meeting room styled as a tearoom, complete with teapots, cups, and bowls displayed on shelving inspired by a traditional Chinese moon gate. By cutting a rectangle out of the slab overhead, Cui could insert a transparent fish pond in the tearoom’s ceiling. “When sun from the skylights on three shines through the water, a beam of light appears in the corner of the tearoom,” he points out.

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The building’s former tenant left optical equipment made by German manufacturer Zeiss International in a corner of the bar.

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Top: Passing through a restroom’s titanium-plated enclosure, a platform displays Yang’s copper Warning Line.

Center: Spray paint coats the surfaces of the faux light shaft. Bottom: Cun Design occupies one bay of a 1979 factory building, now part of the 24 Hour Gear Factory redevelopment.

Opposite: A poplar trunk tempers the sunshine from the skylights of an office area with custom workstations.

There was actually no accessible third level before Cun Design arrived. But because the building’s vaulted roof soared 16 feet above the original upstairs, Cui was able to work it in.

“We took advantage of the high ceiling to create a loft,” he notes. That brought total square footage to 7,500.

About half the floor plate on three, as on two, is occupied by an open studio, the real engine of the operation.

Brick walls remain exposed, while a tree trunk with branches, suspended horizontally below the sky­lights, casts shadows that soften all the hard lines. Nearby, Cui’s office suite boasts a private bath­room with a shower, a dressing room, and a separate staircase leading down to the tearoom. In front of the stairs sits a Bluetooth speaker in the form of a large red bulldog, wearing shades.

Arresting sculptures by Yang appear at every turn, from a ghostly Christ-like figure in a corridor to something that looks like a bright blue Tang dynasty horse in a restroom. “A space without art is cold,” Cui says.

“These pieces have become our friends.” Displayed in a place of honor near the bar is a piece that turns out not to be art, however. It’s optical equipment left behind by the factory’s previous tenant—a visible connection bridging two worlds.

PROJECT TEAM WANG JIZHOU; MIAO DEBAO; KONG WEIQING: CUN DESIGN. BEIJING XY­CREATIVE BRAND CONSULTANT CO.: CUSTOM GRAPHICS. LD INTERNATIONAL INTELLIGENT TECHNOLOGY (BEIJING) CO.: AUDIOVISUAL CONSULTANT. SHANG­ HAI IWOODSTORY INDUSTRIAL DE­VELOPMENT CO: WOODWORK. PRODUCT SOURCES FROM FRONT JARRE TECHNOLOGIES: SPEAKER (OFFICE).

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Immersive art has taken on new meaning in Japan. It’s thanks to Kenji Daikoku, Keigo Fukugaki, Yuto Maeda, and Yu Tazawa, the multidisciplinary co-founders of BnA, their hospitality company that aims to showcase and support local emerging talent—a portion of profits goes to each artist— and galleries while providing guests, or patrons, the unique experience of “stay­ing in an art piece.”

They opened their debut property, BnA Hotel Koenji, in Tokyo in 2016. BnA Studio Akihabara bowed nearby in 2018, and another is underway in the city. The concept has expanded to Kyoto with BnA Alter Museum, the largest hotel so far, occupying a 10-story, 18,000-square-foot building by Toyo Architects and Engineers Office.

“A hotel can be a cultural in-between space—neither local nor global,” says chief design officer Fukugaki, a Gensler alum who led the BnA Alter’s interiors team that worked alongside the artists to realize the project’s 31 rooms and suites, ranging from 230 to 640 square feet. “This detach­ ment creates the perfect cultural ma, or vacuum, that can empower experimentation and expres­ sion for the creative community.” He and chief art director Daikoku recruited 15 Japanese artists whose work is “cutting edge” and “rebellious,” and worked with outside designers, such as Reiichi Ikeda Design and Kanome, to conceive the rooms. Here are seven of the dreamiest.

See page 173 for Double Dreams by Sato Sugamoto.

room service

At BnA Alter Museum, a boutique hotel in Kyoto, Japan, installations mix with interior design to provide guests with culture and comfort text: colleen curry photography: tomooki kengaku AUG.19

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1

Daito Manabe installation Continuum. standout Five super high–resolution screens create an audiovisual experience, the looping nebulous footage transforming so slowly it can’t be detected.

TIGA: CUSTOM BED. SHARP CORPORATION: SCREENS. HERMOSA: LAMPS. FLYMEE NOIR: LOVESEATS.

“Human perception is not able to notice the change in images”

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FROM TOP: COURTESY OF MORI YU GALLERY; YOSHIJOSEFTOOMUCH

2 Sato Sugamoto installation Double Dreams. standout One of the two deluxe quad rooms in which her work appears, the fiber artist employs colorful strings to express the diversity and complexity of human thought.

MODULEX: SPOTLIGHTS.

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“The painting pays homage to its most fundamental elements”

3

Mina Katsuki installation From One Stroke. standout Employing the lapis lazuli that’s signature to her work, here the vibrant acrylic on canvas explodes amid the deluxe queen’s all-white furnishings and polished porcelain flooring.

ICOS: CUSTOM BED. LAMINAM: FLOORING. PANASONIC CORPORATION: LIGHTING.

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“Gradual color changes calm the mind”

Mon Koutaro Ooyama installation Nextefx. standout The street artist conceived a panoramic acrylic dragon to snake around the deluxe quad’s perimeter, the chromatic experience amplified

by LEDs cycling through a sequence of 12 color settings.

ICOS: CUSTOM CEILING, CUSTOM BED. AMBIENT LOUNGE: CUSHION, TABLE. BOARD CO.: FLOORING.

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5 Yusuke Nakano installation The birds stay in the tree by the pond, and the fish sleep below the waves in the gracious moonlight (A Model of Our Blue Heterotopia). standout Inspired by years of working in a library, the artist references the moonlight and waterfront in Tōru, a Japanese 14th-century play, through fiber-reinforced polymer, Corian, and phosphorescent paint.

ICOS: CUSTOM BED. INTERFACE: CARPET TILE. DU PONT: WALL CIRCLE. PANASONIC CORPORATION: LIGHTING.

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“The tunnel-shape space invites dreams of travel”

Lulu Kouno and Asitanosikaku installation Dream of a Trip, Journey of a Dream. standout Kouno’s happy murals are at parks and children’s hospitals, and here, acrylic castles, snowcapped mountains, and starry skies imbue a sense of adventure, heightened by gently curving walls and a floating bed.

TIGA: CUSTOM BED. YASHUHIRO URATSUJI: CUSTOM TABLE, CUSTOM CHAIR.

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“The visitor is like a sound particle moving through the ear�

EY E (Boredoms) installation D/R/M. standout The musician and DJ has appropriately turned the deluxe suite into an interactive audio experience based on the structure of the ear, where guests encounter thousands of luminescent dots as they progress into the inner room, aka the cochlea.

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The Best of Residential Design: Showcasing projects and products from around the globe

Up Next: Winter Issue MODERN RETREATS

Randy Brown Architects, Private Residence, Douglas County, NE, Photographer: Assassi Productions

With this article, we are thrilled to introduce ThinkLab, the newest member of the Interior Design family.

ThinkLab was born last fall when our parent company, Sandow, acquired Contract Consulting Group, the leading market-research firm founded in 2011 by Amanda Schneider, a trained industrial designer armed with an MBA. With an expanded role as our brand’s research arm, ThinkLab took on a new name to reflect its positioning as a provocateur and thoughtful instigator of innovation.

Many of our readers have already had the opportunity to partner with ThinkLab on research initiatives or to digest their views on industry evolution through the articles, CEUs, webinars, and white papers these futurists have produced. But for those unacquainted with the full breadth and depth of the firm’s work, we

an assessment of industry challenges through the thinklab lens wanted the chance to showcase the high-level analysis for which ThinkLab is known. So, hot off the heels of the busiest product-launch season of the year—one that begins with Salone del Mobile and culminates with NeoCon—we invited the team to share its assessment of where commercial interior design is headed and how aspects of the delivery process are being transformed under pressure.

Leveraging years of independent research, data collection, and analysis, as well more recent collaborations with Interior Design on Giants research and round tables, ThinkLab’s M.O. isn’t simply to document where we are now. It is to push for and support the change needed to safeguard the steady growth and vitality of our industry by empowering those in the business of creating the future.

REID ROLLS

B U S I N E S S ofdesign ALDA LY ARCHITECTURE & DESIGN: PARSLEY HEALTH, NEW YORK

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After embarking on a year-long research initiative to analyze the design process and its much-needed evolution, the ThinkLab team reached an unequivocal conclusion. Industry disruption is likely to arrive in the form of process innovation—a reinvention of how design work gets done. Consider how Airbnb and Uber revolutionized their respective sectors: By working to gain a nuanced understanding of unaddressed challenges and by solving them in an unchartered way that foregrounded new client experiences.

In the same fashion, we believe the next stage of disruption will rock the specification process; namely, how furniture and other interior finishes and elements are searched, selected, bid, and procured. To get ahead of change and enable it from within, it’s vital to unpack the big reasons why this is so.

Specification is begging for a shakeup. Will change come from within the industry—or without?

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1 THE SETUP

“You can’t accelerate thoughtfulness” —Sascha Wagner, Huntsman Architectural Group

Specification is the connection point between designers, service providers, and manufacturers—all of whom are struggling to meet new demands in a business climate with expectations of speed that are at odds with the reality of the traditional design process. For designers in particular, the “spec” can be a frustrating activity for the following reasons:

It’s a major time suck.

Our data shows that, on average, specification accounts for between 20 and 39 percent of a designer’s time— depending on his or her level within the organization and role within the project team. Add to this that most software platforms used are not fully integrated with all of the products potentially selected, and this results in manual integration in many cases.

It’s a money pit.

Designers are often selecting without a clear budget in mind. Furniture in particular is the last thing to be selected (yet a large budget item), so when overruns happen in construction, the furniture budget can swing wildly. Couple that with a very non-transparent, manual pricing process and many designers are “flying blind,” which means reselection. Again. And again.

It can promote wastefulness.

If a product is selected due to its aesthetic offering but doesn’t carry the backing of contract-grade warranties, it often gets replaced before the end of its lifecycle.

on average, the product specification process takes between 20 and 39 percent of the designer’s time

“One can buy quality furniture and amortize the cost in seven years and use it for the whole duration of the 10- to 15-year lease, or one can buy non-quality product which might collapse within a few years resulting in a re-purchase” —Annie Lee, ENV

BELZBERG ARCHITECTS: USC SHOAH FOUNDATION, LOS ANGELES

BRUCE DAMONTE

Already one of the most time-consuming and least profitable pieces of a design firm’s business, specification is also becoming increasingly complex and compromised by timeline and budget pressure from all directions. Thankfully, these challenges present massive opportunities that, once recognized, can improve the specification experience and save significant resources. The result? Any increased efficiency in the specification and product selection process ultimately has the ability to channel time (and fee) back to the creative process. Thus, all boats rise.

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2 FACTORS COMPLICATING THE SPECIFICATION PROCESS The perfect storm of an already complex pricing and distribution ecosystem is met with a complexity of instigators: a bull-market-fueled proliferation of brands competing for a designer’s limited attention, agile spaces that demand equally responsive product solutions, and the specification role shifting to different players within the ecosystem.

Triggered by technology change, one of the biggest catalysts fueling change in the ecosystem is the “rise in ancillary furniture.” A reduction in systems furniture resulted in an influx of ancillary spaces—requiring more diverse and loungelike furniture—that now commandeer a larger percentage of the floorplate.

ThinkLab research reveals that this casual “soft contract” trend will endure. Eighty-six percent of survey respondents answered “yes” to the question: Are comfortable, casual environments here to stay? This same evolution in technology has freed us from our individual workspace and resulted in a generation of makerspaces or activity-based workspaces that demand new and different products.

But here’s where the complexity compounds:

Lines between verticals are blurring.

Interior designers and product designers alike must navigate the challenges of market convergence and merging verticals that have resulted in new hybrid spatial typologies. Consider how education design is influencing the corporate sector, especially as Gen Z enters the workforce; hospitality-inspired healthcare spaces have improved the patient experience; and wellness features have made their way into the workplace to help reduce stress and encourage respite.

Manufacturers’ core markets are expanding.

of our survey respondents say comfortable, casual environments are here to stay

Manufacturer response to the above blending of verticals, coupled with the aforementioned red-hot acquisition market, also translates to new aesthetics and offerings from makers of all kinds—e.g., a systemsbased manufacturer dabbling in the ancillary space, carpet companies moving into luxury vinyl tile, and upholstery companies moving into drapery. This is making it more challenging for even the most experienced specifier to understand the unique story of each brand.

Specifiers are in the driver’s seat earlier in their career.

Mentorship gaps in firms combined with tight timelines and fees are pushing initial product selection to more junior team members. ThinkLab research reveals that the designers pulling initial project palettes and product options have between two and six years of experience. Many firms describe a two-part specification process in which the junior designers conduct the initial selects, and the senior designers/directors accept or veto those choices.

“It’s time to let go of control, to let the younger generation of designers do their thing.

Give them freedom”

ALKIN/MASON PHOTOGRAPHY

—David Grout, Gary Lee + Partners

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EWINGCOLE: MEMORIAL SLOAN KETTERING CANCER CENTER, BERGEN, NJ

PERKINS AND WILL: MADISON MARQUETTE HEADQUARTERS, WASHINGTON

Distribution systems are becoming increasingly tangled webs.

In the context of a white-hot mergers-and-acquisitions market, it’s getting trickier for designers to discern what brand—and which rep—is selling what. And when it comes time to purchase, the process isn’t as easy as just picking up the phone and asking for a product. During a recent Interior Design round table that brought together emerging practitioners, one participant described “an irritatingly common business structure” when it comes to distribution that resulted in frequent handoffs when inquiring about a product. “I call one number, and they tell me ‘I can’t talk to you anymore, call this other person.’ Well, I don’t care to talk to someone else. I want to talk to you because it’s your product.”

Today’s projects intermingle more makers.

In the effort to create more customized, brand-tailored spaces for clients, designers are curating pieces from more makers. Indeed, the average number of manufacturers a designer specifies on a given project has doubled in the past few years, according to ThinkLab research. At the same time, designers are still looking for hidden gems: lesser-known companies that add significant value to a project. Long story short?

Designers desire more unique and eclectic accent pieces, which creates new challenges for manufacturers and distributors to source and deliver product.

More reps calling on the same designers.

The ancillary boom lowered the barrier to entry for new furniture manufacturers as well as more residentially focused companies to expand into the contract space. That only adds to the number of reps competing for designer access—both against companies in the same product category and others (e.g., carpet makers and fabric makers). And more options means more confusion, especially for less experienced specifiers and the untrained eye.

Designers’ roles are expanding.

key designers pulling initial project palettes and product options have between

2-6

A new generation of consumers has a more defined idea of its expectations, shaped largely by sources like Pinterest and HGTV. Designers are now serving in a self-described “expanding client management role” as they help their clients navigate this increasingly complex landscape with product categories that are not as easily defined as they appear on TV or online. In a recent ThinkLab focus group, one designer said, “The vast majority of my time is now managing expectations of new and increasingly ‘savvy’ clients, some of whom are misinformed or have unrealistic expectations; they didn’t teach that skill in design school, and it can, at times, be tricky.”

For all these reasons, already time-crunched designers are being approached by more reps than ever while having less bandwidth to make new discoveries. This boils down to a simple equation:

More manufacturers + more product options = more reps, more confusion…

and less time to design

ERIC LAIGNEL

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PER THINKLAB RESEARCH, THE TOP THREE PLACES THAT DESIGNERS GO TO FIND PRODUCT INFORMATION TODAY ARE: Sales representatives. Interior design remains a relationship-driven business. In fact, many designers admit they would follow a great rep to a new manufacturer over switching reps.

When your reputation is on the line, it’s natural to want to work with trusted resources.

Manufacturers’ websites. Which of course means that designers first need to know the manufacturer. So, how do we help them find (and vet) new options?

Visually oriented social media: Pinterest, Instagram, and other non-industry-specific sites are the primary go-tos. Problematically, the sources of many images posted to social media are uncredited; moreover, many are digital renderings of items that do not actually exist.

3 HOW SUSTAINABILITY WILL DRIVE US FORWARD

“In terms of contract-grade furniture, it’s hard to amortize spend at that level when you aren’t signing a 10-year lease” —Dag Folger, A+I

Volatility and an accelerated pace of change remain the only constant in our ever-evolving world.

It’s our duty as an industry to find a balance between our passion for sustainability and the new “Amazon-driven, on-demand” mindset.

Recent ThinkLab research suggests that clients are looking to align their product life cycle with the life of their lease, yet many manufacturer warranties exceed the length of today’s average lease.

And as lease times are shortening and co-working is increasing, products only are “needed” for the short term, resulting in sustainability concerns. Recent ThinkLab research revealed one designer’s story about a company that avoided K-cups due to the waste, yet insisted on stools rated only to 100 pounds, when many employees weighed twice that, with the intention of simply replacing the stools if they failed.

A recent ThinkLab survey revealed that 60 percent of designers agree that the number of non-contract items specified on a typical project has increased in the past three years. Echoing this statistic, Dave Bloch, CEO of INDEAL, shared with ThinkLab that he estimates 80 percent of the top 100 contract furniture dealers now have a retail line in their top 10. What happens at the end of a product’s useful life in these rapid-churn, flexible environments, and with pieces that don’t meet contract standards and therefore are discarded? Most wind up in the landfill, unfortunately.

Design firms are struggling to hold the line with products that meet the rigorous requirements we know clients need; their reputation, passion for the environment, and, frankly, liability, are at stake. The responsibility is on us collectively, as an industry, to continue to make educated choices that we feel confident are in our client’s (and the earth’s) best interest.

NBBJ: THE SPHERES, SEATTLE, WA

BRUCE DAMONTE

of designers agree that the number of non-contract items specified on a typical project has increased in the past three years

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PATRICIA URQUIOLA: HAWORTH SHOWROOM, CHICAGO

4 HOW DESIGNERS AND MANUFACTURERS CAN CO-CREATE AND COLLABORATE BETTER

“The need for quick-ship, on-demand furniture solutions often means specifying from direct-toconsumer manufacturers and other suppliers outside the contract pipeline. At the same time, there’s dissatisfaction with the performance of many such products, and designers and clients alike are still devoted to sustainability and longevity. How do you reconcile that?” —Angie Lee, FX Collaborative Architects

The above factors add up to more cooks in an already overstaffed kitchen: There are both more companies and more variables competing for a designer’s attention, which is narrowing because of reduced timelines and increased productivity expectations. With more products in their portfolio destined for more complex spaces, the lines are blurring. And designers don’t need more complexity; they need more tools to compare products, such as clear standards and concise pricing models.

In light of all these factors, designers and manufacturers need to interact and transact more seamlessly and effectively. Here are a few ways to do that:

Help me, don’t teach me.

Designers today don’t want to know everything about a product; they want to be able to easily find specific information online, augmented by a passionate, service-oriented rep. Ultimately, designers would rather collaborate with people who inspire them and make them look good. Manufacturers should ensure reps demonstrate that they both understand the designer’s world and have the client’s best interest in mind with their recommendations (and aren’t just pushing a product that makes them more money).

Invite trusted product partners in sooner.

Designers should involve trusted reps earlier in the process, while they can still influence what is specified, to let the product experts help shape the end result—and also to increase the possibility of an inspired collaboration on a custom solution.

Create options but make it simple to search and select.

Manufacturers can provide a better range of aesthetics and quality to meet different environments and applications and help make quality levels and the environmental story easy to understand.

Consider flexible solutions to meet evolving client demands.

Designers should consider new “furnitecture” (furniture as architecture) products that reduce the need for drywall, flex with the client, or can even travel to new locations.

ERIC LAIGNEL

As an industry, we have to work to enable new ways of gathering information and sorting through and comparing options to prioritize the right products for each client—and to use everyone’s time most efficiently and effectively. A major value-add we can offer to clients is our ability to make sense of the myriad product options available, ensuring that each choice is strategic for the particular project and constituency it is designed to serve.

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5 INSPIRATION FOR INDUSTRY DISRUPTORS

“Younger companies, like some of the startups we work with, often haven’t been through a whole product lifecycle or replacement and are more interested in less expensive solutions to start. So we flip the conversation: ‘We believe in you and the longevity of your company, you should pick the longerduration product’”

The design industry tends to be wicked-creative in terms of output but conservative in process.

“While we push our clients, we can be very linear in our own process thinking,” said one practitioner at a recent Interior Design Giants event. “Even when we try to reinvent, we mostly do the same thing, linearly, in a compressed timeline. We need to rethink our own process”—and, indeed, to re-set industry norms.

While there is no shortage of attention on product innovation, from the spaces we design to the products specified in them, ThinkLab has identified numerous opportunities to drive something less-focused-on: process innovation. Here’s how:

• Drive an internal focus on process innovation. In the words of Adam Grant, look for “vu-ja-de” moments (the opposite of déjà vu, where you see the same “way it’s always been done” with fresh eyes.)

• Design technological tools that systemize the searching, sorting, and selection process.

In short, help the B2B world mirror our lives as consumers, freeing up time for design firms to focus on what they do best: creativity. And, if you are a user of these tools, be open to try new things.

• Give specifiers an easy way to unearth undiscovered brands and products and to easily understand price points, lead times, and feasibility for their projects.

• Give specifiers tools to understand different quality levels and why they are appropriate for a project. For instance, ThinkLab is pushing key industry partners to consider three levels of quality: contract, hospitality, and residential grade.

• Provide designers an efficient way to understand where a certain product has already been used, how confident they can feel specifying it, and where to get it easily.

• Create new service models for different types of clients so we can best serve those willing to sacrifice speed for quality or longevity.

• Create new service options and transparent pricing models that mold well with today’s working environment. Bring more transparency to the pricing process in terms clients understand and that parallel their projects (e.g., price per square foot).

• Mentor young practitioners to help them understand not only the aspects of their jobs that they are passionate about, but also the business side of design that drives client decisions. This payit-forward work has long-term implications.

• Better align the life of the product with the lease through new “product as a service” models.

—Sascha Wagner, Huntsman Architectural Group

3 levels of quality contract, hospitality, and residential grade

Change is inevitable and frustration a realistic by-product. But at the end of the day, we have three choices: Ignore the change, avoid it, or embrace it. At ThinkLab, we’re keen to the idea of change, and look forward to investigating process evolution along its course. We hope you join us in this journey.

The brains behind ThinkLab I started this business eight years ago with a simple mission: to combine the worlds of design and research in order to spark innovation in the interiors industry. This founding principle will remain the bedrock of the new ThinkLab. Our sweet spot has been and always will be the intersection of design and specification and understanding the ecosystem around it. By joining the Sandow family, we are merging Interior Design’s broad and deep-rooted industry connections with our team’s innate curiosity and passion to drive not only product innovation but also profound process evolution.

So, to our loyal clients who have made the transition with us, thank you. And to those we haven’t yet met, we look forward to working with you. Our ultimate goal always will be to uncover the trials and triumphs of how specification really happens. We believe the quality of decisions you make is directly correlated to the quality of data you have. If you’re intrigued and want to learn more about this way of thinking, I invite you to join the movement at thinklab.design/join-in.

—Amanda Schneider, ThinkLab president

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A way to make Europe

European Regional Development Fund

Spain’s Great Wine Food Match Design Sip and Savor the best of Spain at Mer ercado Little Spain by José Andrés Tuesday, October 1, 2019 Mercado Little Spain 10 Hudson Yards New York, NY 10001

To purchase tickets and learn more about the event, visit:

spainsgreatmatch.org Presented by

Media Sponsor

The Story of Tools

Locatelli Partners: Dialogues: Architecture Interiors Design

edited by Mark Hooper New York: Rizzoli International Publications, $32 208 pages, 110 illustrations (100 color)

by Davide Agrati, Annamaria Scevola, Massimiliano Locatelli, and Giovanna Cornelio New York: Rizzoli International Publications, $85 304 pages, 224 illustrations (198 color)

Designers often work at a remove from the craftspeople who execute their designs. But knowledge of artisanal skill and its tools can inform and energize design in fundamental ways. This is a quiet, eloquent, handsome refresher course many designers need, and all designers should “If you have to plug it in, then something can go wrong with it” enjoy. Here are tools for work in wood, glass, leather, ceramics, dyes, pigments, and textiles. There are power tools as well as hand tools, but by far the greater affection is for the latter.

Included are familiar examples we all know: the chisel, the plane, the drill, the hole-puncher, and several types of hammers and scissors. But there are more esoteric objects, too: the turning hook, the spoon knife, the Vernier Caliper, the Widger, the Ulu, and even The Tool with No Name.

Each is given a clear and respectful examination by someone who knows how to use it well.

The first of the 32 designs in this book is a sensational success: Locatelli Partners’s own office in Milan’s 16th-century (deconsecrated) church of San Paolo Converso, near the Duomo. Inside it a new four-story steel structure has been erected, never touching the original frescoed walls, with part of its top floor, a conference room, cantilevered within a church-wide lunette above the altar.

Nothing else quite matches that project’s bravura, but almost everything shares its forthright but imaginative modernism, including Massimiliano Locatelli’s apartment in Milan’s iconic 1958 Torre Velasca by BBPR. There are also apartments in Paris, Zurich, and New York. There are stores, galleries, a nursery school, shoe factory, law office, restaurant, and dozens of pages of the firm’s furniture, lighting, and dinnerware de“Locatelli Partners never pander signs. Pretty is not a visible quality, but with their architecture” handsome and strong are, and there are even touches of whimsy: a table with a hundred or so legs, a lighting tube that flits like a bee from ceiling to ceiling.

Locatelli Partners, founded in 1993 as CLS Architetti, took its present name in 2018. The book’s authors are its four principals, the admiring foreword is by Interior Design Hall of Fame member Deborah Berke, founder of her namesake firm and dean of the Yale School of Architecture, and the respectfully quiet book design is by Studio Karl Kolbitz. This is the first monograph on the firm’s work, but, you can be sure, not the last.

B O O K s edited by Stanley Abercrombie

Manya Welch Founder of Manya Welch Fine Art

The Mission of Art

by Alex Grey Boulder, Colorado: Shambhala Publications, $20 255 pages, 65 black-and-white illustrations

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“I love the transcendental artwork by Alex Grey. I chose this particular publication because of the title, but also because I was interested in reading his thoughts on the purpose of creative expression and his opinion on art throughout history.

The book gave me the confidence to talk about the connection spirit has to my art designs. It gave me the courage and realization that creative expression can play a powerful part in making our world a better, more peaceful place, and art is a means of conveying that vision and, hopefully, altering the collective consciousness. In order for my art to reach that collective, I made the decision to turn my designs into a home furnishings collection—I find the exploration of making art, and then producing interior designs from those images exciting.

I’m currently in the process of completing another painting with a colorful floral composition. In flowers, we can see the miracles of nature. My hope is that, through this painting, the viewer will be reminded that we can also change, blossom, and grow toward the sunshine, leaving the shadows behind. This design was created with the intention of adding to my interior collection, so I’m looking forward to sharing that. I’m busy creating new work as I explore how visionary art can transform interior design.”

BOTTOM: JAMIE WELCH

What They’re Reading...

C O N TA C T s DESIGNERS IN SPECIAL FEATURE

PHOTOGRAPHERS IN FEATURES

DESIGNER IN WALK-THROUGH

Archstudio (“Off the Beaten Path,” page 146), archstudio.cn.

Filippo Bamberghi (“Three’s Company,” page 120), Photofoyer, photofoyer.it.

Darin Johnstone Architects (“Higher Education,” page 45), djarch.net.

Carlos Castanheira & Clara Bastai Architects (“Off the Beaten Path,” page 146), carloscastanheira.pt.

César Béjar (“Materials Study,” page 128), cesarbejarstudio.com.

PHOTOGRAPHER IN WALKTHROUGH

Kolmo (“Off the Beaten Path,” page 146), kolmo.eu.

Emmanuelle Moureaux Architecture + Design (“Off the Beaten Path,” page 146), emmanuelle.jp. Álvaro Siza Vieira (“Off the Beaten Path,” page 146), sizavieira.pt.

Anne-Sophie Heist (“Acropolis Now,” page 138), annesophieheist.com.

Tomooki Kengaku (“Room Service,” page 170), tomookikengaku.com.

Genevieve Lutkin (“Materials Study,” page 128), genevievelutkin.com.

Jaime Navarro (“Materials Study,” page 128), jaimenavarrosoto@gmail.com.

Art Gray (“Higher Education,” page 45), artgrayphotography.com.

DESIGNER IN CENTERFOLD Kéré Architecture (“Second Time Around,” page 115), kere-architecture.com.

PHOTOGRAPHER IN CENTERFOLD Iwan Baan (“Second Time Around,” page 115), iwan.com.

Snarkitecture (“Off the Beaten Path,” page 146), snarkitecture.com.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semimonthly in March, May, June, and August, and thrice-monthly in October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

AUG.19

INTERIOR DESIGN

AUTHENTICALLY SPARK! See our photo gallery at www.sparkfires.com or 203.791.2725

Where family and friends gather.

modern fires

Winding Residence, Dallas, Texas Architect: smitharc architects Designer: Jason Smith, AIA, Signe Smith, AIA Photo: Stephen Karlisch

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design

annex

Springboard Launching Q!, a unique line of frameless, mobile working surfaces perfect for office, education or healthcare environments. Q! is made in the USA and crafted from premium low-iron glass for bright whites and crisp colors. To learn more, please visit us online at springboard-us.com

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STUDIO LILICA Art. Acoustics. Lighting.

QM DRAIN

Our organic sculptural forms are a beautiful way to elevate any space. Our complete line of acoustic panels, lighting and sculpture are the perfect solution for lobbies, atriums and work spaces in corporate, hospitality, healthcare and civic spaces. We also offer a full range of custom design, fabrication and installation services. Contact us at 626.358.8754 or visit studiolilica.com to view our complete line of sculptural products for modern interiors.

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

An independent base eliminates the need to relocate existing pipes. Supreme appears centered regardless of existing drainpipe location. Available in various lengths and finishes. Call us at 954.773.9450, contact us at info@qm-us.com or visit qmdrain.com

Davis Furniture

DECORATIVE GLASS RAISED BAR by ThinkGlass

Poise Occasional combines function and style flawlessly. A variety of heights and finishes allow Poise Occasional to fit any need in every environment. Please call 336.889.2009 or visit us online at davisfurniture.com

Design, Quality, Functionality, Sustainability Renowned for its unique and exclusive high-end applications, ThinkGlass customizes each project according to your requirements and offers a wide range of impressive designs. Dealer: Nantucket Glass. Please call 877.410.4527, contact us at info@thinkglass.com or visit us online at thinkglass.com

INTERIOR DESIGN AUG.19

Edition Modern

Donovan Lighting In addition to their line of contemporary lighting, Donovan Lighting also creates custom lighting fixtures for hospitality, retail, healthcare or residential settings.

Pictured here is the lighting from The Forge apartment building atrium, in Long Island City. UL listed, and made in New York State. Call 607.256.3640 or visit us online at donovanlighting.com

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

FACTOR – THE WORK CHAIR

Chemetal

Factor™ seating recalculates the value equation for work chairs with adjustable lumbar support, weight sensing synchro-tilter mechanism, and fixed or adjustable arms. Choose from three contemporary frame finishes and a spectrum of mesh colors. You just won’t believe the price. Please call 800.220.1900 or visit globalfurnituregroup.com

Treefrog is reliable and consistent so you can be wild and creative. These prefinished veneer laminates are real wood, and really beautiful. Walnuts, white oaks, a European aesthetic. Made in Italy, stocked in USA. Standard sheet sizes. Laminate backer. Please call us at 800.807.7341 or visit treefrogveneer.com

The Art of Recycling

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

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

Integrate recycling into your environment with our modular recycling bins. Slide-in panels coordinate with any design.

Single to Quad sizes. Shown: Double Bin with ATI Tree Dark Cherry panels. Wood, recycled plastic, 3Form, slate, laminate, and more.

Lifetime Structural Warranty. t. 305.857.0466 DeepStreamDesign.com

AUG.19 INTERIOR DESIGN

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the 35th annual Honoring significant contribution to the field of interior design and architecture

12.05.2019 | 6:30PM The River Pavilion, Javits Center New York City

diamond & hall sponsor

#IDHallofFame

i n t e r vention

over the top Acrophobics beware: You may experience stomach-clenching. But just hold on, it’s worth it. This 30-foot-long viewing platform by Snøhetta cantilevers 22 feet out from Austria’s Nordkette mountain range to afford panoramic, practically 3-D views of the Northern Limestone Alps from 6,250 feet above sea level. It’s one of 10 architectural interventions—an amphitheater and yoga platforms among them—by the firm on the Perspektivenweg, or Path of Perspectives, a 1.7-mile hiking trail.

The structures, all in Cor-Ten steel, the same material used for the mountain’s avalanche barriers, are meant to entice hesitant visitors into unfamiliar territory. “Before, except for locals, most people just milled around the drop-off terrace,” managing director of Snøhetta’s Innsbruck office Patrick Lüth notes. Quotes such as Let nature speak and Don’t think, look! by local philosopher Ludwig Wittgenstein, sprayed on the steel as an anti-rust solution, may help lure them, too.

The 5-foot-wide ramp is just a 20-minute cable car ride up from the town of Innsbruck. Visitors can take the funicular back or hike down. Or, in winter, when the ramp functions as a ski jump, non-acrophobes can fly down. —Mairi Beautyman

CHRISTIAN FLATSCHER

AUG.19

INTERIOR DESIGN

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MA RY FI SH

ER CO LL EC

TI ON FO R

GR OU NDW

Specify With Care

OR KS

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Lee Jofa will donate a portion of the proceeds from the Groundworks Mary Fisher collection to DIFFA.

we want to make a

Drawing inspiration from her talent as a visual artist and her activism on behalf of those infected with HIV/AIDS, Mary Fisher has created an exceptional collection for Groundworks at Lee Jofa layered with a variety of organic motifs and intricate artisanal techniques reflecting her mixed media art. Rendered in misty blues and aquas, nuanced mineral shades, sandy neutrals and shimmering metallics, Fisher’s watercolor paintings, hand printed and painted textile collages, and quilted artworks come to life in printed, woven and embroidered fabrics and trimmings.

For more information, visit diffa.org or contact Steven Williams, swilliams@diffa.org

DIFFArence

SPECIFY PARTNERS

MEDIA SPONSOR

Introducing Ariane A n ew co l lec t io n d e s i g n e d by M a r t i n B a l l e n d at : Wi n g b a c k , H ig h b a c k a n d Lo u n g e

sandlerseating.com

andrew kuo