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APRIL 2020

big ideas aplenty

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CONTENTS APRIL 2020

VOLUME 91 NUMBER 3

04.20

ON THE COVER For Soufeiya Workshop, a home-furnishings store in Guangzhou, China, Leaping Creative designed a rotating carousel that showcases new products. Photography: Zaohui Huang.

features 160 RELIGIOUS EXPERIENCE by Ted Loos

CetraRuddy and Roman and Williams transform a pair of 19th-century, former Episcopal buildings into Fotografiska New York.

170 THE PEAK OF CHIC by Christopher Stocks

Amid the Swiss Alps in Andermatt, Studio Seilern designs a pair of sophisticated ski-in/ ski-out restaurants. 178 DOUBLE VISION by Sophia Kishkovsky

Color, light, and mirrors conjure transformative magic at Sports Club X-Fit in Yekaterinburg, Russia, by Vox Architects.

188 DANISH MODERN by Jane Margolies

Spacesmith aligns Scandinavian coziness with New York grit for the interiors of 10 Halletts Point, a Queens apartment complex. 196 REBUILDING THE ARK by Becky Sunshine

With Anoha, at the Jewish Museum Berlin, Olson Kundig teaches children sustainability and empathy through interactive animal installations. 204 AROUND THE WORLD by Colleen Curry

Novel interventions are aplenty at concept stores in China and Italy.

DAVID SUNDBERG/ESTO

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CONTENTS APRIL 2020

VOLUME 91 NUMBER 3

big ideas 85 Ingenuity stands tall. 85

departments 37 HEADLINERS 45 DESIGNWIRE by Annie Block 54 BLIPS by Annie Block 58 PINUPS/MATERIAL BANK by Wilson Barlow 65 MARKET by Rebecca Thienes, Mark McMenamin, and Georgina McWhirter 273 SNAPS 274 BOOKS by Stanley Abercrombie 276 CONTACTS

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JESÚS GRANADA

279 INTERVENTION by Georgina McWhirter

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Photo Michel Gibert, photograph used for reference only. Special thanks: Pierre Stéphane Dumas – www.bubbletree.fr; www.gerflor.com. 1Conditions apply, contact store for details. 2Program available on select items, subject to availability.

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Blogger 3. Large 3-seat sofa, designed by Roberto Tapinassi & Maurizio Manzoni. Cute Cut. Cocktail tables, designed by Cédric Ragot. Manufactured in Europe.

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CONTENTS APRIL 2020

VOLUME 91 NUMBER 3

LAUNCH contents 215 WELCOME TO THE ISSUE! 216 HOW TO USE LAUNCH 218 EDITORS’ PICKS 230 LAUNCH PARTNERS

BUILDING PRODUCTS

FABRIC & WALL COVERING

FLOORING FURNITURE

KITCHEN & BATH

LIGHTING OFFICE OUTDOOR SEATING

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WALL PROTECTION

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editor in chief chief content officer

Cindy Allen, hon. IIDA

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2020 ©

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ART DIRECTOR

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PRESIDENT

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Michael Shavalier

SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, Galerie, and NewBeauty. Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logistics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. In 2019, SANDOW was selected by the New York Economic Development Council of New York to become the official operator of NYCxDESIGN Week, beginning in 2020.

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e d i t o r ’ s welcome

the next big idea As the world screeches to a halt, from travel to schools and offices (even our own), and we all fear for our health, I have to admit I had much higher expectations for 2020; didn’t you?! Instead, vis-à-vis the current “challenging” environment, it seems we’ll have to walk back to the blocks for a new start. Resetting clocks and all that will surely take a bit, however, so I recommend using this unexpected time wisely—constructively—by doing heaps and heaps of reflection: consideration for your dears, of course, and for colleagues and clients, but also for your craft, your talents and strengths, and above all, your usefulness. And then: PLAN! Small, medium, or supersized plans, whether a dinner, a weekend getaway, or lifetime achievements. Make plans like there’s no tomorrow! If they happen to be design projects, don’t worry, we’ll publish all the good ones! Planning is a tried-and-true remedy for all sorts of things. Moreover, I happen to have, right here, the most essential ingredient for all sorts of plans: INSPIRATION. And considering this April portfolio of works is our very cheered appointment with the most innovative flash points—our Big Ideas issue—it’s not a stretch for me to say that you’ll find, in the following pages, all you need to plan your next world of wonders. See for yourself. We scattered far and wide, from Eindhoven for bio-based architecture (think mushrooms) to remote destinations like a Chilean greenhouse growing exotic orchids to imagination-defying locations like Queens (!) and a Scandi-inspired apartment complex. And a big shout-out to designer Jonna Breitenhuber who designed Soapbottle, a product that’s so timely: a biodegradable shampoo, conditioner, and body wash housed in a container made of…soap! All these big ideas are meant to bring back a truly bankable set of design leads and inspiration to fuel your own big ideas for our future. Meanwhile, stay safe—keep washing your hands—and know who is thinking about you!

Follow me on Instagram

MONICA CASTIGLIONE

P.S. Check out our new innovation: LAUNCH, a first-of-its-kind, print-to-digital tool that enables you to do your job better and more efficiently. See page 213!

APRIL.20

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headliners

Vox Architects “Double Vision,” page 178 founder, chief architect: Boris Voskoboynikov. head of creative development: Maria Akhremenkova. firm site: Moscow. firm size: 22 architects and designers. current projects: Terminals at Petropavlovsk-Kamchatsky and Novy Urengoy airports and an apartment building in Yekater­ inburg, all in Russia. honors: International Design Award; Interia Awards; Red Dot Award. role model: Portuguese architect Álvaro Siza Vieira for being an inspiring practitioner and teacher. local: Voskoboynikov is a member of Moscow Union of Artists. international: Akhremenkova’s diploma work won awards in the U.S. and Italy. vox-architects.com

“We are always focused on meaning, creation, and fulfilling dreams” APRIL.20

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h e a d l i n e rs

Olson Kundig

CetraRuddy Architecture

“Rebuilding the Ark,” page 196 principal: Alan Maskin. firm site: Seattle. firm size: 140 architects and designers. current projects: Recompose death-care center in Seattle; Bay Area Discovery Museum in Sausalito, California; Bob Dylan Center in Tulsa, Oklahoma. honors: Interior Design Best of Year Award honoree; AIA Northwest and Pacific Region Design Awards. role model: Design educator Astra Zarina, who taught me how to “make use of history to inspire new work.”

“Religious Experience,” page 160 co-founder: John Cetra. co-founder: Nancy Ruddy. principal: Theresa Genovese, AIA. firm site: New York. firm size: 70 architects and designers. current projects: 75 Rockefeller Plaza and Rose Hill residential building in New York; Choice School Calicut in India. honors: New York Landmarks Award; Council on Tall Buildings and Urban Habitat Award. role model: Peter Zumthor for his crafted details of elemental materials.

student: Maskin grew up on the East Coast, but came west to earn his master’s in architecture at the University of Washington. professional: His first position at OK was IT manager. olsonkundig.com

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past: Cetra began sketching buildings in high school. future: Ruddy is planning a trip to Bhutan in two years. print: Genovese served as editor in chief of a Harvard Architecture Review while earning her master’s there. cetraruddy.com

APRIL.20

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h e a d l i n e rs

“Danish Modern,” page 190 principal, design director:

Elisabeth Post-Marner, AIA. principal, lead designer:

sea legs: Post-Marner is an avid ocean rower. green thumbs: Margarida is pursuing a horticulture degree from the Brooklyn Botanic Garden. spacesmith.com

Studio Seilern Architects “The Peak of Chic,” page 170 principal: Christina Seilern. firm site: London. firm size: 24 architects and designers. current projects: Boksto 6 mixeduse building in Vilnius, Lithuania; El Gouna Concert Hall and Conference Centre in Egypt. honors: Structural Steel Design Merit Award; British Council for Offices Awards finalist. role model: The simplicity and beauty, directness and strength of the work of architect Kazuyo Sejima, who Seilern met as a graduate student. europe: Seilern grew up in the Swiss Alps. u.s.: She earned her bachelor’s in architecture from Wellesley College and her master’s from Columbia University. studioseilern.com 40

INTERIOR DESIGN

Roman and Williams Buildings and Interiors “Religious Experience,” page 160 co-founder: Stephen Alesch. co-founder: Robin Standefer. firm site: New York. firm size: 18 architects and designers. current project: The Fitzroy residential building in New York. honors: Cooper Hewitt National Design Award; Palladio Award. building: Before founding Roman and Williams, Alesch completed an architecture apprenticeship at Venice Atelier. film: Standefer was hired by Martin Scorsese as a visual and creative consultant. romanandwilliams.com

BOTTOM RIGHT: OSKAR PROCTOR

Ámbar Margarida, IIDA. firm site: New York. firm size: 30 architects and designers. current projects: Interiors for New York University buildings. honors: Interior Design Best of Year Award. role model: Richard Neutra, whose Lovell house created a template for residential design that incorporates health and wellness.

APRIL.20

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DESIGN wire edited by Annie Block

Upon cursory first glance, Genesis Belanger’s artwork appears dreamy, almost innocent. But the sculptures are far from it. Sure, she tints the porcelain and stoneware pieces, often in the shape of everyday objects, in pleasing matte pastels. And they’re meticulously crafted in simple silhouettes inspired by Claymation. But they’re messaging is quite complex, often stemming from her background as a prop stylist for such ad campaigns as Chanel and Victoria’s Secret. “It’s fascinating that our desires can be manipulated through aesthetics,” she has said. Well-manicured fingernails and lipstick-smeared cigarettes are among the feminine scenes she typically depicts. But for an art-fair booth installation last year, she imagined a man’s bathroom, overflowing toothpaste tube and all. Come this spring, visitors to the Aldrich Contemporary Art Museum may see a shift in her artistic tone. “Genesis Belanger: Through the Eye of the Needle,” her first solo exhibition at a major U.S. institution, will feature dozens of brand-new sculptures arranged on ghostly furnishings shrouded in gray upholstered skirts. “There will be a perceptible funerary tone,” senior curator Amy Smith-Stewart says, “that may be symptomatic of gloomy times.”

take a closer look A Last Puff of Hot Air and Scrub, Spritz, Splash, both in porcelain, are by Genesis Belanger, whose upcoming solo exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, runs May 17 to November 1.

PAULINE SHAPIRO/COURTESY OF GENESIS BELANGER AND PERROTIN

APRIL.20

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Open-plan digital startup offices staffed with Gen Y- and Z-ers are practically commonplace these days. How to differentiate? Such was the challenge posed to Prism Design by client Unbot China, an online marketer, for its relocated Shanghai workplace. The reason for the move to a larger, 20,000-square-foot site was to improve operational efficiency and organizational strength by hiring more employees. Maintaining communication between teams as well as the convenience and health of each worker were paramount. So Prism founder Tomohiro Katsuki responded with a concept he calls “mitochondria and chloroplasts” in regard to the two-story project’s zoning, structure, and identity, essentially creating a space that facilitates metaphorical “respiration and photosynthesis.” These were achieved via rounded forms, hot desking, a sunny yellow palette, and generous mailroom that also accommodates lunch deliveries—likely ordered through Ele.me, Shanghai’s Seamless equivalent.

biology lesson

Clockwise from top left: At Unbot China’s Shanghai office by Prism Design, OSB tops the address-free workstations. The mail and food-delivery room. PVC flooring in the main corridor. The entry with a world-map mosaic.

KATSUMI HIRABAYASHI

d e s i g n w ire

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D E S I G N w ire Clockwise from top: In the Les Lalanne exhibition at the Clark Art Institute in Williamstown, Massachusetts, May 9 through November 1, will be Mouflon de Pauline, in patinated bronze, leather, wood, brass, and paint, La Sauterelle, in porcelain, polished brass, and steel, the gilt patinated–bronze Lapin à Vent, and the copper Petit Rhinocéros Mécanique, all by François-Xavier Lalanne.

The art world lost one of its brightest lights when Claude Lalanne died last April. But an upside of her passing has been a celebration and an increased exposure of her and her late husband’s work. During Art Basel Miami last winter, for instance, Interior Design Hall of Fame member Peter Marino and landscape architect Raymond Jungles transformed a plot of dirt behind the Raleigh hotel into a lush secret garden dotted with 32 copper and bronze sculptures by the French couple, known as Les Lalanne. This spring, “Claude & François-Xavier Lalanne: Nature Transformed” opens at the Clark Art Institute. The exhibition, in planning for years and reviewed with Claude while still alive, showcases 20 objects from across both artists’ long careers, which centered on morphing real-life flora and fauna into surreal and inventively new forms. Among Fancois-Xavier’s animalsculpture furnishings will be Claude’s innovative flatware and jewelry.

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TOP, BOTTOM: COURTESY OF KASMIN GALLERY AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS (2); FROM CENTER: TOM CARTER/COURTESY OF BEN BROWN FINE ARTS AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; NICOLAS DUBOIS/ART DIGITAL STUDIO/COURTESY OF SOTHEBY’S AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS; COURTESY OF GALERIE LEFEBVRE, PARIS AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/ADAGP, PARIS

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BL IPs Blobs, drips, squishes… Those are the verticles on the website of Dan Lam, aka the 255K-follower-strong @sopopomo. The Philippines-born, Dallas-based sculptor says her art “exists between two worlds: beautiful and ugly.” Indeed, the colorful, curvy forms of polyurethane foam and resin almost begged to be touched, but their acrylic spikes send a different message. “There’s a psychological aspect to my work,” Lam says. “Are we attracted to things that are painful?” Apparently yes. “Super Natural,” Lam’s solo show of 45 new blobs and drips, is at Stephanie Chefas Projects in Portland, Oregon, through April 25.

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market

special kitchen/bath section edited by Rebecca Thienes text by Mark McMenamin, Georgina McWhirter, and Rebecca Thienes

sheer bliss It’s a pioneering pair for Antoniolupi with the debut of Reflex, the company’s first transparent bathtub, and Cristalmood, the proprietary composite that en­ abled the achievement. The style: a slender oval designed by AL Studio that reveals the flow of water (and presumably the bather) through saturated hues. The substance: a colored resin composed of polyester and pigment that weighs 30 percent less than comparable solid surfacing. The glossy compound comes in a total of 10 shades, from red Sangria to green Bottle. Complete with a drain­pipe fitting, pressure plug, siphon, and flexible hose, the tub measures a generous 66 inches long, 34 wide, and 21 high. antoniolupi.it

REFLEX

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TWO LINED

ONE HIGH ONE LOW CHECKERED

crisp and clean In the 1970’s, Roy Lichtenstein photographed the ornamental friezes on New York’s neoclassical building facades, then abstracted them into his Entablature prints. Marcante-Testa founding architects Andrea Marcante and Adelaide Testa took the series as their starting point for Frieze, a line of colored and patterned sinks for Ex.t designed to front a wall-mounted granite, lacquered MDF, or walnut band on which shelves and towel hooks can be hung. Available scribed with a checkered grid or vertical grooves or without, and in retro shades like Powder Pink, Bright Blue, and Lilac, the three styles of basins, One Low, One High, and Two Lined, can be paired with corresponding mirrors and cabinets. ex-t.com

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m a r k e t kitchen/bath

“Singular colors combine with a striking silhouette”

pipe dream

Can there be beauty in plumbing mechanics? With Tanz by Isenberg Bath Corporation, we say yes. Developed with 3-D modeling software, the stainless-steel faucet’s profile recalls straightforward industrial pipes—but made sexy. The fittings boast a range of fashion-forward colors, including 20 thin-film ceramic-based coatings like Navy Blue, Matte Black, Isenberg Green, Blue Platinum, Matte Gold, and Deep Red. The rotating projection spout and side sprayer boost flexibility, while ceramic disc cartridges enable smooth lever movement. And with a flow rate of just 1.8 gallons per minute, the faucet not only looks good it also does good by promoting conservation. isenbergfaucets.com

TANZ

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BE BOLD, GO BLUE. N E W LY R E D E S I G N E D P R O F E S S I O N A L R A N G E S Deliver distinct style, incomparable innovation, and quality design to every client with the all-new Thermador Ranges. Explore 30”, 36”, 48” and 60” configurations—all available with iconic blue knobs—to achieve a kitchen as bold as it is legendary.

Access exclusive client savings on eligible Thermador Suites TH E R MA DOR. C OM /ON E- T W O- F REE ©2 0 2 0 B S H H O M E A PP L IA NCE S CO R P O R AT IO N. A L L R IGH T S R E SE R VE D.


m a r k e t collection kitchen/bath

When they couldn’t find what they wanted, Fiona and Tom Ginnett created it. The fashion designer and architect founded Witlof, a designbuild firm specializing in custom kitchens. Then, spurred by egalitarian design, the couple launched Hølte, a system of surface and hardware hacks customized for IKEA cabinetry. Once clients submit their plans and choose options, the items are made to order in the company’s Hertfordshire, England, workshop, and delivered installation-ready. Tops include matte quartz, steel-gray granite, and stainless steel–bonded birch. Fronts range from hand-finished veneers with hardwood edging to high-pressure laminate over plywood. Hardware includes the integrated pull Half Moon, backed by plywood or steel, and the Buckle Brass handle, inspired by vintage filing cabinets.

HALF MOON

holte.studio

bespoke for all BUCKLE BRASS

SARA HIBBERT

“Everything we do is centered around craftsmanship”

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S A LVAT O R I _ O F F I C I A L


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spa day 1. 20th Anniversary Collection Archdale quartz surfacing by Cambria. 2. Kintsu faucet and knobs in chromed brass and teak by Brizo. 3. Statement head and magnetic-docking handheld shower with low-flow spray in Matte Black by Kohler Co. 4. Medley Pop tile in terrazzo in Blu by Ergon. 5. Rituel Uzo XP sink in tinted concrete in Coral by Pur Béton. 6. Lido Beachcomber basin in glass by Native Trails. 7. Marcante-Testa’s Kolonne indoor-outdoor wall tile in glazed ceramic in Blue by Ceramica Vogue. See page 80 for sources.

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BOTTOM LEFT: COURTESY OF CERAMICA VOGUE

The right fixtures, finishes, and fittings afford luxury all week long

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Metal Column Covers Durable. Elegant. Sophisticated.

ARCHITECTURAL METALS + ENGINEERED PRODUCT SYSTEMS

FRYREGLET.COM


M A R K E T kitchen/bath

OLLIE

SEPP

Oliver MacLatchy fell in love with timber while working on houses in Australia with his contractor father. “Its versatility addicts me,” he says of the material. Then, experimenting in his workshop one evening, MacLatchy invented a timber waterspout. That was the start of Wood Melbourne, which fabricates contemporary handmade bathroom fittings from reclaimed blackbutt, a local fine-grained eucalyptus. The designer sands and scrubs the hardwood to smoothness with steel wool between coats of splash-proof wax. He’s now added stone fixtures and metal fittings to the mix, too, such as Sepp, a concrete basin, and Otis, a brass-detailed showerhead. For taps, there’s circular Lily, cubic Ollie, and Mabel, its marble cylinders wrapped in brass. woodmelbourne.com

OLIVER MACLATCHY

OTIS

LILY ELLE

“I love how timber ages and tells a story”

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LISA COHEN; STYLING: BECK SIMON

wood stock

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tiles for miles

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Cover floors and walls with striking patterns 1. Savoy Penny wall and floor mosaic tile in glazed porcelain by Ann Sacks. 2. Fun Summer 02 floor tile in glazed porcelain by Ceramica Sant’Agostino. 3. Icon 09 Yellow tile in porcelain by Target Group. 4. Cadence wall tile in ceramic in Chalk, Rose, Raven, and Dove by Nemo Tile + Stone. 5. Let It Bee wall tile in double-fired ceramic in Yellow by Cooperativa Ceramica d’Imola. See page 80 for sources.

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KINGSLEY BATE

ELEGANT OUTDOOR FURNITURE

© Kingsley Bate. To the trade. T: 703-361-7000 F: 703-361-7001 www.kingsleybate.com [KB1294C]


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Sarah Lavoine for Theia Creative Tiles

Cinzia Cumini and Vicente García Jiménez of Cesar

Christine and John Gachot for Waterworks

Giampaolo Benedini for Agape

product Sarah Square. standout The founder of retailer Maison Sarah Lavoine creates gemlike 3-D tiles in mix-and-match square and rectangular shapes, in six colors of glazed ceramic.

product Intarsio. standout The company’s art directors and García Cumini firm founders present new cabinetry finishes for the kitchen range, including Noce Desaturato, a pale walnut. cesar.it

product Bond Union. standout Sink fittings made in collaboration with Gachot Studios make use of guilloche, an intricate centuries-old engraving technique, on handle faces.

products In-out; Lift. standout Clients will want to get in the Benedini Associati founder’s tub, offered in a new green marble, while his oak-ledged bathroom cabinet features storage behind leather doors. agapedesign.it

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waterworks.com

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Ph. Giovanni Gastel

FLOYD–HI, FLOYD TABLE. WWW.LIVINGDIVANI.IT


spa day 1. Cambria, cambriausa.com. 2. Brizo, brizo.com. 3. Kohler Co., kohler.com. 4. Ergon, emilgroup.it/ergon. 5. Pur Béton, purbeton.com. 6. Native Trails, nativetrailshome.com. 7. Ceramica Vogue, ceramicavogue.it.

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COURTESY OF CERAMICA VOGUE

1. Ann Sacks, annsacks.com. 2. Ceramica Sant’Agostino, ceramicasantagostino.it. 3. Target Group, target-group.net. 4. Nemo Tile + Stone, nemotile.com. 5. Cooperativa Ceramica d’Imola, ccimola.it.

Contemporary Residence, Atlanta, GA Architect: Edward J. Alshut, AIA Designer: Shawn C. Alshut, ASID, RA Photographer: Brian Gassel

SPARK MODERN FIRES UNCOMPROMISING QUALITY AND APPEAL www.sparkfires.com or 203.791.2725

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modern fires

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PHOTOGRAPHY: GARRETT ROWLAND

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2 Ingenuity stands tall

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The media company Tegna is in the business of broadcasting news and entertainment from its 64 TV and radio stations around the country. But its new 65,000-square-foot headquarters in Tysons, Virginia, by LSM makes an announcement of its own: Large-scale artwork has transformative power. “I created Dusk and Dawn for an environment of coexistence and communication,” states Brazilian artist Lucia Koch, with whom founding partner Debra Lehman-Smith worked on the project, along with art consultancy Lisa Austin & Associates. Her two-part installation flanks the office’s atrium. On one side is a 30-foot-tall lightbox that’s backlit by gradating LEDs and visible from outside the glassy Genslerdesigned building. On the other side of the atrium are similarly colored polyester curtains, which can enclose a pair of stacked conference rooms. Furnishings in the immediate vicinity “took a quieter stance,” LehmanSmith explains. But “when you’re in those rooms,” she adds, “it’s like a womb of color.” —Jane Margolies

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CHRISTOPHER GRIMES GALLERY

CHRISTOPHER GRIMES GALLERY

art at work


CHRISTOPHER GRIMES GALLERY

CHRISTOPHER GRIMES GALLERY

“The pieces add spirit and life to the project”

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sound renovation

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JESÚS GRANADA

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It’s a stellar example of adaptive reuse. What was originally constructed in 1512 as the Hospital de San Sebastián by Spanish architect Hernán Ruiz is today the Palacio de Congresos de Córdoba, a conference and exhibition center recently renovated by LAP Arquitectos. Over the five-century span, when the building transitioned into just maternity functions, and then Palacio de Congresos in 1985, its Gothic and Renaissance stylings were given the highest level of historic protection, meaning LAP had to modernize the 28,000 square feet of interior space without altering the structure itself. The most dramatic intervention can be seen in the main meeting hall, where extensive warm wood jux­ taposes with the existing lime-mortar facade. LAP sheathed the ceiling in undulating slats of beech, obfuscating the black acoustic paneling behind. “We used traditional materials in a contemporary lan­guage,” associate David Pérez Herranz says. More acoustic panels of white-stained pine cover the walls. “The sound characteristics are one of the room’s best features,” associate Rafael Pérez Morales adds. “Nordic architecture is an inspiration for us,” associate Rafael Pérez Herranz says of the minimalism. But with Spanish flair, the trio wrapped the 750 custom seats in matadorred upholstery. —Wilson Barlow

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“The conference center has a fluid dialogue between new and historic”

JESÚS GRANADA

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home team

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Anyone can point out the Eiffel Tower. But what about the Stade Bauer? The latter is a stadium that, back in 1924, hosted soccer games during the summer Olympics. It’s located in Saint-Ouen-sur-Seine, a revitalizing northern suburb of Paris—and one of the sites of the 2024 Olympic village. To publicize that and other noteworthy happenings, local architecture and environmental design firm Saguez & Partners initiated Inspire Ta Ville, a public campaign of 11 vintage-style posters celebrating the area’s heritage. “They’re like those from the ’20’s and ’30’s that promoted travel to the Riviera,” Olivier Saguez says. For one week, his versions, digitally printed and done in collab­ oration with ad agency JCDecaux, occupied 33 Saint-Ouen sites including bus stops, depicting such points of pride as the Marché aux Puces flea market and the Red Star soccer team. Proof of the campaign’s success appears in the 4,200-member Ville de Saint-Ouen sur Seine Facebook page, where How can we buy these posters? has become a popular question.

COURTESY OF SAGUEZ & PARTNERS

—Colleen Curry

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WO O L S T R U C T U R E

me m o s a m p l e s . c o m


“Disability is a challenge that, like any other, just needs the right solutions”

models for everyone Forget Barbie. Ada 1.0 is a radically different clothing form. The life-size gender- and raceneutral mannequin prototype, constructed in a Brooklyn Navy Yard workshop from lasercut scrap wood down to its joints, adjusts to mimic the posture and movement of arm and leg amputees and those seated in wheelchairs or bent over walkers. Intended to encourage retailers to be more inclusive, it is a collaboration between TurkishAmerican architecture firm Eray/Carbajo and Open Style Lab, a National Design Award–winning nonprofit seeking to make fashion accessible to people with disabilities. (The connection between the two is E/C’s managing partner Pinar Guvenc, who serves on Open Style’s board.) With 15 percent of the global population having some form of disability, according to the World Health Organization, Guvenc says that Ada is nothing less than a “call to action for the industry to represent the world’s largest minority group.”

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COURTESY OF ERAY/CARBAJO

—Georgina McWhirter

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RESIDENTIAL ST YLE . C O M M E R C I A L C A PA B I L I T I E S .

roomandboard.com/bicontract 800.952.9155


DY E L A B I N C O R N F LO W E R A N D W OA D

Experiment in color Dye Lab’s palette draws its inspiration from nature, a color journey which included the exploration of more than 20 natural dyes. Ancient wash and dye techniques are reinterpreted in this collection for an elegant, saturated and unpredictable visual. Explore the collection at shawcontract.com


firmly rooted

ROLAND HALBE

b i g ideas05

Spanning a system of fault lines some 700 miles long, Chile endures more yearly earthquakes than almost any other country. The near-routine tremors can pose a challenge for Max Núñez Architects, which needed to employ intense precision when devising a greenhouse— the firm’s first ever—for

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“The greenhouse appears as light as possible despite the area’s seismic limitations”

a horticulturalist seeking to nurture exotic orchids and palms. “To build for plants, we had to consider humidity, temperature, and sun exposure in a very refined way,” Max Núñez says, “then give these atmospheric conditions a light architectural expression,” one that’s also incredibly sturdy. His 1,300-square-foot plan called for a galvanizedsteel frame topped with symmetrical glass-block vaults—the biggest design challenge to calculate, Núñez recalls, and borderline quixotic given the region’s seismic activity. Determined to ensure a structurally sound result, he subdivided the vaults into four smaller sections, then adhered them to the frame with an elastic coating that allows them to “float” in place, cushioning any sudden shifts. —Colleen Curry 96

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ROLAND HALBE

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info@estiluzusa.com

www.estiluzusa.com

330 West 38th St. Suite 710 New York, NY 10018 USA

T +1 (646) 454 1285

CIRC by Nahtrang Studio

Since 1969


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—Jane Margolies

JAMES EWING

cultural unity

Historically, Ashkenazim and Sephardim have flourished in their own spaces. But when a son of Jewish philanthropist Moise Safra set out to open the Moise Safra Center in New York, he was looking to bring them together in a multiuse setting. The resulting 14-story building by Platt Byard Dovell White Architects unites religious, social, and athletic facilities in a clean-lined interior. Much of its 65,000 square feet centers on a “tone-on-tone palette,” consulting partner Ray Dovell says. On the community levels, which offer fitness studios, basketball, and swimming, the palette is rendered in such materials as bamboo planks and wood-grained porcelain tile. In the center’s double-height Ohel Moshe Synagogue, the approach continues. Dovell and team selected Jerusalem limestone flooring, rift-cut oak millwork, and bronze hardware. Moments of color enliven the overall setting. Landscapeform’s azure chaise longues appoint the pool, and stained glass mosaics embellish the synagogue doors. Inside, gentle washes of blue and yellow emit from film applied to windows by French artist Daniel Buren.

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“A synagogue and a community center are united in a vertical campus”

JAMES EWING

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“The whole hotel is an art gallery”

hospitality as benefactor

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Off the beaten path, in the wholesale food district of Kyoto, Japan, the fivestory Kagan Hotel is offering a new type of mixed-use space. The core concept is a residency program for up to 20 young artists on two floors, supported by two floors of hotel rooms. OHArchitecture was tasked with fitting an array of spaces, from a basement art studio to five luxury guest suites on the top level, into a concrete former produce warehouse. “It was a cold building,” OH principal Tatsuya Horii recalls. “It took a lot of work to make it feel warm.” Over time, the spare white interiors, replete with industrial elements left exposed, will be filled in with the output of the resident artists. “We kept the environment simple and clean so their work would stand out,” co-principal Kosuke Okuda adds. Though the hotel portion of the project doesn’t open until the fall, the first resident artists, including painters, a calligrapher, and photographer Genki Sato, whose cloudlike installation appears in the gallery, are already at work making themselves at home.

CLOCKWISE FROM TOP LEFT: COURTESY OF KAGAN HOTEL (2); HANAKO KIMURA; COURTESY OF GENKI SATO

—Wilson Barlow

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NEW YORK

info-usa@gandiablasco.com

SOLANAS by Daniel Germani

MIAMI miami@gandiablasco.com LOS ANGELES losangeles@gandiablasco.com

www.gandiablasco.com


commuting without polluting Do you suffer from single-ride eco-guilt but also a fear of sardinelike ride-shares? Consider Joyn. The autonomous vehicular prototype and app is the result of a five-month research and design initiative, including user interviews and online surveys, spearheaded by multidisciplinary firm Layer. Founder Benjamin Hubert and team concluded that the greatest need, in terms of traffic congestion alleviation, was for six to eight passengers, for 30-minute- to 1-hour-long rides.

Those results pointed them to the Ford Galaxy footprint but customized with such features as a smart-glass bubble on which upcoming stop and time to destination information would be displayed. Interiors would offer soft textile upholstery, stowable tables, charging ports, and four rows of pairs of opposing seats, the latter featuring modular winglike headrests that provide privacy when closed and the ability to converse, for passengers traveling together, when pushed open. “It’s the first platform that’s designed specifically for ride-sharing rather than retrofitting an existing model,” Hubert explains of the prototype. When will Joyn hit city streets? Follow @layer_design for updates. —Nicholas Tamarin

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COURTESY OF LAYER

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clean footprint On average, Germans use 21 bottles of shower gel and shampoo a year. And only a fraction of those are ultimately recycled, Jonna Breitenhuber says. “Why is something used for a few weeks made from a material that takes 450 years to decompose?” she asks. As part of her master’s thesis at Berlin University of the Arts, the now graphic designer was determined to do her part to reduce single-use plastic packaging. The result is Soapbottle: a prototype shampoo-conditioner-body wash container, itself made of bar soap. Aside from the small reusable stainless-steel closure that covers the corner opening sliced out of the soap on first use, it has no plastic, glass, or metal. Since biodegradable, Soapbottle, which can come in a fresh palette of colors, dissolves over time. When the contents are finished, the bottle remnants can be used again as chunks of hand soap or grated to create laundry detergent. —Georgina McWhirter 104

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CLOCKWISE FROM BOTTOM LEFT: COURTESY OF JONNA BREITENHUBER (4); MORITZ BREITENHUBER

“To reduce plastic waste, the package is the product”

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carnegiefabrics.com/upholstery


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FROM TOP: COURTESY OF THE MEDIATED MATTER GROUP; DENIS DOORLY/COURTESY OF THE MUSEUM OF MODERN ART

She spends her days with silkworms and shellfish, robots and 3-D printers. She also produces myriad prototypes she calls “artifacts.” A significant lot of this compendium appears in “Neri Oxman: Material Ecology,” at the Museum of Modern Art in New York. Composed of seven projects and hundreds of objects, the exhibition is organized by senior curator, department of architecture and design, and director, research and development, Paola Antonelli, who met Oxman in 2006, when she was earning her Ph.D. in design computation at MIT and Antonelli was planning 2008’s “Design and the Elastic Mind,” which included six works by the young architect. The current show, Antonelli says, “is a distillation of our decade-long exchange since then and reveals that technology, when used as a tool and not just a goal, helps us get closer to integrating nature as a design co-fabricator.” For Oxman, now a professor at the MIT Media Lab, it’s a showcase for the Mediated Matter Group, her 15-person team of scientists, architects, and artists that conducts research at the intersection of science and technology, nature and culture to create biologically inspired fabrication tools to enhance the relationship between natural and manmade environments, small and large scale. “A lot of what guides our work is a fundamental curiosity for life,” she says. The women divided the show into two sections: extrusions and infusions. The former centers on Silk Pavilion II, a sitespecific, nearly 16-foot-tall hyperbolic paraboloid formed from the output of

FROM TOP: DENIS DOORLY/COURTESY OF THE MUSEUM OF MODERN ART; COURTESY OF THE MEDIATED MATTER GROUP (2)

mother nature


—Neri Oxman

FROM TOP: COURTESY OF THE MEDIATED MATTER GROUP; DENIS DOORLY/COURTESY OF THE MUSEUM OF MODERN ART

FROM TOP: DENIS DOORLY/COURTESY OF THE MUSEUM OF MODERN ART; COURTESY OF THE MEDIATED MATTER GROUP (2)

“We’re in an exciting moment where we can design nature herself”

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some 17,000 living silkworms, a response to the current state of the garment industry (approximately 50,000 silkworms get boiled to death to create a single shirt). “Our passion is biodiversity—maintaining it on the planet and augmenting it,” states Oxman, who had her first child last spring. A highlight of the latter section is Totems, clear photopolymer-resin columns, their 3-D printed pockets infused with natural and chemically produced melanin, the pigment that defines hair and skin color. Oxman believes melanin can be used to create a first-of-its-kind biological building, one that naturally provides shade during the day, that is “more grown than built.” Adds Antonelli, “We envision these objects, processes, and materials as tools for future architects, designers, and artists to create in a different way.” —Annie Block

FROM LEFT: YORAM RESHEF; COURTESY OF NERI OXMAN AND THE MEDIATED MATTER GROUP; DENIS DOORLY/COURTESY OF THE MUSEUM OF MODERN ART

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S TA I N R E P E L L E N T L E AT H E R P R OT E C T E D F R O M T H E I N S I D E O U T

Shown in Athena Mineral

Learn More About the Science Behind Athena at mooreandgiles.com/athena


indoor meadow They were on bicycles when inspiration struck Paul Ketz and Dilara Yesilova. Last spring, the Paul Ketz Studio founder and his girlfriend designer were on a trail in Yesilova’s native Turkey when, taking a break to catch their breath, they noticed, “It was like nature was waking up,” Ketz recalls. “We were surrounded by grasslands and wildflower fields and thought that we could translate that scenery into a furnishings context.” Back in Ketz’s Cologne, Germany, studio is where Springtime Carpet blossomed. “Furniture for sitting or lying down is usually clearly defined,” Yesilova says, “but our object mixes the properties of a daybed, a rug, and a huge cushion.” Knotted to a round wool-felt ground are hundreds of 1 ½-inch-diameter foam extrusions. Most are upholstered in lime-green cotton-viscose, but there are occasional red and yellow ones that represent blossoms. When lounged upon, the foam spheres cradle the user and gently decompress like the blades of grass in a lush meadow. Fittingly, the piece is available come spring. paulketz.com —Colleen Curry

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MARCEL KAMPS

“It’s a cozy, playful rug-cushion resembling spring’s awakening”

APRIL.20

3/10/20 5:34 PM


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outdoor therapy

Downtown Los Angeles is dense with low-income housing units, many needing updating. For a pair of 110-unit buildings, Skid Row Housing Trust tapped Brooks + Scarpa Architects for the renovations. “No design is entailed here,” principal Lawrence Scarpa recalls being told. “We thought: Yes there is.” So he and coprincipal Angela Brooks came up with one concept to serve the two sites: beautifying under-used outside space for tenants to enjoy. One building had a pair of narrow exterior spaces, but they were basically just alleys crammed with assorted detritus. Brooks + Scarpa transformed them with gravel and concrete planks and benches. Walls were freshly coated in white paint and hung with constellations of clay pots containing plants for tenants to nurture. Overhead, string lights contribute additional twinkle. At the other building, Brooks + Scarpa improved an existing courtyard, making room for a required fire exit as well as inserting spalike ipe interventions. The wood forms a tall slatted screen that gives privacy to ground-floor apartments, a built-in bench, and chaise longues from which tenants can gaze up at a salvaged Ficus tree. —Edie Cohen

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CLOCKWISE FROM TOP RIGHT: TARA WUJCIK (2); COURTESY OF BROOKS + SCARPA ARCHITECTS

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3/12/20 12:44 PM


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stronger together She graduated from MIT, and then had a successful 25 years in finance and technology. But Becky Brown was also a Divison 1 gymnast, who’s now a selfdescribed fitness fanatic. So she recently decided to open her own Austin, Texas, exercise studio. Her

LEONID FURMANSKY

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“The gym creates community based on a common love for movement, play, and human connection”

goals for it were threepronged: that it be functional, aesthetically exceptional, and foster a sense of community. Chioco Design helped her achieve them all with E + E Fitness, the E’s standing for elevate and evolve. Encompassing 4,000 square feet, the experience begins in reception, where low-slung sofas with built-in side tables offering beverage surfaces are upholstered in steel-gray wool. “We custom-designed the lounge-y seating for it to be communal,” says principal Jamie Chioco, who worked with managing project designer Michael Chaveriat. Indeed, clients hang out here before and after high-energy bootcamp and kickboxing classes. Sealed concrete and blackened steel further the industrial vibe. But oversize vinyl graphics of athletes and extensive white oak balance all the toughness. Horizontal slats of the latter harmonize with the logo. Vert­ical ones enclose the locker room in a graceful curve that Chioco says “reflects movement.”

LEONID FURMANSKY

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MiQ, New York by Sydness Architects / Design Republic / Emma Louise Ingham Design. Photo by Jon Nissenbaum.


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ERIC LAIGNEL

What appeared as a grim one-story Seattle building to many was a unique innovation opportunity and new revenue stream for SkB Architects. Located next door to the firm’s headquarters, the circa-1900 book bindery is now SkB Annex, a coworking and event space where playful vintage design, including Josef Hoffmann chairs, encourages experimentation. “Our intent with the project is to learn how environment affects people,” SkB founder Shannon Gaffney says. “We are seeing that clients are more engaged and more willing to interact in the creative process because the setting is more comfortable, promoting freedom and engagement.” Inside the fireclay brick box is a raw, 2,000-squarefoot open plan with concrete flooring, exposed trusses, and glass-walled ends that exudes a relaxed informality, whether it be for a pop-up shop, an informal meeting space, movie screening, even an overnight stay. “It’s a residential-driven work environment,” says Kyle Gaffney, who knows a little something about the subject, having co-founded SkB with his wife in 1999. —Anna Squier

ERIC LAIGNEL

home office


ERIC LAIGNEL

ERIC LAIGNEL

“It’s like a getaway for an artist”

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smart camera If you didn’t take a selfie, were you really even there? It’s a question Cactus co-founders Marcelo Pontes, Noah Waxman, and Lucas Werthien observed millennials grappling with at Color Factory. The interactive New York exhibition features Instagram-worthy installations by the firm, but visitors often spend more time trying to snap the perfect photo

“People get fun photos—and to disconnect from their phones” than participating in the playful environments. “They really miss the moment because they’re staring at their phones,” Waxman says. Enter Mira, or look in Spanish, which Werthien speaks. The mounted automatic camera is set on a timer and activated by scanning a QR code, then delivers studio-quality images to an online gallery for easy sharing. “It’s like an elevated photo booth,” he explains. Framing, lenses, and lighting are all calibrated by professional photographers working remotely. Cactus sees other useful applications for Mira, too. “It can offer a lot of valuable input at the architectural design phase,” Pontes adds. But for now, it’s in use at Color Factory, where visitors can capture themselves floating in a giant plasticball pit, smart phones nowhere to be seen.

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COURTESY OF CACTUS

—Wilson Barlow

3/10/20 5:14 PM


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solar panel’s new look

LEAVES

“They turn sunlight into electricity—and also make the world more beautiful” 130

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FROM CENTER: MARIËLLE LEENDERS (2)

In these times of eco-anxiety, members of the A&D community are looking to move away from fossil-fuel dependence. Kiki&Joost Design Studio partners Kiki van Eijk and Joost van Bleiswijk have provided an option: attractive solar panels that attach to a building’s face, instead of the utilitarian arrays amassed on rooftops. But the Dutch designers didn’t discard the roof version entirely. Manufactured by MyEnergySkin, the collection’s eight models offer six styles of 2-by-4-foot facade modules and two of 1 ½-by-2-foot roof tiles, all in textured tempered glass. “It started with them,” van Bleiswijk says of the original 1980’s arrays, “but it’s the facade that’s the highlight of a building.” Adds van Eijk: “We relied on aesthetics to make our tiles feel natural,” which is reinforced with such pattern names as Leaves and Rain and achieved by spraying, brushing, or dripping acid on metals, scanning and repeating the results, then applying them to glass. Soon, modules patterned in Scratch will clad Kiki&Joost’s newly built Eindhoven studio. myenergyskin.nl —Rebecca Thienes

APRIL.20

3/11/20 7:51 PM


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“The pavilion gave insight into the world of bio-based building”

How bio can you go? Pascal Leboucq took that dare with the Growing Pavilion, an experiment in bio-based architec­ture that materialized in Eindhoven for 10 days last fall during Dutch Design Week. The design head of multidisciplinary collective Company New Heroes enlisted Krown.bio, a producer of products made from mycelium, to cover the 750-square-foot circular structure’s aspen-and-pine framework with fungal filaments. “Instead of identical exterior walls, the facade forms an organic skin,” Leboucq states. So organic, in fact, that it supported the daily harvesting of edible oyster mushrooms to tempt the 75,000 fairgoers each afternoon. 134

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growing interest

APRIL.20

3/12/20 1:13 PM


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B I G ideas17 Furthermore, the flooring and furnishings under the domed cotton roof were fabricated from natural sources, too. A lamp by Krown.bio partner Eric Klarenbeek, for instance, accentuated the natural luminosity of seaweed alongside his mycelium-shrouded ottoman. Benches encircling the exterior were built with rice-straw boards. Aiming to ignite the evolution to a bio-based economy, the project team has made its findings freely available so, says Leboucq, “Designers and companies can take steps together.” companynewheroes.com —Mark McMenamin

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ERIC MEANDER

architectural features in modular, glass-reinforced gypsum.

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less boundaries

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ZOOEY BRAUN

Board members sharing an office? Not likely. Yet at their own insistence, the four that work at Robert Bosch Automotive Steering headquarters in Schwäbisch Gmünd, Germany, do just that. That’s thanks to an innovative shared desking system by Studio Alexander Fehre, which designed the 110,000-square-foot office. “The automotive industry is in the midst of constant change right now,” Alexander Fehre states. Developed following interview sessions with the board members, who sit in an open office partially glazed and open on one side, and their assistants, in a nearby circular bullpen (or glazed touchdowns areas when they need more privacy), the


“There’s little separation between executives and their staff”

ZOOEY BRAUN

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concept is based on an airport. “The assistants are the surrounding terminal, which always has a good view of the board members, who are the centrally located planes,” the architect explains. Large meetings take place at a custom lacquered-MDF unit surrounded by wool-upholstered benching and redlacquered metal lamps. Elsewhere, 200-square-foot rooms for more intimate discussions are enclosed by partitions of glass and green wool— the latter matching the forested setting outside the windows.

ZOOEY BRAUN

—Mairi Beautyman

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“Our aesthetic decisions make the homeless feel they deserve good design”

privacy and dignity While full of superlatives, Los Angeles owns a painful statistic: It has the nation’s largest unsheltered homeless population. Roughly 50,000 individuals are spread throughout the city, from downtown to Venice, where Yan Krymsky, principal and design director of the L.A. studio of Perkins and Will, lives. Inspired by mayor Eric Garcetti’s A Bridge Home initiative, which identifies homelessness as the U.S.’s greatest humanitarian crisis, he decided to tackle the problem by creating temporary supportive housing for interim facilities. He and his team started with visits to such sites in Santa Monica, Pasadena, and Bell. They were shocked by their lack of privacy and security. “But we weren’t thinking a pod or micro hotel,” Krymsky notes. The resulting Dome is designed as a unit that’s stackable, collapsible, and portable. Each, encompassing 42 square feet and made of solid surfacing and birch plywood, has an extra-long twin bed with storage underneath, a lockable wardrobe, an aisle light, an outlet, and is enclosed on three sides. Residents can even select an optional fabric canopy.

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COURTESY OF PERKINS AND WILL

—Edie Cohen

APRIL.20

3/10/20 5:37 PM


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bettering the big apple

Some 23,000 public trash cans occupy the street corners of New York’s five boroughs. Many, however, are the decades-old heavy and unwieldy versions with no recycling capabilities. To address the problem, the NYC Department of Sanitation, Van Alen Institute, Industrial Designers Society of America, and AIA New York together launched the BetterBin Competition. The winning model is by Group Project, composed of engineer Chris Glaister, industrial designer Colin P. Kelly, AVO founder Brit Kleinman, and architect Brandon Massey. After talking with sanitation workers, the foursome determined ergonomics were important, particularly the bin’s weight and maneuverability. Their concept begins with a rigid liner of perforated plastic that is 50 percent lighter than current cans and includes eight grips, versus cans’ typical two. The liner nestles in an aluminum stand with a black or blue flip-top lid, clearly labeled landfill or recycle. The bins can be spotted keeping streets clean on a four-block stretch of the Upper East Side, with plans to expand. —Rebecca Thienes

“The bin is easier for our sanitation workers to operate—and hopefully helps the city achieve zero waste by 2030”

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Design beyond

Beyond design

June 8 — 10, 2020 theMART, Chicago The world’s leading platform for commercial design neocon.com

NeoCon® is a registered trademark of Merchandise Mart Properties, Inc.


June 8–10

Design beyond, Beyond design

The Forefront of Design

The world’s leading platform and most important event of the year for the commercial design industry celebrates its 52nd edition with the latest ideas, products, and experiences to inspire, connect and engage.

Spanning 8 floors and nearly 1 million square feet of exhibition space, NeoCon showcases gamechanging new products and services from leading companies and emerging talent across a spectrum of use: Workplace, Healthcare, Hospitality, Retail, Residential, Education, Public Space and Government.

→ June 8–10 → theMART, Chicago → Register online by June 5 → neocon.com

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Since its 1969 launch, NeoCon has served as the commercial design world's annual gathering place offering a vibrant hub for a non-stop schedule of networking, events and celebrations.

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Inspiration and Knowledge Sharing

Four keynote presentations, nearly 100 CEU seminars, design tours and a new design ideas platform will offer world class expertise and insight into today's most relevant topics. Find details and register at neocon.com. Monday, June 8, 8am

The Business of Color: Design's Impact on Purpose, Profit, Culture and the Future

Amanda Williams, Artist and Architect, AW Studio Amanda Williams blurs the distinction between art and architecture through work that employs color as a way of examining the complexities of race, place, and how value is assigned to space in cities. Her keynote includes a conversation with IIDA’s Cheryl Durst.

Presented by:

Tuesday, June 9, 8am

The Medici Effect: Innovation at the Intersection

Frans Johansson, Author and CEO of The Medici Group An author, entrepreneur, and acclaimed international speaker, Frans Johansson has inspired readers and audiences worldwide with his ideas on leadership and success, innovation, and diversity, while his practical insights have empowered thousands to take action.

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Tuesday, June 9, 1pm

Presentation by Architect Jeanne Gang

Presented by:

Wednesday, June 10, 11am

ARTseen

Jeanne Gang, Architect and Founding Principal of Studio Gang Jeanne Gang has this year been named one of the most influential people in the world by TIME Magazine and won her largest commission to date, the new Global Terminal at O’Hare International Airport. Her celebrated, award-winning designs arise from a distinctive approach that expands beyond architecture’s conventional boundaries.

Markus Dochantschi, Architect and Founder and Principal of studioMDA Markus Dochantschi opened studioMDA in 2002 with the mission of challenging the boundaries of design. Prior to studioMDA, Dochantschi ran the office of Zaha Hadid Architects and was Head Project Architect on the Rosenthal Contemporary Arts Center in Cincinnati.

Presented by:

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READY TO LAUNCH? Interior Design is about to turn the QR code into a powerful new tool.

WE ARE. Go to page 213 for the inaugural issue.

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april20

All systems go

ZAOHUI HUANG, 20ANIMAGIS

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religious experience CetraRuddy and Roman and Williams transform a pair of 19th-century, former Episcopal buildings into Fotografiska New York

text: ted loos photography: david sundberg/esto

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A for-profit photography exhibition space run by two Swedish brothers may at first seem like a longshot new cultural institution in Manhattan. Good design, however, has helped make Fotografiska New York seem not only plausible but also downright necessary. Fotografiska’s third branch, after Stockholm and Tallinn, Estonia, occupies an 1894 landmarked Flemish Renaissance Revival building by architects Robert Williams Gibson and Edward Neville Stent. Grand on the outside, the former mission house for the Episcopal church next door was a hollow shell when the Interior Design Hall of Fame co-founders of CetraRuddy Architecture got to it. “It’s a jewel that was a dusty old building,” Nancy Ruddy begins. Fotografiska spreads over its six floors with multiple photo exhibitions on levels three, four, and five. Amazingly, the project also includes four separate food and beverage spaces. The two most elaborate of those are by Roman and Williams Buildings and Interiors: a speakeasylike bar tucked into an adjoining 1848 building, the Calvary Church Annex —a two-story former chapel with gothic arches—and the second-floor restaurant. But before the rebirth, the building had to be structurally reinforced, since it wasn’t originally built for high traffic. The idea, however, was to let as much of the original architecture shine through. “We really wanted the building’s bones to speak,” John Cetra says. Having Fotografiska founding brothers Jan Broman and Per Broman as clients helped. “We took our cues from their Stockholm branch, since they have perfected how it shows art,” Ruddy says. “It’s immersive and intimate.” The New York exhibition spaces are tightly orchestrated, given that the original building is only 41,000 square feet, and each display floor follows the same plan of new interior walls, leading the viewer on a route that

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Previous spread: Fotografiska New York, a photography museum by CetraRuddy Architecture, is housed in a six-story land­ marked building that dates to 1894. Opposite top, from left: The facade is gabled limestone and granite. A photograph by Arvida Byström appears in the museum’s staircase, which acts as an extension of the galleries. Bottom: The inaugural exhibition was “Ellen von Unwerth: Devotion: 30 Years of Photographing Women.” Top: The lobby mixes café, art exhibition, and retail, all organized around a custom leather-and-quartzite reception desk. Bottom: Polished stainless-steel clads columns and flooring is polished concrete.

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“The idea was to let as much of the original architecture shine through” maximizes time with each picture. Chief among the client dictates was a natural light ban, to preserve the art, so CetraRuddy built a wall 3 feet inside the interior, which preserved the street view of the old window bays. The commitment to welcoming design begins, naturally, in the dramatically opened-up lobby, centered on a curved reception desk. The café, wine bar, and bookshop are all part of the inviting open plan. “We try to create a sense of home in any project—that’s the heart and soul of who we are,” says Ruddy, who added bookshelves made of reclaimed mahongany and unfinished steel. “They’re one of the only major architectural interventions in the whole building.” The firm’s most ingenious less-is-more trick was in the sixth-floor attic, where it removed the low ceiling and revealed the space’s original terra-cotta wall tiles, now refurbished. And then the team didn’t attempt to prettify it any further. “We opened it up, and my instinct was, Let’s not do a thing here,” CetraRuddy principal Theresa Genovese adds. Now the lofty penthouse is used for artist residencies and events—in fact, Interior Design editor in chief Cindy Allen filmed a mini concert there with singer-songwriter Allen Stone; stay tuned. When it came to the restaurant Veronika (after the patron saint of photography), co-founders Robin Standefer and Stephen Alesch furthered the emotional storytelling that Roman and Williams is known for. “It’s experiential, that’s what we’re interested in,” Standefer says. “And that starts with deciding for it to be on that second floor, having the bar be the entry. There’s a sense of unfolding discovery.” The vibe is Bohemia-infused and “otherworldly” she says. “You can’t quite put your finger on the era.” A forest mural and a bar made of honed St. Laurent marble work together to set a spell. Using oak trim on the space’s 16-foot-high arches emphasized the enfilade progression of the stately old space. A multi-panel stained-glass window found boarded up elsewhere in the building during renovation was restored and installed in the bar area, creating a focal point and acknowledging the religious origins of the building. The light palette of pale reclaimed-oak flooring, white marble-topped tables, and saffron mohair barrel-back chairs is given visual ballast with dark-blue banquettes. Large chandeliers shed light on it all. “We call them Etoiles, for stars in the sky,” Standefer explains. The wall separating the kitchen from the dining room adds another layer 164

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Opposite top: Custom neon numerals identify floors. Opposite bottom, from left: Exhibition spaces are intentionally dark to protect the artwork. A photograph by Hassan Hajjaj occupies the ground-floor landing. Top: Removing the sixth floor’s low ceiling revealed original walls of terra-cotta tile, subsequently refurbished, for what’s now a penthouse event space and artist residence. Bottom: Custom lighting and audiovisual technology afford opportunity for multi­ sensory experiences both in the gallery spaces and on the building’s facade. Previous spread: A mother and child explore Universe of Words, a Tokyo installation by Emmanuelle Moureaux Architecture + Design celebrating the drink Calpis, introduced in 1919. Left: Emmanuelle Moureaux also designed the smaller concurrent 100 Message Bottles, which contained actual Calpis bottles. Right: The main installation featured 140,000 cutouts in a script called hiragana. Opposite: The four-day installation coincided with the Tanabata festival of stars, when it’s customary to dress in colorful cotton yukata kimonos.

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The museum’s second floor is Veronika, a restaurant by Roman and Williams Buildings and Interiors, which hung custom chandeliers from the ceiling and upholstered the custom seating in mohair. Flooring is reclaimed oak planks. Photography: Adrian Gaut.

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of drama: It’s covered with arched, blackened-bronze panels, a nod to Andrea Palladio and Giorgio de Chirico. More arches appear in the V at Fotografiska bar, accessed by a semi-hidden door next to the museum’s main entrance. To open up the former cathedral to its previous dimensions, Roman and Williams demolished plasterboard walls that formed a warren of classrooms, simultaneously highlighting the space’s original gothic arches. Amid them, the firm installed a multi-tiered crystalline chandelier, which casts an atmospheric glow on the mauve earthen walls, central horseshoe bar, and mismatched armchairs upholstered in pastel velvets. Both firms understood that full art saturation was the goal—even in the interstitial spaces. The grand staircase that begins in the Fotografiska lobby was rerouted and expanded, and all the way up it, photomurals connect visitors to the content of the exhibition floors. “Our clients view architecture as art,” Ruddy notes, “so it was an amazing collaboration.” PROJECT TEAM TOM GRAUL; MARIA CLIRONOMOS; NATHALIE GUEDES; JARED EISENHOWER; MIGUEL DE LA OSSA PEINADOR; SATOKO NARISHIGE; JOSEPH LIBRIZZI; BRANKO POTOCNIK; AKIKO UCHIDA: CETRARUDDY ARCHITECTURE. BANKERWESSEL: GRAPHICS CONSULTANT. KUGLER NING LIGHTING DESIGN: LIGHTING CONSULTANT. 6SIDES: ACOUSTICAL CONSULTANT, AUDIOVISUAL CONSULTANT. HIGGINS QUASEBARTH & PARTNERS: RESTORATION CONSULTANT. GILSANZ MURRAY STEFICEK: STRUCTURAL ENGINEER. MGE/MG ENGINEERING: MEP. GALA WOODWORKING: WOOD­WORK. CERTIFIED GLASS CORP: GLASSWORK, METALWORK. TRI-STAR CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ACDC LIGHTING: LIGHTING (EXTERIOR). ALPHENBERG LEATHER: DESK UPHOLSTERY (LOBBY). QUARRA STONE COMPANY: COUNTER MATERIAL. DAN FORM: BARSTOOLS. PORRO: CHAIRS. TGP: GLASS DOORS. RIMEX: COLUMN COVERS. TERRAMAI: COUNTER MATERIAL. OSTED ANTIQUE AND DESIGN: DISPLAY TABLE. OCTOPUS PRODUCTS: METAL LAMINATE. GROK: PENDANT FIXTURES (PENTHOUSE). ADMONTER: OAK FLOORING. FEMENELLA & ASSOCIATES: STAINED-GLASS RESTORATION (RESTAURANT). THROUGHOUT BOLON: GALLERY FLOORING. ETC.: TRACK LIGHTING. SIGN DESIGN GROUP OF NY: CUSTOM SIGNAGE. DUGGAL: WALL VINYL.

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Opposite top, from left: Roman and Williams installed a 19th-century stained-glass window found during renovation in Veronika’s bar area. Chen Man’s photograph appears between the third and fourth floors. Opposite bottom: LEDs illuminate the Flemish Renaissance Revival building, a former Episcopal mission house by architects Robert Williams Gibson and Edward Neville Stent. This page: Roman and Williams also designed the V at Fotrografiska bar adjoining the museum. APRIL.20

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the peak of chic Amid the Swiss Alps in Andermatt, Studio Seilern designs a pair of sophisticated ski-in/ski-out restaurants text: christopher stocks photography: roland halbe

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Previous spread: The Gütsch-Express, high above Andermatt in the Swiss Alps, contains two restaurants overlooking the Gotthard Pass and is by Seilern Studio Architects. Opposite: The more formal restaurant is the Japanese by the Chedi Andermatt and features a hanging steel chimney with granite surround and barrel chairs by This Weber. Top: The building is at the arrival point of two ski lifts. Center: Norman Cherner stools line the granite bar at the Japanese by the Chedi. Bottom: A custom sofa and a table by Merit Frank and Nana Gröner furnish a corner of that restaurant.

The top of a 7,600-foot mountain in the Swiss Alps may not be the first place you’d expect to find a Michelin–starred Japanese restaurant. But it’s only the latest in a series of surprising developments that have been taking place over the last few years in a certain Urseren Valley village. The Japanese by the Chedi Andermatt restaurant is one of two eateries in the Gütsch-Express, a building by Studio Seilern Architects, which also recently completed the nearby Andermatt Concert Hall. Both are part of a new 4-acre, year-round resort centered on the central Swiss village, midway between Lucerne and the Italian border. Andermatt’s remote yet strategic location, at the crossroads between three major transalpine routes—Furka, Gotthard Pass, and Oberalp Pass—has proved both a blessing and a curse. In the Middle Ages, the village thrived as a trading and transport

hub, and later as a holiday destination, with grand hotels springing up along its pretty main street. Tourism declined after the Gotthard tunnel was opened in 1881, making the pass largely redundant, then in 1885 the military moved in, transforming Andermatt into a garrison town. The army’s departure in the 1990’s left a gaping hole in the local economy, and a village in seemingly terminal decline. In 2005, however, an unlikely savior came along in the person of Egyptian billionaire Samih Sawiris, whose family fortune origi­ nated in a construction bus­iness set up by his father. With his own background in holiday resorts, Sawiris proposed a development plan APRIL.20

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to Andermatt’s local government, and, since 2007, has invested millions on ski infrastructure, luxury hotels (including the first Chedi in Switzerland), swish apartment blocks, and the concert hall. Yet this is no vanity project: Andermatt sits at the middle of one of the largest ski areas in central Switzerland, and its height means that, for now at least, good winter snow is pretty much guaranteed. Though based in London for 20 years, architect Christina Seilern grew up in Switzerland, so you could say that the Alps are in her blood. She recalls, as a child, “being sent up a mountain each morning to fetch the milk” by her father, a one-time Olympic skier. The asymmetrical form of the Gütsch-Express was inspired “by the mountain hamlets I remember from then,” she says. “They were tiny clusters of irregularly shaped farm buildings used only in the summer, when the farmer moved up with his flocks, and his wife joined him to make cheese.” Clad in Swiss granite, with cantilevered terraces supported by angled steel support columns, the 10,000-square-foot, two-story Gütsch-Express stands at the point where two ski lifts meet, overhanging a steep slope with wide-open views to the south and west. The lower level is built into the mountain, concealing restrooms, storage, and technical areas, while the upper floor’s 4,600 square feet is roughly divided in thirds by a kitchen shar two gourmet restaurants, the Japanese one and the Swiss-themed Gütsch by Markus Neff. Both interiors feature classic alpine materials—pine for walls and cross-laminated timber for the beams, ceiling, and frame—but Seilern has given them an almost literal twist, with

the floor and beams at an angle to the walls instead of parallel and perpen­ dicular to them. “They share the same overall architectural design, but we differentiated them by creating very different bars,” she explains. “The Japanese bar is a granite monolith, which suits its Zen aesthetic, while the Gütsch bar is green terrazzo. I first thought it was perhaps too garish but, in situ, it really works.” The restaurants are dis­tinguished by their furnishings, too. The Japanese by the Chedi features mini­malist oak tables by Finnish designer Kari Virtanen, snowflake-blue upholstered chairs by Swiss designer This Weber, 174

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Top: Chairs and tables by Rudi Merz and Kari Virtanen stand on the sawn-pine terrace adjoining the Japanese restaurant. Bottom: The building’s irregular shape was inspired by the summer farm­ steads Christina Seilern remem­ bers from her childhood in Switz­ erland and can be added onto without compromising the orig­ inal design. Opposite: At the Gütsch by Markus Neff, Swiss pine planks line the stammtisch, or locals’ table, served by Davide Groppi and Beppe Merlano’s pendant fixtures and Helga Sibast chairs.

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Top: The lower level of the two-story building, partly cut into the mountainside, houses service areas. Bottom: A terrazzo bar stands beneath cross-laminated timber beams at the Gütsch. Opposite: The Swiss granite–clad building is wrapped with sawn-pine terraces, supported by steel support columns.

and a steel-and-granite fireplace. In the Gütsch, the pale-wood theme carries through to the chairs, a 1953 design by Danish 20th-century carpenter Helge Sibast, and a Swiss pine–lined alcove called a stammtisch, or locals’ table, for cozy gatherings. Both restaurants are adjoined by generous outdoor dining terraces. The finished building looks robust yet effortless, inside and out, but working at such altitude presented major challenges. “The building season is short,” Seilern notes, “so we prefabricated as many components as we could. Because of the extreme climate and temperature variations, everything has to be carefully constructed, with no corner-cutting. But of course the Swiss have huge amounts of experience with this. The quality of the work is always high. It has to be.” Neither is there any shortage of ambition. When Studio Seilern’s 660-seat concert hall was bowing last June, many developers might have opted for a local band to celebrate its opening. But not Sawiris: He booked the Berlin Philharmonic. One imagines his new mountaintop restaurants will have a similarly starry and international cast. PROJECT TEAM MARCOS VELASCO; HANA POTISK; PORTIA MALIK; JONATHAN WRYNNE: STUDIO SEILERN ARCHITECTS. SIEBZEHN13 ARCHITEKTEN: ARCHITECT OF RECORD. VIABIZZUNO: LIGHTING CONSULTANT. MEP: BUILDING PHYSICS CONSULTANT. IUB ENGINEERING: STRUCTURAL ENGINEER. EWA: ELECTRICAL ENGINEER. HOLZPROJEKT: WOODWORK. PRODUCT SOURCES FROM FRONT VERYWOOD: BARREL CHAIRS (CHEDI). ZEITRAUM: ROUND TABLES (CHEDI), ALCOVE TABLE (GÜTSCH). SIBAST FURNITURE: SPINDLE CHAIRS (CHEDI), CHAIRS, BARSTOOLS (GÜTSCH). CHERNER: BARSTOOLS (CHEDI). DAVIDE GROPPI: LAMP (CHEDI), PENDANT FIXTURES. CG SWISS: MIRROR (CHEDI). KETTAL: ROUND TABLES (TERRACE). THROUGH MUOSER: CHAIR SHEEPSKIN. KVADRAT: BANQUETTE FABRIC (GÜTSCH). THROUGHOUT NIKARI: SQUARE TABLES, TERRACE CHAIRS.

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double vision

Color, light, and mirrors conjure transformative magic at Sports Club X-Fit in Yekaterinburg, Russia, by Vox Architects text: sophia kishkovsky photography: sergey ananiev

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In architecture and fitness, things can fall apart in order to come together in a newer and healthier way. That, at least, was a guiding principle for Vox Architects in designing a fitness center for Clever Park, a housing development in Yekaterinburg, a city in the Urals region of Russia. “We worked with the idea that when a person comes to a sports club, they want to become different, to be reborn,” Vox head of creative development Maria Akhremenkova begins. “It’s about transformation.” Mutual transformation, actually: At Sports Club X-Fit, Vox’s third project in Yekaterinburg, any space that a person enters is both transformed and transformative in ways that are simultaneously subtle and dramatic, and that relate to the city’s ongoing history as a center of Russian avant-garde culture, particularly in the first third of the 20th century. “Many foreigners come to Yekaterinburg to see the architecture,” Akhremenkova continues, referring primarily to the city’s rich stock of constructivist buildings, more than 140 in total. Russian constructivism, which flourished in the Soviet Union in the 1920’s and early ’30’s, put futuristic geometric forms and technologically advanced materials to socially conscious ends—hence the angular, concrete-and-steel style’s popularity in Yekaterinburg, one of the nation’s first industrial cities and a longtime hotbed of revolutionary fervor. (The Romanovs were murdered there in 1918.) Vox drew on the movement’s dynamic aesthetics—if not its Bolshevik politics—when designing X-Fit. 180

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Previous spread: Strategic use of LED strips, paint, and mirrors demarcate an exercise studio at Sports Club X-Fit in Yekaterinburg, Russia, by Vox Architects. Opposite top: Wood flooring and custom seating in a muted palette define the cafĂŠ lounge. Opposite bottom: Hammocklike slings outfit the suspension yoga studio. Top: Echoing Russian constructivist principals, the gym features boldly geometric forms. Bottom: LED strips converge on a video screen in the cycling studio.

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“What connects us to constructivism is a lot of geometry,” Vox founder and chief architect Boris Voskoboynikov says. From the outside, the six-story, 45,000-square-foot X-Fit building—a steel-and-glass curtain-wall slab comprising five floors of club facilities above ground-level parking—looks like a conventional exercise in the international style. But its angular, brilliant-hued interiors tell a different story. “We divide space with color,” Akhremenkova explains. The fitness chain’s brand palette—green and anthracite gray—is splashed with broad expanses of purple and yellow to define volume, suggest mood, create focus, or effect transitions and transmutations. “The element of transformation is the most interesting thing for us,” she emphasizes. “It allows us to change reality.” Along with color, lighting and mirrors are used to spectacularly transformative ends in the sports and fitness facilities. “They’re all built around optical effects,” Voskoboynikov says, referring to spaces that undergo dramatic visual metamorphoses as a viewer moves around them. In one fitness studio, for example, a swath of green paint that runs across the floor, up the wall, and over the ceiling suddenly coalesces into an enormous 3-D triangle when experienced on axis. Or another studio, in which mirror, paint, and angle of vision conspire to create what appears to be a large, freestanding purple square. “When patrons first come to exercise, they’re not focused, they fall apart,” Voskoboynikov says, reverting to the project’s governing metaphor. “Once they start to work out, they become whole,” as do the spaces, which move from intriguing perplexity to satisfying intelligibility. Used as psychological and physical energizers, color and light have a theatrical impact—especially in the cyc­ ling studio, where white and green LED strips converge on a wall-size video screen playing movement-inducing

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Opposite top, from left: A continuous swath of paint covers the floor, wall, and ceiling of a group exercise studio. The Purple Square studio gets its name from an illusion created with mirror and paint. Opposite bottom: Another exercise studio features a painted circle reminiscent of suprematist art. This page: Viewed on axis, the paint swath becomes a 3-D geometric figure, giving the studio its name, Green Triangle.

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imagery. Adding to the drama, many spaces are configured like stage sets, designed to encourage the taking of selfies, a stratagem that echoes constructivism’s innate theatricality and love of display. But along with exuberant showmanship, X-Fit echoes another of the revolutionary period’s key aesthetic move­ments: suprematism. Fierce abstractionists who worked with basic geometric forms—circles, squares, and lines— and a limited range of colors, the suprematists were forbears of today’s minimalists. “Minimalism is always purification, a fresh view of things,” Voskoboynikov observes. “We are minimalists in our conception and creative work. We try to use minimum means to achieve maximum effects.” These principles are especially evident in the club’s pool area, which recalls the work of suprematist artist and architect El Lissitzky in particular. “The enclosing shell is half white and half black,” Voskoboynikov reports. “When swimming laps, you move from light to dark and vice versa, so the experience is one of continuous change.” A line Mirrors on the ceiling and end wall turn the swimming pool into a dynamic composition of color and light.

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“What connects us to constructivism is a lot of geometry”

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of green tile on the pool bottom extends up the end wall to merge with a green LED strip that runs the full length of the mirrored ceiling—a continuous ribbon of color that animates the space. Green, yellow, and purple tile is used to create an ombré-effect wall emblazoned with the motivational message #MOVEMENT IS LIFE, reinforcing the sense of dynamism. The suprematist references were not altogether conscious. “They’re just part of our culture, which we were naturally transmitting further,” Voskoboynikov admits. In that sense, “We didn’t have a plan,” Akhremenkova adds. What really links X-Fit to the Russian avantgarde is a desire to impart energy and joy: “We want to share a positive sense of the world and the happiness of living,” Voskoboynikov says in conclusion. “That is what we see as our overarching goal.”

PROJECT TEAM ALINA EPIFANOVA; JULIA NOSKOVA: VOX ARCHITECTS. PROJECT SOURCES FROM FRONT HERADESIGN: ACOUSTIC PANELING (CYCLING STUDIO). ARIOSTEA: FLOOR TILE (POOL). INTERBAU: POOL TILE. ESTIMA: WHITE TILE. EMANEL: MOSAIC WALL TILE. KERAMA MARAZZI: YELLOW WALL TILE. THROUGHOUT FORESTA: WOOD FLOORING. REGUPOL: SYNTHETIC FLOOR COVERING. GERFLOR: PVC FLOOR. TIKKURILA: PAINT.

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Opposite top: With its steel-and-glass curtain walls, the six-story building could be an homage to the international style. Opposite bottom: Porcelain tiles create an ombrĂŠ effect on a swimming pool wall. Top: Tinted glass gives an ethereal, space-age quality to an internal corridor. Bottom: In the boxing studio, the X-Fit logo appears on the ring canvas and stylized in architectural elements.

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Spacesmith aligns Scandinavian coziness with New York grit for the interiors of 10 Halletts Point, a Queens apartment complex

danish modern text: jane margolies photography: eric laignel

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Architect Elisabeth Post-Marner and designer Ámbar Margarida certainly know their way around sustainable design. The Spacesmith principals are LEED and WELL accredited, and they’ve brought their expertise in this arena to multiple projects for their New York firm. But sometimes even designers at the top of their game can learn a thing or two from a well-informed client. That was the case when the Durst Organization, a family-owned and -run development company, hired Spacesmith to design 25,000 square feet of common areas, amenity spaces, and outdoor facilities at 10 Halletts Point, an apartment complex on the Queens, New York, waterfront. Durst has its own in-house sustainability team, which works to ensure that building materials and furnishings are sourced based on rigorous emissions testing and third-party verification. Family members have a passion for art and design and are deeply involved in decision-making over those aspects of their projects, too. And, it turns out, the company also possesses a secret weapon—or at least it did for this 404-rental-unit development, housed in twin towers by Dattner Architects. When the Dursts initially spoke to Spacesmith about 10 Halletts Point they used the term “luxury.” But Post-Marner and Margarida took note of the gritty area surrounding the site—formerly a working waterfront and still dotted with brick warehouses—and felt “comfort” and “wellness” were more suitable themes for the project. They hit on the concept of hygge—the Scandinavian pursuit of coziness— only to discover that the Danish-born matriarch of one branch of the family had raised her children according to its practices. So the Spacesmith duo not only presented their plans to Helena Rose Durst, who oversees the company’s residential portfolio, and the other family members directly involved in the business, but also ran things by Susanne Durst, Helena’s clog-wearing mother. “Everything had to pass muster with that Mrs. Durst,” Post-Marner discloses. Spacesmith had its own spin on hygge, however. Whereas the concept has commonly taken the form of fuzzy woolen throws and crackling fireplaces, Post-Marner and Margarida aimed to express it in cleaner, more modern ways. Their palette at

Previous spread: A mural by Jason Middlebrook enriches the lobby of 10 Halletts Point, a rental-apartment complex in Queens, New York, with public and amenity spaces by Spacesmith. Above left: The Halletts Point logo is CNC-cut into the reception desk’s solid-surfacing top. Above right: A chandelier by Nanne de Ru, Marc Sadler, and Flynn Talbot hangs above the desk. Opposite top: Mailroom and other lobby-area flooring is polished concrete. Opposite bottom: The base of the lobby desk and the bench are reclaimed oak. 190

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10 Halletts Point leans toward white and gray warmed by acres of oak—reclaimed in the lobby and other ground-level areas, rift-cut in the public and amenity spaces on the fourth floor. Technology is largely hidden. The reception desk is command central, home to phones and multiple screens for security and building controls, none of which is visible when entering the lobby. What’s seen is a pleasingly clean-lined form of reclaimed oak topped by white solid surfacing; facing it, a complementary bench comprises hefty blocks of the same materials. Both pieces rest on stainless-steel bases so they appear to float above the polished-concrete flooring (made without fly ash, per Durst’s sustainability requirements). Likewise, throughout the lobby and in the labyrinthine mailroom, ceiling wiring is hidden behind gleaming aluminum swing-down panels, which provide easy accessibility—plus “the joints are gorgeous,” Margarida notes. Knee-level ledges allow residents to rest bags and backpacks while opening their mailboxes; junk mail can be immediately deposited in nearby recycling receptacles. Spacesmith shows the same attention to detail on the fourth floor. In the leasing office, for instance, Barbara Barry’s tan-leather settee and pale-blue tub chairs gather on a wool-silk rug that ties the room’s colors together. The 1,600-square-foot

lounge is partitioned into three areas—including one for playing pool—using room dividers of rift-cut oak. The same wood forms an angular canopy over a long banquette in the party room. “We didn’t want the space to look like a big shell,” PostMarner explains. The banquette is upholstered in a whimsical cherry-red print by Shantell Martin named Well Well Well—particularly apt for a project that achieved LEED Gold certification. “Mrs. Durst loved that fabric,” Margarida reports. Red reappears in the webbing of the Jens Risom chairs in the children’s playroom, which is dominated by a pine playhouse stained blue. While the structure is large enough for adults to enter and sit down, its windows are deliberately placed low so “kids can climb in and out,” Margarida observes.

Above: All seating in the leasing office is by Barbara Barry. Opposite top: A second Middlebrook mural’s plywood panels are set into volumes housing the mail­boxes. Opposite center: The lounge is divided by custom partitions of rift-cut white oak. Opposite bottom: Backlit panels of recycled cast glass line the corridor leading to the elevators and the complex’s 404 rental units. 192

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One of the project’s most dramatic features arrived late in the game. Large-scale wall niches in the lobby had been set aside for art. But whose? Helena Rose Durst suggested Jason Middlebrook, a mixed-media artist based in Hudson, New York, whose work comments on science, nature, and the built environment. Inspired by what he saw on walks around the Hallets Point neighborhood, Middlebrook conjured a colorful acrylic and spray-paint cityscape spread across six plywood panels. While the Escherlike composition’s stripes and geometries echo the angularity of much of Spacesmith’s design, Post-Marner notes it has the power of a WPA mural from the 1930’s. And at 10 by 25 feet, it can be seen from the street, welcoming residents to their new home. Mrs. Durst approves. PROJECT TEAM JANE SMITH; MICHEL FRANCK; WILLIAM WONG; AMY JARVIS; ANDREINA FIGUEIRA; JESSIE FANGZHOU JI; DARLENE MILLER: SPACESMITH. DATTNER ARCHITECTS: DESIGN ARCHITECT. MPFP: LANDSCAPING CONSULTANT. ONE LUX STUDIO: LIGHTING CONSULTANT. VIDARIS: SUSTAINABILITY CONSULTANT. SEVERUD ASSOCIATES: STRUCTURAL ENGINEER. COSENTINI ASSOCIATES: MEP. SCANGA INNOVATIVE WOODWORKING: WOODWORK. GET REAL SURFACES: CONCRETE WORK. NEW LINE STRUCTURES: CONSTRUCTION MANAGER. PROJECT SOURCES FROM FRONT FABBIAN LIGHTING: CHANDELIER (LOBBY). FLORENCE: MAILBOXES (MAILROOM). SHAW CONTRACT: CARPET TILE (LEASING OFFICE). TAI PING: CUSTOM RUG. HBF: SETTEE, CHAIRS, CHAIR FABRIC. EDELMAN: SET­ TEE UPHOLSTERY. STEELCASE: CHAIRS (LOUNGE). KVADRAT: CHAIR FABRIC. KAWNEER: STOREFRONT SYSTEM. GUARDIAN GLASS: GLASS. PARKY: FLOORING (LOUNGE, PARTY ROOM). MOMENTUM TEXTILES: BANQUETTE FAB­ RIC (PARTY ROOM). PRISMATIQUE: TABLE. BERNHARDT DESIGN: OTTOMAN, SIDE TABLES. CAMIRA: OTTOMAN FABRIC. DAVIS FURNITURE: CHAIRS. ROYAL BOTANIA: SOFAS, TABLE (DECK). ORE: FIRE PIT. THERMORY: DECK­ ING. EMTEC METAL: GUARDRAIL. LET IT GROW: PLANTERS. GLOBUS CORK: FLOOR TILE (PLAYROOM). KNOLL: TABLES, CHAIRS. THROUGH NULINE: PLAYHOUSE SIDING. DESIGN WITHIN REACH: BINS. THROUGHOUT CORIAN: SOLID SURFACING. AXIS LIGHTING; BARTCO LIGHTING; KURT VERSEN: LIGHTING. ARMSTRONG: CEILING TILE. BENJAMIN MOORE & CO.; PPG INDUSTRIES: PAINT. AUTOMATIC SYSTEMS; BVGLAZING: CUSTOM GLAZING.

Above left: Shantell Martin artwork embellishes the cotton-nylon covering the party room’s banquette. Above right: It’s served by Jessica Pell ottomans and Jephson Robb’s side tables. Opposite top: The twin 22- and 17-story towers by Dattner Architects are linked by a white ash deck furnished with Kris Van Puyvelde sofas. Opposite bottom: The custom playhouse in the children’s playroom is outfitted with Jens Risom’s table and chairs. 194

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rebuilding the ark With Anoha, at the Jewish Museum Berlin, Olson Kundig teaches children sustainability and empathy through interactive animal installations

text: becky sunshine photography: nick hufton/hufton + crow

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It’s not unusual for a museum to have an advisory council. But the members of it are usually not between the ages of 6 and 12. Such was and is the case, however, for a recently opened addition to the Jewish Museum Berlin. Anoha is a permanent exhibition dedicated to children that aims to tell the narrative of Noah’s Ark through the Torah (the museum’s name is abstracted from the word Noah). And it does so in the storytelling hands of Olson Kundig. Anoha is housed in a 1960’s concrete structure that sits across the street from the main museum. The 70,000-squarefoot building operated as wholesale flower market until 2012, when part of it was converted into an educational center and library by Studio Libeskind, also responsible for the 2001 extension to the main museum. An international competition to create a children’s space led to Olson Kundig being awarded the commission, helmed by principal Alan Maskin. Now a freestanding, 23-foot-high, 92-foot-diameter structure resembling a giant bagel fills much of the hall. Made from a native spruce and supported by 40 arched laminated trusses, 198

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its inviting round shape was inspired by a mix of ancient and modern sources—and that visitors would be between 3- and 10-years-old (thus the Children’s Advisory Council). “When we began conceptualizing, we found an old book by a British Museum curator,” begins Maskin, who has designed numerous children’s exhibits during his 30-year career; this is his first outside the U.S. “He had uncovered a Sumerian tablet, in which there were the dimensions and materials for how to build a Mesopotamian ark, except that it was round. We were fascinated by that.” That led Maskin to find a new version of the story—a prescient tale of environment, inclusivity, and diversity. “There are over 500 versions of a flood narrative and some pre-date the Old Testament by thousands of years,” he continues. “There’s a Noah character, a boat, animals, but mostly there’s this sense of making a new world. We connected with that because, at the time of the competition, four years ago, Berlin was receiving more refugees than any other country. So we were thinking of a place where all children were welcome to play.” But the addition also had to feel contemporary, so Maskin

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Previous spread, left: Anoha, a permanent children’s exhibition at the Jewish Museum Berlin by Olson Kundig, occupies an existing concrete building, a 1960’s former flower market hall. Previous spread, right: The interactive exhibition tells the story of Noah’s Ark through animals made by local artists of found materials, such as sculptor Beate Kelm’s giraffe with saxophone head. Opposite: More animals populate the interior of the ark, constructed of spruce and supported by 40 arched laminated trusses. Top, from left: Below a rope-climbing tunnel stands an elephant with ears of old ship sails by Jochen Müller and Jan Alexander Schröder. Falk Starke crafted the goat, perched on explorable cubbies, from repurposed milk-can metal. Bottom: The ark is 23 feet high and 92 in diameter.

“It’s a prescient narrative of environment, inclusivity, and diversity”

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Top: Kelm also designed the bast-fiber orangutan. Bottom: The donut shape of the ark creates a central courtyard that’s used for events.

looked to Stanley Kubrick’s 2001: A Space Odyssey, specifically the round form of Discovery One, the fictional spaceship. “We thought about a merger of two different approaches to travel and bringing people together, working for survival, so that became the project’s impetus.” The result indeed feels as if a spaceship has landed. Its interior, however, is arguably where the real magic happens: ramps, slides, cubbies to open, tunnels to crawl through, felted balls to pass down tubes—everything to promote immersive play. Floors are a spongy vinyl wherever there is any possibility of falling. This is full-bodied fun. The 150-strong menagerie of animals in and around the ark are also a central attraction. A team of 18, mostly local artists were commissioned to design them, and all, from a 10-foot mammoth to a 3-inch cockroach, are handmade from repurposed materials. Likenesses are innovative and brilliant: A giraffe has a drum body and a saxophone head; old carpet samples yield an enormous, sprawling sloth; discarded fire hoses form a majestic rhino. The idea is that kids should touch them, move them, help them—all without realizing they’re exploring ideas about migration, co-habitation, and the needs of animals. “When I grew up, I read the Noah’s Ark story in a book,” recalls Maskin, who was an art teacher for 14 years before becoming an architect. “But here, the kids become part of the story. Time will tell how they interact with the architecture, but I think they are going to know what to do.”

Opposite top, from left: Beech stumps form a log-climbing activity. Flooring in some activity areas is vinyl.

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“this is a longer pullquote for annie or kelly to write whatever they want. for

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Where the new space and the original structure interact particularly beautifully is in the center, outside the ark, which forms an inner courtyard that operates as an events space. While one is sheltered by the cast-concrete scoops of the orig­ inal building’s roof, you’re also effectively outdoors. It’s where one really gets a sense of how the wooden ark is able to make use of the daylight that pours in through its lanternlike upper openings. In fact, the project’s passive daylighting and natural ventilation are part of OK’s sustainability strategy and rare for a museum. The annexed rooms that lead from the building’s entrance to the ark are well thought out, too. A darkened corridor is floodlit with digital rainfall, the sounds building with procession toward the impending flood. An acoustic perforated ceiling recalls a starry sky. There’s also a workstation, encouraging young visitors to collaborate with one another and build their own vessels, which they can float on a metal river test track. “This museum project,” Maskin reflects, “has the biggest ambition in terms of equity—the idea that children from all over, whether Muslim, Jewish, or Christian, can play together here. If you have a friend you love, you can’t discriminate against them.” PROJECT TEAM STEPHEN YAMADA-HEIDNER; MARTINA BENDEL; JEROME TRYON: OLSON KUNDIG. BLIESKE ARCHITECTS LIGHTING DESIGNERS: LIGHTING CONSULTANT. IGLHAUT + VON GROTE; KUBIX: EXHIBITION DESIGNERS. EISAT: STRUCTURAL ENGINEER. RENTSCHLER UND RIEDESSER: MEP. INGENIEURBÜRO FÜR ELEK­T RO­T ECHNIK

Opposite: Kelm made the rhinoceros from old fire hoses.

GROTHE: ELECTRICAL ENGINEER. LABS VON HELMOLT: WOOD SUPPLIER.

Top, from left: Thomas Raditschnig made the 10-foot mammoth. The ark’s upper openings allow for passive daylighting and ventilation. Bottom: The unicorn is by Franz Rodwalt and Gunnar Zimmer.

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See page 210 for Sinan Books in Shanghai by Wutopia Lab.

around the world Novel interventions are aplenty at concept stores in China and Italy text: colleen curry

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“Installations, not salespeople, tell the stories”

Leaping Creative project Suofeiya Workshop. site Guangzhou, China. standout In the home-furnishings showroom, a rotating carousel showcases how the manufacturer’s cabinetry, dressers, and beds are custom fabricated by advanced industrial robots, amid a pink-and-blue brand identity, also by Leaping Creative. photography From bottom left: Zaohui Huang (5); Anson.

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“An abundance of transparency showcases the theater of food”

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Landini Associates project Esselunga. site Brescia, Italy. standout At the latest outpost of the country’s first supermarket chain, LED super graphics guide shoppers through the 50,000-square-foot mega-store, which is entered through a glass “production” box offering a café and behind-the-scenes peeks into the bakery. photography Andrew Meredith.

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“The church within a church is a sanctuary for modern people”

Wutopia Lab project Sinan Books. site Shanghai. standout Architectural restrictions on St. Nicholas Church, a century-old landmark, drove a dramatic solution: a 45-ton custom steel shelving system that conforms to the domed interior and accommodates 1,000 volumes of international poetry, the nowbookstore’s specialty. photography CreatAR Images.

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INTRODUCING: THE BELMONT PENDANT 866.398.1530 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs and Images ©1989 - 2020 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.


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LAUNCH EDITORS' PICKS

ARTISTIC TILE Forest

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welcome to our inaugural issue of LAUNCH ! ™

Hey, designers: We know how you work! You manage projects, research materials, and interface with clients—all on your smartphone. The phone is in your hand even as you’re reading this. So, we were thinking, shouldn’t you enjoy the same convenience for all aspects of your job—even product specification? Well, ta-da!! Now you can. LAUNCH is a brand-new section within Interior Design magazine: a look book of the latest and greatest, showcasing editorial picks and featured products by our LAUNCH Partners. But the point isn’t just about the products (which are stellar, btw; you’ll see!), it’s about how easy-breezy it is for you to take immediate action. Using your phone’s camera, just hover over the LAUNCH CODE and up pops a super-cool interface allowing you to do lots of things at the touch of a button: Download a PDF, call a manufacturer’s rep, request a quote or sample…whatever you want! And the section itself? Curated by yours truly and my magnificent team here at Interior Design. So you’ll see an editorial feel and—we couldn’t resist—our own top picks of the month. (We love the pages’ blush tint; what do you think?!) Go ahead and give it a whirl: Flip through this issue, scan the LAUNCH CODES, and take action on these killer products. I’d like to give an extra-special shout-out to our partners who took the plunge on LAUNCH’s debut and are trying something new. It’s so much fun to evolve… but so much better when we do it together. Happy LAUNCH-ing, friends! Love,

Cindy Allen and the Interior Design editors P.S. If you’re a Material Bank subscriber and the featured LAUNCH product is available, you can order samples with the touch of a button, up until midnight, and get them by 10AM the following day!

on the cover

FUTURE MORE Heed II

try this LAUNCH CODE

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HOW TO LAUNCH

ONE TWO THREE pick your product

open the camera on your phone

hover over the LAUNCH CODE

FOUR ™

take action

CALL THE REPRESENTATIVE / EMAIL / TEXT /

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A

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ASK THEM TO CALL YOU / GO TO THEIR WEBSITE / GO TO THEIR INSTAGRAM / GET QUOTE / GET SAMPLE / GET PDF

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EDITORS’PICKS EVELINA KUDABAITE Giria

Waste bark and leaves from oak, ash, and pine trees are ground into a powder, mixed with organic binder, and then molded into earthy homewares by the Lithuania-based designer. evelinakudabaite.com

STANDOUTS

4 COLORS SUSTAINABLE EACH ITEM IS UNIQUE SEALED WITH FOOD SAFE OILS

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LAUNCH EDITORS' PICKS

MARIO ALESSIANI Soul Tech

A Bluetooth speaker features unexpected treatments such as acid-sprayed glass and fabric hand-colored by the Italian designer’s sister. The wireless charger’s Sapele mahogany and ash base is hand-turned, its surface acid-etched. marioalessiani.com STANDOUTS MODERN TECHNOLOGY ARTISAN LOOK

3 - PIECE COLLECTION

INCLUDES STYLUS FOR TOUCH - SCREEN DEVICES

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LAUNCH EDITORS' PICKS

standouts cnc - cut acrylic aluminum tube base warm white leds can be static or kinetic

FUTURE MORE Heed I

A motorized lamp by the Dutch design collective’s Jasper Luijten and Freek Peters mimics light dappling on water via rotating acrylic shades that create mesmerizing reflections. Through Studio Freek Peters. studiofreekpeters.com

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LAUNCH EDITORS' PICKS

ESKAYEL Portico

A mural wallpaper drawn from artist and company founder Shanan Campanaro’s regular visits to Puglia, Italy—her father’s ancestral home— captures its stark white buildings and vibrant citizens. eskayel.com

standouts

7- panel mural panels are 27 inches wide , 13 feet high clay - coated paper responsibly sourced fiber

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LEE JOFA Graffito

Design doyenne Kelly Wearstler brings her magic—and decidedly modern—touch to a graphic cotton-linen print brought forth by the heritage brand, which was founded nearly 200 years ago. leejofa.com

standouts

9 colorways 54 - inch vertical and horizontal repeat softened finish

12,000 wyzenbeek double rubs

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LAUNCH EDITORS' PICKS

STANDOUTS LACQUERED BEECH CONSTRUCTION

7 TOTAL COLORWAYS

COLONEL Miami

The Art Deco buildings ubiquitous in the Sunshine State's beach city inspired the peppy colors and rounded details of Isabelle Gilles and Yann Poncelet’s fun-loving buffet. moncolonel.fr APRIL.20

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STANDOUTS SLED BASE

5 UPHOLSTERY COLORS PLUS COM HANDMADE IN EUROPE

THE INVISIBLE COLLECTION Polus 002

A colorful dining chair by Pierre Bénard, Augustin Deleuze, and Nina Rose of Pierre Augustin Rose pairs a solid oak base with nubby upholstery offered in a rainbow of hues. theinvisiblecollection.com

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LAUNCH EDITORS' PICKS

MINNA Dream

Founder Sara Berks of the ethically made home-goods brand transcends traditional craft, employing master pedal-loom weavers to create a shag rug incorporating fun shapes conjured from her mind’s eye. minna-goods.com

STANDOUTS HANDWOVEN BY A GUATEMALAN COOPERATIVE WOOL WEFT WITH COTTON WARP

4 COLORWAYS 6 SIZES

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STANDOUTS MANUALLY GROUND ALUMINUM - WRAPPED BASE COTTON - VISCOSE BLEND UPHOLSTERY COORDINATING SIDE TABLES

LUUM Second Sight

VALERIE_OBJECTS Assemble

Create your own sofa by mixing modules from Maarten Baas’s sectional system, featuring asymmetrical cushions inspired by weathered pebbles and end-of-life soap bars. valerie-objects.com

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LAUNCH EDITORS' PICKS

STANDOUTS DESIGNED BY AMMUNITION MADE IN CALIFORNIA

3 - D PRINTED ON DEMAND

5 COLORS

GANTRI Signal

Sustainably produced using advanced bioplastics, the San Francisco brand’s 3-D-printed lighting collection includes a floor lamp and wall sconce with fused slats that nod to architectural louvers. gantri.com

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STANDOUTS INDUSTRIAL TECHNOLOGY MEETS CRAFTSMANSHIP ACOUSTIC APPLICATIONS ECO MINDED

STUDIO MIEKE LUCIA Textility

Designer Mieke van den Hout’s hand-tufted wall carpet is made in collaboration with global flooring brand Tarkett, repurposing their overage from big orders. miekelucia.nl

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LAUNCH EDITORS' PICKS

STANDOUTS PRINTED SATIN GLASS

13.8 INCHES ACROSS ALLOWS FOR DIREC TIONAL LIGHTING

OIKOI Odo

Designed by Erika Baffico and Sebastiano Tonelli for the Milanese maker, the pendant light’s hypnotic circular form sandwiches two concentric elements—one aluminum, the other glass—suspended from a jaunty knotted rope. oikoidesign.it APRIL.20

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LAUNCH PARTNERS // FURNITURE

MOLTENI & C | DADA Gregor

Mix and match the wing-armed seating system’s straight, corner, and peninsular modules as desired to create arrangements suited to conversation, reading, or lounging. molteni.it/us/product/gregor STANDOUTS IN MOLTENI & C FABRIC AND LEATHER DESIGNED BY VINCENT VAN DUYSEN ROUNDED CORNER BACKRESTS

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

STANDOUTS

17 COLORS INDUSTRY - LEADING

14+ WEEKS HYDROLYSIS RESULTS

300,000 WYZENBEEK DOUBLE RUBS BLEACH CLEANABLE SCS INDOOR ADVANTAGE GOLD

ULTRAFABRICS Ultraleather Reef Pro

Inspired by sea coral, this performance fabric with understated two-tone texture offers enhanced resistance to tough stains (including ballpoint pen and ketchup) and a sophisticated sensorial experience. ultrafabricsinc.com/collections/reef-pro APRIL.20

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LAUNCH PARTNERS // FLOORING

standouts

10 patterns 62 colorways available as carpet tile , broadloom carpet , area rugs , and coretec xrc

SHAW CONTRACT Community

Four complementary product platforms, designed to layer and integrate with each other, form the perfect flooring solution for today’s fluid, flexible communal spaces. shawinc.com

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SEATING

// LAUNCH PARTNERS

standouts

7 chrome - free leathers

3 wood finishes multiple base options weight - compensating recline mechanism and discreet height adjusting lever

HUMANSCALE Summa

An executive chair pairs minimalist, luxe styling with effortlessly intuitive functionality, the control mechanisms seamlessly integrated. humanscale.com/summa

APRIL.20

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LAUNCH PARTNERS // LIGHTING

HUBBARDTON FORGE Derby

The design is a fusion of high-tech and handcrafted: Wires embedded in artisanal leather suspension straps power the LED light’s glass globe. hubbardtonforge.com

STANDOUTS

6 PRODUCTS , 3 FORMATS AMERICAN MADE

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KITCHEN & BATH

// LAUNCH PARTNERS

STANDOUTS

25+ SKUS 3 FINISHES MODULAR CONFIGURATION SYSTEM

KOVA Kova Select

Products from the label’s minimalist premium line exhibit a keen attention to detail by way of cross-category aesthetic consistency and masterful coordination of finishes. kovaproducts.com APRIL.20

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LAUNCH PARTNERS // BUILDING PRODUCTS

standouts

1,000+ total skus conforms to flat or curved surfaces can be applied on - site to transform spaces with less downtime , labor , and waste

DESIGNTEX 3M DI-NOC

Introducing 180 patterns of high-performance selfadhesive film textures featuring a new matte finish. Inspired by wabi-sabi, the collection celebrates the nuanced beauty and imperfection of natural materials. designtex.com

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SEATING

// LAUNCH PARTNERS

DDC Gina

Designed by Jacopo Foggini, each one-of-a-kind piece is “embroidered” by hand with masterful precision from a single polycarbonate thread to form a delightful play of transparency and light. ddcnyc.com

STANDOUTS HAND - EXTRUDED POLYCARBONATE EACH PIECE IS UNIQUE VIBRANT COLORS

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LAUNCH PARTNERS // LIGHTING

standouts

3 formats 2 finishes led lighting

CRAFTMADE Tuli

A vessel for state-of-the-art LED illumination, frosted glass adds a grace note to conversation-starting curves in minimalist flat-black or luxe satin-brass finish. craftmade.com

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

CRYPTON Performance fabrics

Superior performance is the byproduct of fabric-specific engineering, resulting in designs that stand up to the most discerning tastes—and toughest environments. crypton.com

standouts greenguard gold stain and moisture protection easy cleanup extends the life of case goods free of pfos , pfoa , heavy metals , phenols , and skin sensitizers

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LAUNCH PARTNERS // FURNITURE

STANDOUTS

CARNEGIE Boost Ottoman

BOOST OTTOMAN 4-6– WEEK LEAD TIME

A durable, comfortable, and stylish solution for any collaboration or gathering space, the versatile seat leverages the performance capabilities of Xorel Knit—and features innumerable design options. carnegiefabrics.com

MEETS WORKPLACE , HOTEL , AND HEALTH SPACE DEMANDS XOREL KNIT NO WEAR AT 250,000 DOUBLE - RUBS CRADLE TO CRADLE SILVER SCS INDOOR ADVANTAGE GOLD RESISTS PUNCTURES AND STAINS PVC - FREE

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BUILDING PRODUCTS

// LAUNCH PARTNERS

standouts modular construction easy install and reconfiguration minimal impact to ceilings and floors

TRENDWAY Volo

With its unitized, modular construction and extensive design options, Volo offers a fast, flexible, and sustainable approach to interior architectural space planning. trendway.com

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FLIGHT | 947 SNOWY

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FEATHER | 947 SNOWY

APRIL.20

3/12/20 11:16 PM


FLOORING

// LAUNCH PARTNERS

STANDOUTS

2 STYLES 5 COLORWAYS EACH LIVING PRODUCT CHALLENGE CERTIFIED

MOHAWK GROUP Owls

Designed in collaboration with Jason F. McLennan, the carpet plank collection’s two patterns reinterpret plumage by way of mottled motifs and variegated neutrals. go.mohawkgroup.com/owls APRIL.20

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LAUNCH PARTNERS // SEATING

standouts

5 colors in bernhardt textiles , leathers , and coated fabrics or com greenguard certified

BERNHARDT DESIGN Queue

Danish designer Claus Breinholt reimagines the classic bistro chair as a Monobloc polypropylene stacker, respecting old-school craftsmanship while leveraging today’s materials and molding technologies. bernhardtdesign.com

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BUILDING PRODUCTS

// LAUNCH PARTNERS

standouts

6 patterns customizable dimensions match any digital , pantone , benjamin moore , or sherwin williams color various levels of diffusion or optical distortion

FORMS+SURFACES ViviTela Shibori

Color-customizable laminated glass captures the handcrafted quality of Japanese shibori resist-dyed fabric by way of innovative digital imaging and manufacturing technologies. forms-surfaces.com APRIL.20

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LAUNCH PARTNERS // BUILDING PRODUCTS

TURF Freeform

Freeform allows you to customize each ceiling baffle in your design, while delivering the acoustic performance you need. turf.design

standouts

12 standard colors customize depth , length , and curvature recycled pet felt american made

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BUILDING PRODUCTS

// LAUNCH PARTNERS

standouts

12 hand - applied finishes

custom lengths for single or double wood , glass , or steel doors

SUN VALLEY BRONZE Barn Door Track

A dual feat of engineering and artistry, the handmade solid bronze (or brass) rolling-door system puts a modern spin on turn-of-the-century style. sunvalleybronze.com APRIL.20

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LAUNCH PARTNERS // FLOORING

STANDOUTS

6 COLORS TRIPLE - FIRED PORCELAIN FOR RESIDENTIAL TO MEDIUM COMMERCIAL TRAFFIC INTERIORS

MISSION STONE & TILE Electra Grande

Crafted of glazed porcelain, oversized hex tiles featuring graphic lines can be configured in a variety of unique designs, adding richness and depth to any room. missionstonetile.com

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3/13/20 12:18 AM


FABRIC & WALL COVERING

// LAUNCH PARTNERS

ARCHITEX Sweet Caroline

standouts

54 inches

Relaxed madras, chenille, and basketweave patterns in a soft, cottonlike polyester-blend construction convey a welcome dose of southern charm.

50,000 wyzenbeek double rubs stocked free of finishing alta performance technologies available

architex-ljh.com

APRIL.20

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LAUNCH PARTNERS // WALL PROTECTION

standouts

15 patterns resists impact , abrasion , stains , and bacteria heavy - duty vinyl construction

WOLF-GORDON RAMPART

Pattern clarity and sophisticated coloration distinguish flexible wall protection for health/wellness environments, a visually appealing alternative to rigid sheet goods that boasts comparable durability. wolfgordon.com 250

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3/12/20 2:00 PM


KITCHEN & BATH

// LAUNCH PARTNERS

DELTA Broderick Kitchen Collection

STANDOUTS

Exquisite detailing tempers the industrial ruggedness of a faucet series whose exposed hardware and powerful styling turn heads. deltafaucet.com/broderick

50 SKUS 5 FINISHES TOUCH 2 O AND SHIELD SPRAY TECHNOLOGIES

APRIL.20

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LAUNCH PARTNERS // SEATING

NATIONAL OFFICE FURNITURE Hobsen

A masterpiece from any angle, the lounge with coordinating ottoman boasts handcrafted walnut or maple arms, exposed finger joints, tapered legs, and organic curves. nationalofficefurniture.com

standouts sides and back feature exposed finger joints designed by don woods contrasting fabric option

20 finish and paint colors

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FABRIC & WALL COVERING

// LAUNCH PARTNERS

ARTE Moooi Tokyo Blue

Japan’s ancient culture and lush natural beauty are the common denominators of the wall covering collection’s evocative patterns and divergent techniques. moooiwallcovering.com

standouts

5 patterns 15 total colorways 3-d surface techniques nonwoven backing

INTERIORDESIGN LAUNCH

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LAUNCH PARTNERS // LIGHTING

standouts

3 form varia ecoresin shades

4 sizes 2.5- inch profile csa - approved to ul standards solid state led system

LIGHTART LA2 Slim Ring

With six stock hues and an additional 250-plus to choose from, designers can match a brand color or create a vibrant way-finding application with this ultra-lightweight LED unit. lightart.com

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FLOORING

// LAUNCH PARTNERS

standouts designed by julie chandler

12 colors 2 sizes cradle to cradle silver modular impact rug options

MILLIKEN Edge Lit

Packed with performance features, the angular carpet tile design explores— and captures—light’s energetic properties and transformative effect on interior spaces. milliken.com

APRIL.20

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LAUNCH PARTNERS // OUTDOOR

TUUCI Ocean Master MAX

The brand’s yacht-rigging background informed the proprietary gear system and telescoping mast of this nautical teak parasol, which deploys without interfering with surrounding furniture. tuuci.com

standouts designed by dougan clarke grade a plantation grown teak marine - grade aluminum superstructure

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KITCHEN & BATH

// LAUNCH PARTNERS

DURAVIT SensoWash i

Completely customize—and program— individual user preferences for the brand’s first integrated shower-toilet, a next-gen intelligent design solution for the wellness-focused bathroom. duravit.us

STANDOUTS DESIGNED BY PHILIPPE STARCK SMARTPHONE APP AND REMOTE VARIOUS ADJUSTABLE SHOWER FUNCTIONS WARM - AIR DRYER AND HEATED SEAT RIMLESS FLUSHING TECH NOLOGY AND BACTERIA ELIMINATING CERAMIC GLAZE

APRIL.20

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LAUNCH PARTNERS // FABRIC & WALL COVERING

standouts

POLLACK Icon

20 patterns

Understated simplicity unifies the gorgeously varied spring introductions, which range from stripes to abstract geometrics in constructions including pure wool, linen, and indoor/outdoor textiles.

122 skus most rated 50,000+ wyzenbeek

icon.pollackassociates.com

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FURNITURE

// LAUNCH PARTNERS

DAVIS FURNITURE A-Collection

Jehs+Laub’s clean-lined collection—encompassing bench, chair, table, and lounge—utilizes an architectonic A-frame silhouette that conceals its utilitarian complexity. davisfurniture.com

standouts aluminum legs

8 powder coats level 1 certified gold indoor advantage certified

APRIL.20

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LAUNCH PARTNERS // FABRIC & WALL COVERING

STANDOUTS

5 PATTERNS , 48 COLORS 54 INCHES WIDE AMERICAN MADE

KNOLL TEXTILES Alias II

From the 24/7 Extreme Performance line conceived for high-traffic interiors, a modern-minded textile crafted of woven polyethylene tape yarn is inherently strong, dimensionally stable, and PVC free. knolltextiles.com

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3/12/20 7:16 PM


FURNITURE

// LAUNCH PARTNERS

BESPOKE BY LUIGI GENTILE Custom furniture

As the brand name implies, every aspect of the designer’s handcrafted upholstery line is fully customizable, from the dimensions and configurations to material and finish choices. bespokebylg.com APRIL.20

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LAUNCH PARTNERS // OFFICE

GHENT Prest

This mobile whiteboard is equal parts stylish and functional, courtesy of myriad eye-catching finishes and the option to swap out a magnetic porcelain-coated surface for tackable fabric. ghent.com

STANDOUTS

2 CONFIGURATIONS 3 OAK FRAME STAIN OPTIONS

21 STANDARD FABRICS SCRATCH -, STAIN -, AND GHOST - RESISTANT

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3/12/20 2:14 PM


SEATING

// LAUNCH PARTNERS

ARCADIA AllSorts

An ash wood platform is the building block for this bold-yet-relaxed bench, a multipurpose design specifiable with various table, tech, and upholstery options. arcadiacontract.com

STANDOUTS

9 METAL LEG FINISHES 6 WOOD FINISHES MULTIPLE AVAILABLE POWER UNITS CHILD - SIZE VERSION ALSO OFFERED

APRIL.20

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LAUNCH PARTNERS // SEATING

ENCORE GoGo

This lounge and bench collection keeps pace with the speed of change via hidden casters that provide sitters the freedom to gather or break away as desired. encoreseating.com STANDOUTS CASTERS FOR EASY MANEUVERABILITY OPTIONAL LOUNGE PULL HANDLE IN 4 COLORS DESIGNED BY QDESIGN

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3/12/20 2:16 PM


KITCHEN & BATH

// LAUNCH PARTNERS

standouts use indoors or out

16 colors and finishes won ’ t stain , crack , or yellow

CROSSVILLE, INC. Porcelain countertops

Elegant 12mm-thick porcelain slabs ideal for countertop installations offer all the advantages of tile—seductive looks and unparalleled durability among them. crossvilleinc.com APRIL.20

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LAUNCH PARTNERS // SEATING

BERNHARDT DESIGN Bombom

Francesco Favaretto’s fully upholstered swivel chair is an ode to comfort and a study in contrasts, merging a thin, rigid shell with generous soft cushions. bernhardtdesign.com

standouts

2 base finishes bernhardt textiles or com greenguard gold

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OFFICE

// LAUNCH PARTNERS

standouts quick installation on table leg

6- outlet power strip 3 finishes for float and efloat desks

HUMANSCALE NeatUp

Declutter sit/stand workstations with this sleek self-adjusting cable management solution, which installs along the table leg to conveniently—and invisibly—route power directly to the user. humanscale.com/neatup APRIL.20

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LAUNCH PARTNERS // BUILDING PRODUCTS

standouts hand - cast bronze compatible with all mortise lock functions

12 hand - applied patina finishes

ROCKY MOUNTAIN HARDWARE Element Collection

The perfect punctuation for any custom door, the handle’s minimalist profile spotlights the beauty of art-grade bronze. rockymountainhardware.com 268

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FURNITURE

// LAUNCH PARTNERS

ALTURA Kemizo

Diagonal gestures and curvaceous profiles unify the table collection’s four styles, their forms highlighted by optional metal inlays and 32 standard finishes. alturafurniture.com

STANDOUTS

4 WOOD SPECIES 3 INLAY FINISHES AMERICAN MADE DESIGNED BY JEFF BEHNKE AND ROLAND ZEHETBAUER

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LAUNCH PARTNERS // MIX

270

INFINITY DRAIN Slot Linear Drain

KELEEN LEATHERS KLAD

Courtesy of a narrow 3/8-inch drainage gap, the linear unit disappears into its surroundings yet doesn’t skimp on function, with an easily accessible clean-out tray. infinitydrain.com

Create exquisite leather walls of your own unique design. These beautiful, cost-effective, acoustical, DIYinstall tiles can be up to 4 by 6 feet, classic or stitched, using over 1,000 Keleen leathers. keleenleathers.com/klad

PURE + FREEFORM Atmos

DOUG MOCKETT & COMPANY PCS62B

High-performance aluminum surfaces are environmentally friendly and fully customizable, even offering the ability to incorporate different textures on the same plane. purefreeform.com/atmos-collection

The architectural hardware maker’s versatile USB/ power grommet mounts nearly flush to any type of furniture, keeping a charge within easy reach.

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mockett.com

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KITCHEN & BATH

// LAUNCH PARTNERS

standouts

27 led color options touch - activated patented dry - cooling technology

U-LINE U-Chill

An LED-lit in-counter cooling cylinder crafted of hand-polished marine-grade stainless steel maintains the temperature of beverages while they’re being enjoyed. u-line.com/u-chill APRIL.20

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CHILEWICH Bouclé APRIL.20

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Landini Associates (“Around the World,” page 204), landiniassociates.com. Leaping Creative (“Around the World,” page 204), leapingcreative.com. Wutopia Lab (“Around the World,” page 204), wutopialab.com.

PHOTOGRAPHERS IN FEATURES Sergey Ananiev (“Double Vision,” page 178), sergeyananiev.ru.

Adrian Gaut (“Religious Experience,” page 160), agaut.com. Roland Halbe (“The Peak of Chic,” page 170), rolandhalbe.eu. Nick Hufton (“Rebuilding the Ark,” page 196), Hufton + Crow, huftonandcrow.com. Eric Laignel Photography (“Danish Modern,” page 188), ericlaignel.com. David Sundberg (“Religious Experience,” page 160), Esto, esto.com. Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August and 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.

ERIC LAIGNEL

APRIL.20

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BOOKs

edited by Stanley Abercrombie

Postmodern Architecture: Less Is a Bore by Owen Hopkins New York: Phaidon, $50 224 pages, 191 color photographs

In 2017, this page reviewed Judith Gura’s Postmodern Design Complete, noting that it was the style’s “most definitive (if perhaps its final) representation.” We were overly optimistic: here it is again. This book begins with a five-page essay by the author (currently senior curator of exhibitions and education at Sir John Soane’s Museum in London) followed by large color images of 191 buildings that are identified without comment. Every imaginable variety of postmodern style is represented including sometimes witty caricatures of classical “Blatant simplification style, but it is startling to find among them Charles Gwathmey’s 1965 Long Island house for his means bland architecture” parents, along with other work by Gwathmey Siegel, Bernard Tschumi, and Richard Meier. This suggests a definition of postmodernism so elastic as to be meaningless. These pages of images are divided into 11 sections, but these are not in chronological or any other clear order. Throughout the book are 50 or more quotations about postmodernism, many of them supportive (from Robert Venturi, author of the book’s subtitle, Robert A. M. Stern, Michael Graves, and Charles Jencks), some critical (most notably Ada Louise Huxtable), some humorous, a few irrelevant. The opening essay refers to the style “making a comeback” and its “incipient revival.” But of those 191 examples, only four were built since Gura’s book, and 143 were built before the 21st century began. This is not a convincing case for postmodernism’s rebirth, though some of us feel relieved by that.

What They’re Reading...

Michael K. Chen Founder of Michael K. Chen Architecture

Bastard Cookbook

BOTTOM LEFT: ALAN TANSEY

by Antto Melasniemi and Rirkrit Tiravanija New York: Garret Publications and the Finnish Cultural Institute in New York, $33 224 pages, 89 color illustrations

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Voysey’s Birds and Animals by Karen Livingstone New York: Thames & Hudson, $20 144 pages, 110 illustrations (96 color)

Charles Francis Annesley Voysey (1857-1941) was the architect of a number of houses in the English countryside, some modest, some quite grand. Known for their low, spreading roofs and greatly simplified classicism, they are best remembered for Voysey’s interior furnishings and finishes, “Voysey had an instantly including curtains, carpets, metalwork, and tiles. With these, recognizable style” Voysey showed himself to be one of the great stylists of the time—part of the Arts and Crafts movement but, like his contemporary Josef Hoffmann, with a distinct design personality all his own. This delightful and generously illustrated book focuses on his designs for fabrics and wallpapers, many of them adaptable for both, most of them incorporating highly stylized images of birds, animals, and flowers. Lyrical as many of them are, in their simplicity, flatness, and abstraction they share a distinct air of modernity precocious for the time. Voysey also found the need for repetition in these designs a delight rather than a restriction. After an illustrated introduction to Voysey’s career, there are 74 color plates with helpful commentary. The designs shown are all from the collection of London’s Victoria and Albert Museum, which has more than 500 examples of Voysey’s designs and where author Livingstone was formerly a curator.

BOTTOM LEFT: ALAN TANSEY

“I was browsing McNally Jackson—a terrific bookstore close to where I live in Manhattan—that has a great design and art section, plus a lot of smart recommendations, and this caught my eye. Rirkrit Tiravanija is an artist whose work has interested me for a while. Recently I saw an installation of his for the first time at Glenstone in Potomac, Maryland, that involved a shared meal of soup. I found it super interesting. He often incorporates cooking and recipes into his artwork—putting food and contemporary art together in a novel way is more or less guaranteed get me pretty enthused. He and Antto Melasniemi, a Finnish chef who was previously in a famous emo band, have collaborated in the past, and their book is an exploration into the peculiar cultural hybrids that one finds in our globalized culture. I’ve always thought that cuisine and design have a lot to do with one another. I think that bastardized or mixed authenticity is a genuinely promising way to think about what we do as architects and designers today. For example, we often work in historic contexts, whether landmark buildings or historic neighborhoods, and a lot of the time we will do a deep dive into the processes and significance of a particular historical detail or material and then play with it to see how it can be both authentically itself, and also something that is new or even unrecognizable. So there’s definitely something of a shared sensibility here.”

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Where design thinking, research, and strategy meet Join today’s leading design professionals, be first to know what’s next in the world of design and be part of the evolution of the industry.

Visit thinklab.design/join-in to get involved.

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It turns out, Interior Design editor in chief Cindy Allen’s eye for design talent extends to an ear for soulful musicians. She recently had a private powwow with R&B singer-songwriter Allen Stone, who was in town during the East Coast portion of his tour for his latest album, Building Balance. The two congregated in the penthouse of Fotografiska New York, the former church-cum-new photography museum featured on page 160, for singing and scintillating conversation. That duet has inaugurated Creative Voices, our video series exploring the intersection of design with various artistic mediums. Next up is. . . stay tuned.

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1. Allen Stone with his acoustic guitar at Fotografiska New York’s penthouse. 2. The filming for Creative Voices, our new video series debuting on interiordesign.net in April. 3. Stone and editor in chief Cindy Allen chatting in the museum’s elevator. 4. “Testaments,” an exhibit by photographer Adi Nes. 5. The museum’s gabled limestone and granite facade, which dates to 1894. 6. Stone’s latest album cover, illustrated by Stefan Hunt. 7. One of his cobalt blue limited-edition vinyl albums. 7

CLOCKWISE FROM TOP: AMY TORRES (3); STEPHANIE DENIG (2); DAVID SUNDBERG/ESTO (2)

in perfect harmony

behind the scenes

S N A PS

“GREAT DESIGN UPLIFTS THE SOUL—AND SO DOES ALLEN’S INSPIRING MUSIC”

6

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May 8, 2020

May 14, 2020

May 15, 2020

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“Architectural homicide” is the fate described by Sandy Attia of a series of structures that once welcomed visitors to Brixen, a resort town on the Italy-Austria border that’s also known as Bressanone. First, in the 1800’s, there was an eccentric loggia, followed by a pair of modernist pavilions in the 20th century. All have been demolished— “making way for the next victim,” the MoDus Architects founder says wryly of the site located at the entrance to the city’s historic center. What stands there today is MoDus’s TreeHugger, the 4,600-square-foot visitor center that won an architecture competition organized by the city

I N T ER vention and the Bressanone Tourist Association. Although its curved poured-concrete form looks monolithic, it was actually constructed around the site’s existing plane tree and features an interior courtyard of sorts that brings in light to the tourism staff offices on the second floor. The building’s uplifted corners pay tribute to the pagodas populating the gardens of the Bishop’s Palace, which is next door. “We raised its body on tiptoes,” co-founder Matteo Scagnol says of the structure. But the elevation also “frees up the ground level, giving it to the city as a public space,” he adds. Indeed, the street-level space is almost entirely glazed, welcoming tourists and locals into the information-booth and library areas and opening onto a plaza. But is TreeHugger here to stay? Quips Attia: “At least for a while.” —Georgina McWhirter

FROM TOP: MODUS ARCHITECTS; OSKAR DA RIZ

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The Festival

Photo Credit: Core Table by Simon Johns at Inside/Out curated by Kin & Company Asa Pingree presented by The William Vale, Wescover, and Sight Unseen

Showcasing the latest in design as only New York City can. nycxdesign.com Sponsored by

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A sound perspective

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