Design Bureau Issue 11

INSIDE:

Stand out at the airport! 4 slick new suitcase designs

TM

travel special! 7 New

American Design Hotels

MICHAEL ARAD THE 9/11 Memorial Designer and others discuss Design Competitions PLUS

fab.com founder bradford shellhammer’s design faves mtv hipster peter vack shows us his pants

Our Top PICKS

FEATURING 3 Must-See International Hotels Mexico’s Hottest Design Hotelier Moves Stateside Photo Essay: Korean Love Hotels

MAY/JUN 2012 $8 USA/CAN

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Contents

handcrafted american-made furniture

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Contents

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Best New Design Hotels in America Our list of where to lay your head this summer

CONTENTS ISSUE 11 FEATURES 84 Competition Conundrum Competitions are a design world mainstay, but their ethics are up for debate. Does anyone really win when designers are pitted against one another?

104 High-Design Hotels, Stand-Out Specialities Fantastic hotels offer more than just well-designed rooms 116 Americans in Paris Design couple David Rager and Cheri Messerli add their USA spin to the French design world 120 Collage-a-Trois On the Collage Culture book tour with Mandy Kahn, Aaron Rose, and Brian Roettinger 124 Love Hotel Photographer Grace Kim's portraits of unmade beds at love hotels in Seoul, South Korea

PAGE 96

DIALOGUE & THINKING 70 Balancing Public and Private Art Photographer Dan Gottlieb doesn't let a physicality keep him—or his creativity—down 71 The Question of Handcraft Is design still a craft if it's done with the click of a mouse?

72 How to Build a Better Portfolio Two design experts share their secrets to getting your work noticed 78 Fast Food, High Design Overseas, McDonald's has ditched the golden arches for a more cutting-edge look 82 Lighting Design Secrets from a Pro How do you make Barbara Walters look camera ready? With lots of good lighting 90 Big Style in Big Sur A top-to-bottom look at the design details on a slice of the Californian Coast

INFORMER 14 Pixels & Print 24 Objects & Gear 34 Fashion & Beauty 48 Travel & Culture 60 Structures & Spaces

PLUS 06 08 10 12 74 129 130

Letter from the Editor Contributors Letters Staff Picks Notes from the Bureau This Issue’s Best Albums For Hire

Above: The Nolitan Hotel, photos by Floto + Warner

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industrial design

Britt Howard Deciding to forgo the corporate road, Howard and her friend Rosemary Robinson opened up their own garment factory in Portland Page 43

fashion

Graham Thompson entrepreneur

Bradford Shellhammer

Damn good designers out of Chi-town, including Thompson of Optimo Hats, George Vlagos of Oak Street Bootmakers , and Chris Tag of Defy Bags Page 39

The founder of design goods shop Fab.com shows us his favorite things Page 27 Portland Garment Factory image by Carlie Armstrong; Bradford Shellhammer image by Matthew Williams; Optimo Hats image by Jon Shaft

Contents

DESIGN BUREAU

INSIDE ISSUE 11 fashion

Peter Vack The star of MTV’s I Just Want My Pants Back talks about pants (obviously) Page 37

graphic design

David Rager & Cheri Messerli Designers living an expat’s dream in Paris Page 116

David Rager and Cheri Messerli image by Francois Coquerel; Peter Vack image by Edwin Tse

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Letters & Contributors

Publisher & editor-in-chief Chris Force chris@alarmpress.com

ASSOCIATE PUBLISHER

-----

Senior Account Manager

Ellie Fehd ellie@alarmpress.com

Tarra Kieckhaefer tarra@alarmpress.com

MANAGING EDITOR

Kristin Lamprecht kristin@alarmpress.com

account managers

Amy Clark amy@alarmpress.com

Associate editor

Kathryn Freeman Rathbone katie@alarmpress.com

Arghavan Hakimian arghavan@alarmpress.com

editorial interns

Lauren Carroll Margaret Sutherlin

Ricardo Loaiza ricardo@alarmpress.com

-----

Rebecca Munoz rebecca@alarmpress.com

DESIGN DIRECTOR

Lindsey Eden Turner lindsey@alarmpress.com

Reina Patel reina@alarmpress.com

-----

Jessica Rimpel jessica@alarmpress.com

contributors

Eric Ryan Anderson, Travis Anderson, Carlie Armstrong, Aryn Beitz, Jeremy Brautman, Maria Brito, Denise Burrell–Stinson, Zack Burris, Lauren Carroll, Sarah Cason, Dusdin Condren, Francois Coqurel, Cristel D, Pauline Darley, Autumn deWilde, Evan Dion, Antonia Edwards, Kristen Eichenmuller, Steven Fischer, Caitlin Fitzgibbons, Joe Fletcher, Jessica Klewicki Glynn, Christopher Gutierrez, Zach Graham, Charles Gullung, Emma Gutteridge, Katie Haegele, Steven Heller, Doug Human, Rosie Jackson, Sarah Jacobson, JC Jaress, Scott Jones, JUCO, Mandy Kahn, Noah Kalina, Stephen Killion, Grace Kim, Ellen Knuti, Eric Laignel, Maggie Lange, Brian Libby, Jason Liske, Andrew Long, Eric Luc, Saundra Marcel, Scott Gabriela Morris, Annie Mangen, Laura Neilson, Lindsay Oberst, Ann Charlott Ommedal, Frank Oudemon, Nathan Pask, Georgia Perry, Greg Powers, Jenna Riehl, Romy Rodiek, Daan Roosegaarde, Aaron Rose, Cesar Rubio, Caitlin Ryan, Nathan Seabrook, Jenny Seyfried, SGM Photography, Jon Shaft, Lesley Stanley, Tim Street-Porter, Margaret Sutherlin, Annamarie Tendler, Jim Tetro, Edwin Tse, Brandon Webster, J. Michael Welton, Matthew Williams, Nick Whitehouse cover imageS

Photo by Eric Luc; Styling by Nick Whitehouse; Hair and makeup by Annamarie Tendler; Model: Marlene Landauer, Q Model Management; Dress by Topshop; Bracelet and ring by AZ by Azature; Shoes by Milk & Honey; shot on location at Hôtel Americano in New York.

----Assistant to the Publisher

LeeAnne Hawley leeanne@alarmpress.com

Emily Schleier emily@alarmpress.com Cole Stevens cole@alarmpress.com Neal Van Winkle neal@alarmpress.com production manager

Ashley Zorrilla ashley@alarmpress.com

SENIOR Account EXECUTIVE

Liisa Jordan liisa@alarmpress.com

Account EXECUTIVEs

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Ainsleigh Monaghan ainsleigh@alarmpress.com Miranda Myers miranda@alarmpress.com Allison Weaver allison@alarmpress.com ----controller

Andrea DeMarte Assistant to Controller

Mokena Trigueros -----

Human resources

Greg Waechter greg@alarmpress.com

A one-year subscription to Design Bureau is US $48. Visit our website at www.wearedesignbureau.com or send a check or money order to: Design Bureau 205 N. Michigan Ave., Suite 3200 Chicago, IL 60601

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Design Bureau (ISSN 2154-4441) is published bi-monthly by ALARM Press at 205 N Michigan Avenue, Suite 3200, Chicago, IL, 60601. Periodicals postage is PENDING at Chicago, IL and additional mailing offices. POSTMASTER: Send address corrections to Design Bureau at 205 N Michigan Avenue, Suite 3200, Chicago, IL, 60601 Retailers: To carry Design Bureau in your store please call 201.634.7411. © 2012 Design Bureau. All rights reserved. Reproduction in whole or in part without permission is strictly prohibited. DESIGN BUREAU is a trademark of Design Bureau.

Chris Force photo by Noah Kalina

LETTER FROM THE EDITOR A great hotel designer understands that his work must suit its occupants’ fleeting attempt to be someone they’re not.

They’ve left home, no matter how far away that is, to temporarily be a different version of themselves.

Even if for a single cocktail or one night’s stay, a well-considered hotel must be crafted, and maintained, to be the perfectly flexible forum for an alternate version of its guests’ lives. A great hotel is just beyond, or just below, a typical life’s grasp—no more, no less.

On a good trip, I like to write. I like to consider myself a writer (versus the editor that I actually am, a world of difference).

I wrote furiously during a long stay in Belgium. My schedule was unusually light, and I took advantage of my hotel’s quiet outdoor breakfast area, which included a garden littered with a zillion different fat, little birds eating yesterday’s pastries.

Its nighttime library room, although lined with fake books, did have a real fireplace plus a well-stocked bar with a dozen different types of jenever. There was just enough interest, and just few enough distractions, for me to pull off writing every morning and every night during my stay.

A good hotel design shouldn’t strictly be posh. It can emphasize its surroundings, like when, for a month studying the rural origins of Chinese porcelain in China, I stayed on a seventh-floor walkup with cement walls and a plywood bed with a bamboo mat—no pillow, no blankets, no electricity.

It was perfect. I worked in the shop all day, using centuriesold techniques, ate and talked all night, and lived, briefly, very similarly to the local craftsmen. It was an instant trip back through time.

After both trips, I could envision myself taking on either of these lives for good. They didn’t become clichéd, decadent, or unreal, but just unusual enough to help redefine my thoughts about my own home and life, what I missed and what I wanted to change. Great design does this.

In this issue of Design Bureau, we look at seven new hotels opened in the USA within the past year. Each has something unique to offer its locals and visitors, each a vision of its designers to help create just the right escape.

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Chris Force Publisher & Editor-in-Chief chris@alarmpress.com

Inspiring dialogue on design NOW AVAILABLE ON THE IPAD

Packed with extended photo galleries, additional content, and interactivity exclusive to the tablet edition.

Free for print subscribers.

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Letters & Contributors

DESIGN BUREAU CONTRIBUTORS

Laura Neilson is a writer whose subject matter covers a range of topics , including fashion, style, food, travel, culture and, of course, design.

She lives in New York's East Village and writes for The New York Times, Cool Hunting, Food Republic, and Refinery 29. lauraneilson.com

Franรงois Coquerel is a Paris-based photographer who likes dealing with treehouses, teenagers, and dark rivers in his work. He collaborates with different magazines such as AnOther, The New York Times Style Magazine, and The Wall Street Journal. www.francoiscoquerel.com

Mandy Kahn is co-author, with Aaron Rose, of the nonfiction book Collage Culture. She has written for Glamour and the Los Angeles Times, was a columnist for Foam, and is an anthologized poet. She lives in the Echo Park neighborhood of Los Angeles. www.collageculture.com

DESIGN DELIVERED Dusdin Condren works in portrait, editorial, and fashion photography. His background includes undergraduate and post-graduate degrees in Slavic Literature, stints living in Russia and other parts of Europe, and a short career directing theatre.

He lives in Brooklyn, New York. www.dusdincondren.com

Design Bureau goes beyond print by engaging readers with The Intelligencer, a free bi-weekly e-newsletter.

Subscribe at www.wearedesignbureau.com twitter.com/designbureaumag facebook.com/designbureaumagazine

DESIGN BUREAU

Letters & Contributors

LETTERS TO DESIGN BUREAU May/June 2012 TWITTER FEED

You had plenty to say about our March/April issue, as we received more letters than ever.

We love hearing your thoughts and feedback, whether good or bad, so keep it coming. letters@wearedesignbureau.com

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KITCHeN

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Features

Features

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Features

Features

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DoN'T mIss: The kitchen is at the center of a classic car-collection showroom, so the colors and materials evoke a ’50s aesthetic without being kitschy. The play between vintage and modern accentuates the cars’ sleek, flowing lines. a

A bold backsplash of red subway tiles adds more punch to the otherwise stark car gallery

SOUND BITES

Installed with the drywall, beveled, unfinished aluminum corners catch your eye from certain angles and add to the showroom's richness.

All the structural columns, including the one that punches through the kitchen island, are painted Ferrari red

155 The 36-inch Italian Bertazzoni Ferrari Range is painted in the patented Ferrari red paint purchased from the Ferrari factory. The client was very excited to find an appliance with such a strong link to automobiles, and it inspired the whole look of the kitchen and other great details throughout the showroom.

World-renowned architect and product designer Michael Graves has made hundreds of buildings and thousands of household products.

But when an illness left him partially paralyzed in 2003, it only renewed his commitment for making works with a “humanist” touch—for all people, even those who, like himself, are confined to a wheelchair. With indisputable authorit y, 78-year- old Graves is an unstoppable and impressive producer of design.

Right now, the garage houses 23 classic cars. See that Corvette Sting Ray in the background?

It’s won some major show awards, which is no small feat in LA’s crazy car-collector scene.

Thanks to the article in this months @ DesignBureauMag was contacted today by UK TV show Grand Designs to feature one of my projects @Josephvancearch

Polished concrete floors were created by sealing the existing cracked and cratered floors with a clear, highgloss finish. This gave the floor a slick showroom surface without sacrificing the industrial look.

Photos by Jeri Koegel

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Kitchen and Bath hits & misses

By Saundra Marcel / Photos by Matthew Williams

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ArCHITeCT: Brandon Architects, Inc. ProJeCT NAme: Newport Classic Cars loCATIoN: Costa Mesa, CA

Durable Ceasarstone countertops provide a narrow countertop profile and match the lobby’s muted floating staircase

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Style: MASCULINE

DB shout-outs from the Twitterverse Join the conversation at twitter.com/DesignBureauMag

11/15/11 5:40 PM

3.indd 155

11/15/11 5:40 PM

Thanks for graves “As a designer who is also in a wheelchair, I truly appreciated reading the Michael Graves story. Not only was it great to get a glimpse into his home, but it was excellent to hear his thoughts on how architecture needs to be more considerate of wheelchair bound individuals. He’s taking a stand for all of us. ” (H.R., via email) “What an inspiring piece on a true design legend.” (R.A., via the website)

“The kitchen and bath issue was well-timed for me as I begin my own kitchen renovation. It got my wheels turning...especially the one with the classic car in the middle of it all! Hey, a guy can dream, right? ” (J.F., via Email)

“Why do I care what the one-percenters’ bathrooms look like? I wish you would've shown how to update these spaces in a small apartment. Now, I'm just left wishing I had a marble soaking tub and stove with spider burners. ” (D.S., via Email) “WTF is up with that Barbie kitchen? Is that really good design? ” (b.T., via the website)

“Cities have become countries. They have a personality independent from the country they’re in, and the neighborhoods are becoming the real cities. Each one has a different style.” Carlos couturier PAGE 100

Yes! love the new @Sonnenzimmer comic in the latest issue of @DesignBureauMag #thankyouforbeingyou @Frohlichstein Thanks to the article in this months @DesignBureauMag, I'm happy and inspired to keep rocking! @HomelessCop Prepping for the winter classic and brushing up on my zamboni knowledge thanks to @DesignBureauMag @LaurenGagliardi Discovered @designbureaumag today and I really like what they have in their magazine. Nice work. @lizkelley

CORRECTIONS, JAN/FEB AND MAR/APR 2012: In our article on Pulltab Design, we incorrectly listed Jon Handley’s name as Jonathan, and furniture designer Steven Lino as Steven Ito; in our article Brides Row Revisited, we incorrectly listed the number of years between a renovation as 58, when it was 158 years between the two; In our article on Sow Design, we incorrectly listed Igor Reyes as a partner at the company; In our article on Architecture Is Fun, we incorrectly attributed the design of the Chicago Children’s museum. It was designed by Wheeler Kearns Architects, Inc. We regret the errors.

For the record: Rants, ramblings, and random facts from behind the scenes of this issue

five

dexter

ZERO

CHICKEN CLUB

The number of snowy days we had in Chicago while producing this May/June issue in January

Editor Kristin Lamprecht's favorite TV show, and the inspiration behind interior designer Amy Lau's furniture collection (p. 66)

Number of drinks consumed by our staff during the Essential Barware photo shoot (p. 28).

Damn. Maybe next time.

The most popular lunch item ordered during our photo shoot at Hôtel Americano (p. 96). Who says models don’t eat?

Have a question or comment? We want to hear from you. Give us a shout at letters@wearedesignbureau.com.

s a y s o f a

gentner furniture showroom

228

w kinzie st 2nd floor chicago il

60654

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312 755 0700

gentnerdesign.com

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Informer

Design Bureau Recommends...

Our staff curates a list of things to buy and places to visit this summer

lauren carroll, intern

PRABAL GURUNG for linda farrow sunglasses Sixties glamour goes modern. Love everything about these chic specs $426, www.modaoperandi.com

lindsey turner, design director Margaret Sutherlin, intern

miller house & Garden Who would have guessed that Columbus, Indiana has such pristine examples of early modern design? Road trip! www.imamuseum.org

acApulco chair by ok design This classic Mexican chair made with durable vinyl cord is perfect for backyard lounging. ÂŁ385, www.okdesign.dk

Informer DESIGN BUREAU kristin lamprecht, Managing editor

TA-ZE by burdifilek A sleek shop in Toronto that showcases premium olive oils and natural beauty products in a clean, modern, and tranquil way. Definitely packing it for a picnic. www.ta-ze.com

Ricardo Loaiza, account manager

tomo by victorinox What a contemporary take on an old favorite! And mint is a good change from Swiss Army red. $20, www.victorinoxtomo.victorinox.com

ARYN BEITZ, Writer

CLARE VIVIER TOTE I love the neon strip! The color is summer perfect. $160, www.seevivier.com

katie rathbone, associate editor

RING BY Anndra Neen

Neil van winkle, account manager

shirts by Hugh & crye Finally! Summer button downs that don't fit like a tent. $85-115, www.hughandcrye.com (more on page 36)

Silver and gold together look so great against bronzed skin, and the texture is just tough enough. Price upon request, www.anndraneen.com

Ta-Ze photo by Ben Rahn / a frame inc.; Huge & Crye photo by Doug Human

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The best of the best in graphics and photos

Pixels & Print

PIXELS & PRINT

Posters for Nike Sportswear and The FADER's Pitch Perfect project - six posters for six mixes by six DJs from six continents.

Pixels & Print

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DESIGN BUREAU

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Getting Siggi With It An Icelandic illustrator makes geometry anything but elementary

Siggi Eggertsson’s work precisely reveals the way he sees the world—simplified and stylized, through the lens of the computer. The designer playfully breaks down his subject matter into flattened planes, lines, and colors. He then recombines the simple elements into refined and complex compositions, showing off his reverence for pushing pixels in the most appealing way.—Sara Jacobson

1

Portrait of one of Eggertsson’s favorite MMA fighters, Joe Lauzon, who is as good at video games as he is at fighting

2 Poster for an exhibition called “Now

Showing,” in which designers were asked to recreate old movie posters

3 Polar bear illustration made while

working on t-shirt designs for H&M

4 Couture in the 21st Century for

Harrods, a reference book of fashion inspirations. Art direction and design

by Big Active

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Pixels & Print

By sara jacobson

FILL IN THE BLANK

Graphic Designer Jennifer Daniel This oddball (who admits to liking unicorns!) gives us some strange answers to a few questions

Last Monday at 3 pm I was... over caffeinated and probably saying something inappropriate.

The strangest job I've had... people actually give me money to draw arms and legs on inanimate things.

When not at my desk, I'm... wandering the streets of New York City.

My ideal project would involve... obsessively counting something, bikes, asses.

My mom would describe my work... "as genius and the best in the world."

Which explains why I suffer from an insatiable desire to prove I deserve approval.

Top: Reality Bites, editorial illustration for Bloomberg Businessweek Bottom: personal business cards

Last time I went on vacation... sometime during the Eisenhower administration.

Best guilty pleasure... chocolate-covered crystal-meth.

When I'm stuck, I... am probably crippled by fear. Or, being lazy. a

Pixels & Print

DESIGN BUREAU

Distorted Design

French firm Les Graphiquants manipulates words and shapes in their poster designs French for the word “charts,” Les Graphiquants is a Paris-based design collective that creates signage and visual identity projects. Several of the group’s geometric designs feature odd shapes and forms, which are meant to enhance the overall impact. “Sometimes we have to pressure the letterforms and bend them slightly out of shape to convey a more effective and articulate message,” says designer Maxime Tétar.—ARYN BEITZ

A detail from Les Graphiquants’ Société du Familistère series

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Pixels & Print

Fast Facts: ABC Wine Co. Campaign 70,930 people per square mile in Alphabet City 120 total flyers posted 20 cumulative hours spent on the entire project

Guerilla Design

6+ months the flyers stayed up 1 run-in with Matt Dillon

Sometimes drinking wine can actually lead to good decisions

0 consent forms signed

Client: ABC Wine Company Agency: Exit Creative, led by principal and creative

director Damian Totman

The project: Over a few glasses of wine, Totman offered

to help ABC Wine Company spread the word about their new delivery service. But with little-to-no budget, Exit Creative went to the streets for inspiration. “This was a tiny client, with no interest in the corporate take on things,” says Totman.

The Design: Totman and his crew made up DIY-looking flyers with imaginary events and fake club names, and then pasted them onto poles within ABC Wine's delivery radius. “For this campaign to be successful, it had to become a part of the world it’s trying to be from, so everything needed to look like someone’s aunt knocked it out on Microsoft Word,” Totman says. “As design prac-

titioners, we’re in the habit of finessing everything, but we had to undo all of that, and make it as bad as the local church poster, or the ad for a dodgy language school.”

The Result: Several misplaced hyphens and pasted Google images later, and the laid-back guerilla tactics had fully invaded ABC Wine's neighborhood. “We wanted to have fun with the idea in a neighborhood full of eccentric people. Whatever you’re into, they have a wine that’s going to pair perfectly with it.”—SARAH CASON

“We didn’t fish too deep in terms of the actual legalities of putting up the posters. We just did it and thought, ‘Sometimes it’s best not to ask questions in New York and just do it.’”—DAMIAN TOTMAN

DESIGN DICTION

Use it

CONTROL

Lose it

PASTICHE

v.: to handle masterfully or exercise restraint

n.: a work that incorporates a jumble of styles or directly rips-off another

A great word for designers—architects, known for their overblown parlance, actually use it quite well.

Used and abused along with other annoying Postmodern terms, sentences such as this should just be avoided: “The logo reads as a contemporary pastiche abstracted from classic cultural symbols.”

Photo courtesy of Exit Creative Company

Pixels & Print

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Pixels & Print

BOOKS

live...suburbia!

Relive the glory days of rock ‘n’ roll culture in the ’burbs through this picture-packed book The electric air of 2 a.m. Denny’s parking lots. The odor of makeshift garage dojos.

The tape hiss coming from the boombox next to the half pipe. Live...Suburbia! relives the teen rock culture.

This 240-page tome is a scrapbook dedicated to the American rock punk way of life,

from the post-’60s subculture all the way through to the ’90s.

With a foreword by Craig Finn from The Hold Steady, this nostalgic book will surely resonate with those who still live for skateboards, skull t-shirts, and spiked hair, even if today they don suits and ties.—cHRISTOPHER GUTIERREZ

LIVE...Suburbia! by Anthony Pappalardo and Max G. Morton, $24.95 , Powerhouse Books

Pixels & Print

Exotic Glass Lighting and DĂŠcor phone: 212.675.0383

|

www.shakuff.com

DESIGN BUREAU

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Pixels & Print

My View

One City One photographer FIVE photos

Sophie Van Der Perre

Amsterdam, Netherlands Born in Poperinge, Belgium, 24-yearold Van der Perre spends her days shooting a combination of fashion and documentary photos (many of which are nudes) that portray her subjects in a very intimate, personal, and vulnerable light. Van der Perre’s work evokes pureness, freedom, and nostalgia, which is amplified by the use of analog cameras and polaroids. a

View more of Sophie Van Der Perre's work at www.sophievanderperre.com

Left: Chuck Swartz / Reader & Swartz Architects Right: Nathan Webb / Reader & Swartz Architects

Left: Anice Hoachlander / Hoachlander Davis Photography Right: Ron Blunt Photography

ASPIRE WE HANKER TO CREATE BUILDINGS WITH SOUL. WORK

CLIENTS WE ENJOY WORKING WITH EACH OTHER AS CO-DESIGNERS. BUILDERS

LIVE WE WORK ON PROJECTS WHERE PEOPLE LEARN .

WORK

WINCHESTER, VIRGINIA

540.665.0212

WWW.READERSWARTZ.COM

Judy Davis / Hoachlander Davis Photography

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Objects that make us drool, covet, and go broke

Objects & Gear

objects & gear

The conceptual piece Piezo Shower is a “self-heating shower� able to function independently without having to rely on an external energy source

Objects & Gear

DESIGN BUREAU

Photography: Alfredo Salazar Stylist: Mina Njah Hair & Make Up Artist: Masae Ito Photo Assistant: Noemi Daval Models: Chan Chui, Marie Pjovesan, and Jaime Flor

The Mec Stool is designed based on posture variations that lead the body to lose balance at a certain point

Hot Girls, Good Design Sebastian Jansson knows what it takes to get his furniture designs noticed Finnish industrial designer Sebastian Jansson is no fool— he knows that models in provocative positions will get your work noticed, and that's exactly what he did during a shoot for his furniture collection. “A certain sense of preposterousness and tweaked perceptions are something I prefer to incorporate in the imagery documentation,” Jansson says. Call it preposterous or call it brilliant— either way, his work looks good...but it looks even better when it's got a topless lady in the photo with it. a

The Folding Lamp relies on the same folding principle that Jansson has observed in paper bags

Captions by Georgina Oliver; www.sebastianjansson.com

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Objects & Gear

By jeremy brautman

“In a world of plastic, it feels good to work with a renewable and environmentally friendly material.”

—pepe hiller

WALNUTI Nut Cracker made from walnut wood, brass, and high gloss finish

TOYS BY DESIGN

Charming Minimalist Toys from Sustainable Swiss Wood By day, Pepe Hiller is an architectural model maker for world-famous Spanish architect Santiago Calatrava. But by night, Hiller is a toymaker, designing whimsical wooden toys in his Zurich-based studio.

The Swiss designer started experimenting with wood as a way to get some variety in his repertoire, and since then it’s become his material of choice for his handcrafted minimalist toys. “The endless possibilities of wood are just fascinating,” he says. “Each piece has so much individuality.” Nuances of color, grain, weight, volume, and density organically influence the look and character of his toys.

A self-described “tool geek,” Hiller has been tinkering since childhood. “I love to take what I see Jeremy Brautman is a Bay Area writer who chronicles the intersection of pop culture and design.

Pepe Hiller, $20-175, www.pepehiller.com

ARBOROBOTS, Ramble & Roam, in collaboration with Cris Rose made from walnut and maple wood, brass, leather, and bee wax finish

in my mind and bring it to life as a threedimensional form,” he says. In addition to a bounty of hand tools he’s customized to his own specs, his artistic arsenal includes a circular saw, a massive pillar drill press, disk sanding and milling machines, equipment for mold-making, and a rotocasting machine he built himself to make hollow resin toys.

PEPE HILLER FAST FACTS FAVORITE MEDIUM: Wood DESIGN TIP: Work hard on a distinct style and expect the unexpected!

INSPIRING ARTISTS:

Alphonse Mucha, Lebbeus Woods, Ron Mueck RECOMMENDED READING:

Brand Sense by Martin Lindstrom GUILTY PLEASURE(s): Tons of Swiss milk chocolate

Hiller finds inspiration at art exhibitions and designer toy shows, and within the pages of books on everything from street art to Japanese packaging design. “I’m fascinated by nature and all the wonderfully small things we’re surrounded by every day,” he says. “This can be something inconspicuous like a leaf or piece of weathered wood.”

Hiller promises “hordes of new wood toys” to come, and hopes to share the happiness he’s found in the toy design community with new collectors around the world. a

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Objects & Gear

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My Favorite Things Fab.com founder Bradford Shellhammer assembles a collection of his six must-have design items PORTRAIT BY MATTHEW WILLIAMS

Public Bikes: the perfect city bike www.publicbikes.com

2

3 Baggu Bags: foldable, versatile, essential www.baggubag.com

Black & Blum BBQ Planter: grill and grow in simple style www.black-blum.com

4

Native Shoes: lightweight EVA material molds to your feet www.nativeshoes.com

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6

Bradford Shellhammer leaps into the air with the greatest of ease inside the Fab.com Manhattan office. The space is appropriately filled with well-designed odds and ends.

Penny Skateboards: bold plastic from Australia www.penny skateboards.com

Bamboo Original Bottle: ecofriendly with crisp and clean taste www.bamboo bottleco.com

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Objects & Gear

DESIGN EXPLAINED

Barware

When it comes to serving booze, the shape makes the taste. We consulted the pros at Sable Kitchen & Bar in Chicago to break down this lineup of essential vessels.

MAKE THIS DRINK NOW!

Dreich and Crabbit

Pilsner A vessel designed for its namesake brew and any other pale lager. Tall and shapely, the Pilsner glass encourages a healthy head and emphasizes color and carbonation.

1 1/2 oz Laphroaig 10 year 3/4 oz Cruzan Blackstrap rum 3/4 oz fresh lime juice 1/2 oz ginger syrup 1/4 oz simple syrup Shake briefly with ice, strain over ice into a Collins glass, top with soda. Garnish with a piece of candied ginger.

RECIPE COURTESY OF MIKE RYAN, HEAD BARTENDER, SABLE KITCHEN & BAR, CHICAGO

Flute You’ve used them—but why? The stem keeps you from affecting the temperature, and the tall, narrow shape reduces surface area, meaning the bubbly will stay bubbly for longer.

photo by zack burris

Glencairn

Genever

Rocks

Though first produced in just 2001, the Glencairn whiskey glass is now used by every whisky company in Scotland and Ireland. The inward taper maximizes aroma.

Named after the Dutch juniperflavored liqour that it’s designed to hold. Fill it to the brim, pair with beer, and you’ve got Kopstootje (“little head-butt”). The shape forces sips, not shots.

Also called an old-fashioned glass or a lowball, the rocks glass is a masculine musthave. Its short, stout form can accommodate ice cubes and begs to be palmed.

Objects & Gear

DESIGN BUREAU

NOt your grandma's apron A handsome apron that won’t ruin your manly rep

Staying spiffy when you're generating a creative mess can be tricky. The creative forces at Vanport Outfitters, Hand-Eye Supply, and KeeganMeegan & Co thought so, too, so they teamed up to create Hand-Eye Supply's American Craftsman Apron. "We strive to be a home for the modern craftsman and have always stocked a wide selection of work aprons," says Tobias Berblinger of Hand-Eye Supply. “Since we [all] share a kindred interest in functional utility items, local manufacturing, and quality materials, a collaboration seemed like a great idea.”

The apron is made from canvas, trimmed in leather, and finished with brass grommets. Smart pockets, including a removable front pocket and printer’s line gauge pocket, are all about cool function. The apron is limited edition, so order it ASAP. After all, we wouldn't want you to have to raid your grandma's apron stash. a

Vanport Outfitters and Hand-Eye Supply's American Craftsman Apron, $115, www.handeyesupply.com.

Photos by Eric Ludlum

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Objects & Gear

By STEVEN HELLER

TOYS BY DESIGN

Mini Design Chairs

can't afford an original eames lounger? don't stress; buy the small version instead

Ball Chair, Eero Aarnio, 1963 Red Blue Chair, Gerrit Rietveld, 1923

Organic chair, Charles Eames and Eero Saarinen, 1940

Collecting chairs by Rietveld, Eames, and all the other Modernist brand name designers has become an obsession of mine… as long as they cost less than $20 a piece. But when was the last time you found even cheap replicas of Jean Prouve, Marc Newson, or Eero Saarinen furniture for such a bargain price? If your sights are on Ebay or Design Within (a.k.a. Beyond) Reach, you’re looking too high—literally. Instead, follow my eyes down low, to the tabletop.

The classic chairs I collect are miniatures, and they are beautifully true to the originals. My interest in minis began a few years ago when I saw (and coveted) an entire collection of the miniature Vitra chairs. The problem was, Vitra’s exquisitely made replicas are much too expensive, and my liquidity is limited.

Then I stumbled upon “The Mini Designer Chair Collection” by ReacJapan. Compared to the Vitra replicas, these are considerably smaller and more cheaply made. Arguably, though, they satisfy my miniature chair fetishist needs. They are the three-dimensional equivalent to baseball cards, since the handsomely designed boxes in which they come do not reveal what model chair is inside. There are a few “Mickey Mantles,” like Gerrit Rietveld’s wooden Red and Blue Chair, which I’ve still not been able to find. Then there’s Le Corbusier’s chaise longue, which I unwittingly gave to someone as a gift. I haven’t been able to locate another since (and the someone won’t give it back). One of the stores from which I buy my chairs, Toy Tokyo in Manhattan, said it was okay for me to look in the package before I buy, but it doesn’t seem fair somehow.

This miniature chair fascination of mine is indicative of an increasing interest in playing with classic Modernist design through toys and games at large. It starts innocently enough, a Calder-influenced mobile or Mondrian-esque puzzle (in my case, procuring doll furniture for young children), which

becomes the pretense for developing a collection of Modernist “keepsakes,” of which there are surprisingly many.

My first adventure into Modernist toyland was with the Lenin Tribune designed by El Lissitzky from 1920-1924. In 1984 (a fitting Orwellian year for celebrating utopia), Paul Groenendijk and Piet Vollaard issued a set of five avant garde architectural cut-out and paste-up models, of which the Tribune was seemingly the easiest one to construct. They are now quite rare. My kit, owing to my inability to use an Xacto without harming my outer and inner extremities, has remained intact, waiting for a dexterous architectural student willing to cut and construct this historic monument. In fact, it would take an architectural model maker to build this so it doesn’t fall down.

I was also recently smitten by the Brinca Dada kit of cardboard modern furniture for the Dylan House, inspired by the minimalist masterpieces of Paul Rudolph and Tadao Ando. The dollhouse version, which has five living spaces on three levels, is created in 3/4” scale and “furniture is sold separately.” In fact, I bought the furniture, hoping that construction would not result in the usual frustration. And for the first few pieces (the bathtub, refrigerator, kitchen table, and sink counter top) it was clear sailing. And then came the bed. The cardboard cracked.

The pieces collapsed. Once more, I felt humiliated, like the junior high kid who failed shop for two years in a row. I’ve given up on the Dylan furniture, but not on Brinca Dada. I’m about to start on The Maison Furniture collection for the Edward House and Bennett House. I dare it to confound me.

As I see it, miniature Modernism serves two distinct purposes: It is an opportunity to possess Modern masterpieces at a suitable scale. And it enables the wanna-be collector a chance to trade with others, without spending an excessive fortune.

Whoever said Modernism was not fun? a

Chair images courtesy Reac Japan (www.reacjapan.com), and Japan Trend Shop. Collection of nine chairs, $168, six collections available, www.japantrendshop.com

Objects & Gear

DESIGN BUREAU

"Miniature Modernism serves two purposes: It is an opportunity to possess Modern masterpieces at a suitable scale.

And it enables the wanna-be collector a chance to trade with others, without spending an excessive fortune." —STEVEN HELLER

Robie House Chair, Frank Lloyd Wright, 1908

Molded Plastic Side Chair with wooden base, Charles and Ray Eames, 1950

Bibendum Chair, Eileen Gray, 1925

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Objects & Gear

“You don’t get a PHD or MFA in neon.

It unfolds magically the more you get into it because you are literally taking lead and turning it into light.”

—MATT DILLING

Matt Dilling and artist Glenn Ligon at Lite Brite Neon Studio holding components of “Warm Beyond Glow II,” exhibited in the front window of the Whitney Museum as part of Ligon's retrospective in 2011

Objects & Gear

DESIGN BUREAU

photos by dusdin condren

“Something New York,” Donna Karan‘s title for the DKNY fall fashion show in 2011, was created in neon as a backdrop for the runway

Lighting Up Life Designer Matt Dilling brings fun with colored lights at Lite Brite Neon

Fifteen years ago, an enthusiastic and totally unknown artist named Matt Dilling arrived in New York, knowing only that he wanted to make a career out of bending noble gas. Since then, as the principal of the art collective Lite Brite Neon, he’s amassed a client roster that reads like a guest list to the best party of all time. There are the fashion designers (Donna Karan and Stella McCartney), the musicians

Classic, double-sided neon sign for Roebling Tea Room of Williamsburg. Hand painted and distressed for a vintage aesthetic.

(Fischer Spooner), the actors (James Franco), and the major retailers (Bergdorf Goodman and Burberry).

“It’s very humbling doing Bergdorf Goodman window displays and huge scale installations, but not what has ever fueled my interest,” Dilling says.

“It’s the people who work at Lite Brite who blow my mind and open my heart like nobody’s business.” —Denise Burrell-Stinson

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Because style never goes out of...style

Fashion & Beauty

Fashion & beauty

Jackie Js Lee, Central Saint Martins College of Art & Design in London; Model: Ari, Eva Management

Fashion & Beauty

DESIGN BUREAU

From See-Through to Solid Clothing that transforms with a touch

Studio Roosegaarde has created an appealing twist on this hellish waking-up-naked dream scenario with its Intimacy clothing line. Constructed with leather and smart e-foils, a touch turns the garment from clear to opaque. “Intimacy is more a fashion statement, a couture dress made to be shown on a catwalk or in a museum,” says Maartje Dijkstra, a designer with Intimacy. In other words, don’t expect to see a dress like this at prom.—georgia perry

Photos by Daan Roosegaarde

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Fashion & Beauty

Shirts to fit any shape Hugh & Crye mens shirts come in more than just small and large Finally, the answer to why men’s shirts often look so unshapely: “Pattern-making starts with one size and it’s bumped up a set, graded amount. Like blowing up a balloon, the shirt increases in all areas of the garment, and guys just don’t size that way,” says Pranav Vora, founder and CEO of Hugh & Crye. The online clothing company sells shirts in 12 different fits, whether skinny, slim, athletic, or broad. And if one of those doesn’t work for your body, don’t worry: they offer the option of bespoke, too.—SARAH CASON

Hugh & Crye, $85-115, www.hughandcrye.com; portrait by Greg Powers

Fashion & Beauty

DESIGN BUREAU

by ellen knuti

Jean Junkie

PHOTO BY EDWIN TSE

Peter Vack, star of MTV's I Just Want My Pants Back, shows us his pants picks “These jeans I Vack has curated an impressive wardrobe, “If you get really into Levi’s, there’s all sorts wore every day for which has worked out well given that he stars of little markers on the jeans that indicate two years,” says in I Just Want My Pants Back, MTV’s comedy how old they are.” He proudly shows off actor Peter Vack, about twenty-somethings navigating life and the inside seam and seat, where plain, flatpresenting a pair hooking up in Brooklyn. The namesake pants backed rivets affix the pockets. “These rivets? of acid-washed on the show are his, because as Vack says, These rivets are highly coveted.” jeans with hori- “it’s easier when I just wear my own clothes.”

One thing’s for sure: the man certainly knows zontal rips up the knees and thighs. “I wore them with snake- One prize pair in particular are a pair of pants. a Levi’s 501XX from the late ’70s or early ’80s. skin boots every day in high school.”

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Fashion & Beauty

Dressed to Party When you mix pretty with piñata, you get French fashion designer Raphaelle H'Limi's Summer 2012 Totem Collection. Her sharp yet feminine silhouettes are festooned with bright colors and delicate fringe. “I find my inspiration in embroidery and tapestry techniques,”says H’Limi. a

Photos by Pauline Darley, www.paulinedarley.com; modeled by Clementine Levy; makeup by Mademoiselle MU.

Fashion & Beauty

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by stephen killion PHOTOS BY JON SHAFT

Designed in Chicago Hometown design heroes doing it right

“Chicago has always been a hat town.”

—Graham Thompson

OPTIMO HATS Monadnock Building—Loop Beverly—South Side With the claim that “life is better in a great hat,” Optimo has been creating custom-fitted hats since the mid ’90s, and doing so with old school Hollywood style. Located on Chicago’s South Side and in the Monadnock Building in the Loop, Graham Thompson’s hat shop caters to a wide-ranging clientele, from musicians to lawyers, and even celebrities John C. Reilly and Johnny Depp are fans.

Each hat is a product of both obsessive attention to detail and an apperception of material and style. Ladies, don’t feel left out—they have a beautiful line of women’s toppers that are equally suave.

Top: Optimo owner Graham Thompson; Above: A look inside the Monadnock Optimo boutique; Optimo hats, prices vary, www.optimohats.com

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Fashion & Beauty

DESIGNED IN CHICAGO

“Working with your hands is difficult and my father wanted me to hate it. What he did not expect was that I would fall in love with making shoes.”

—George Vlagos

oak street bootmakers Wheaton, IL Second-generation cobbler George Vlagos first fell in love with footwear while working at his father’s shop polishing shoes. And although the shop isn’t located on Oak Street anymore, founder and head designer Vlagos proudly demonstrates his Chi-town pride by maintaining the famed street for his moniker.

Vlagos uses Horween Chromexcel leather for the shoes and boots, and uses his own size—9 1/2—as the basis for each beginning

Top: The Hunt boot; Above and right: A look at a hand-stamped sole in an Oak Street kick; George Vlagos. Oak Street Bootmakers, $225-376, www.oakstreetbootmakers.com

Fashion & Beauty

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DESIGNED IN CHICAGO

“The imperfections and slightly worn nature of the materials we're using make each one unique, like the people that buy them.”—Chris Tag

DEFY BAGS Ravenswood What began as a passion project in designer Chris Tag’s attic in Evanston ended up becoming a business venture. Tired of using his design talents to solve other people's branding needs, Tag dedicated himself to his odd bag obsession and defied what a bag can be created out of, using unexpected materials including a billboard found while dumpster diving, tractor inner tubes, WWII era canvas tents, and American Airlines baggage tarps. a

Tag’s shop and design studio is an extension of Defy’s goal of creating playful products with a great hand hewn aesthetic

Top: Defy's Courier, First Class, and Urban Cowboy bags; Above and right: Urban Cowboy satchel, Defy owner Chris Tag; Defy Bags, $142-300, www.defybags.com

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Fashion & Beauty

By Rosie Jackson / PHOTOS BY JUCO

DOING IT DIFFERENTLY

globally conscious Shopping

Heritage Leather + Apolis Mason Courier Bag in Navy, $218

Standard Issue USMC Jacket, $378; Washed Oxford Button Down, $124; Standard Issue Selvedge Denim Pants in Raw Indigo, $198; Chambray Tie in Indigo, $58

www.apolisglobal.com

Online store Apolis keeps craftsmen working around the world Brothers Shea and Raan Parton have a goal of giving people around the world a better life, and they’re doing it via online shopping. Their LA-based brand Apolis sources clothing and accessories from all over the world in an effort to sustain

Filson + Apolis Philanthropist Briefcase, $396

French Linen Work Jacket, $178; Washed Japanese Striped Broadcloth Button Down, $158; Standard Issue Canvas Chino in Ecru, $178

local economies on a global scale. “Out of Uganda, we have made over 500 canvas briefcases that utilize five farmers’ entire yield of cotton for a year,” says Shea. Now that's smart style. a

Commuter Tote in British Tan, $348

Apolis + Sierra Designs 60/40 Mountain Parka, $396; Standard Issue Field Jacket, $286; Standard Issue Canvas Chino in Olive, $178; Standard Issue Utility Shirt in Khaki, $156; Apolis + Matteo Linen Bandana, $48

Heritage Leather + Apolis Mason Courier Bag in White, $218

Navy Ambassador Blazer, $848; Washed Oxford Button Down, $124; Indigo Wool Tie, $78; Double Ring Belt in Tan, $114

Indigo Wool Chore Jacket, $298; Standard Issue Canvas Chino in Ecru, $178; Indigo Wool Scarf, $88

Fashion & Beauty

DESIGN BUREAU

by rosie jackson / PHOTOS BY CHARLES GULLUNG

Left to right: Britt Howard and Rosemary Robinson

howard's Weirdest Design request: "Sushi Booties.

Slippers that look like sushi—rice, seaweed and all!"

Factory girls The women behind Portland Garment Factory prove they don't need to go corporate to make great clothing

When designer Britt Howard was search- Rosemary Robinson now provide design ing for a clothing manufacturer for her consultation, pattern drafting, and conline, she found a whole community of de- struction services to their cohorts, in adsigners who were searching for the same dition to producing their own womenswear thing. So she decided to forgo the corporate collection, Houseline. route and founded the Portland Garment Factory, which gives local designers a “The growing pains have been immense,” place to produce their work. Three years Howard admits, but fortunately she enjoys later, Howard and her business partner the challenge. “It keeps me on my toes!” a

www.portlandgarmentfactory.com

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Fashion & Beauty

TRENDS

Bright and Bold looks curated by Pattern People Much like an explorer discovering lost ruins, this eclectic collection of patterns reveal themselves in a cacophony of color this season. Cascading florals tumble over chunky shapes while animal prints act

as camouflage among the foliage. Fortunately these wild prints aren’t just for the wardrobe, as now these bold designs can be found for every part of the home, whether accessories, rugs, wallpaper, or furniture. a

About the Pattern People Claudia Brown and Jessie Whipple create prints and illustrations for fashion, beauty, and interiors clients. Projects range from hand painted murals to beauty packaging for companies such as Estée Lauder, Stüssy, and Nike. Their work has been featured in Simply Pattern by Victionary, Monocle, and Print & Pattern by Laurence King.

Basso & Brooke, S/S 2012 Collection, $1324/£864, www.bassoandbrooke.com

Silhouette rug by Jaime Hayon for The Rug Company.

This hand knotted Tibetan wool and silk rug is available in a variety of sizes; the 6' x 9' size is $12,852, www.therugcompanylondon.com

Yoo-Kyung Shin, Grown Chair, 3000GBP www.yoo-kyung.com

Darkroom Aztec Cushion, £70, www.darkroomlondon.com

Harry Allen Banana Bowl photo courtesy of Areaware; Jaime Hayon rug photo courtesy of The Rug Company; Basso & Brooke photo by Fernanda Calfat

Fashion & Beauty

DESIGN BUREAU

What do your patterns say about you?

Paisley Him: You’re a bit of a wildcard, but

you tend to get it right more often than not. Confident and forwardthinking enough to risk wearing the same pattern as grandma.

Her: You hawk your baubles and trinkets on Etsy. Well-liked by mostly everyone, and have a generally positive body image—'cause this shit ain’t slimming.

Saori Ichikawa, Patina Rug, $700 www.saoriichikawa. blogspot.com

Seersucker Stämpel Recycled Timber Jewellery Hangers, made by hand from 100% upcycled materials, $150AU www.stampelstudio. bigcartel.com

Pyramid Mirror by Dwell Studio, $248, www.dwellstudio.com

Him: You’ve got that timeless

Gregory Peck swag. The common man will compliment you on your pinstripes; you’ll laugh it off and move about the room in your breathable fabric.

Her: You classy dame. You’re ready for any occasion, from cocktails to go-karts, and you don’t mind working up a sweat—scratch that—a glow.

Madras Him: A little bit Don Draper on

vacation, but mostly the laughing stock of the country club. You’ve gotta have some serious gravitas to pull this off, not just a taste for adventurous dressing.

Her: You like being comfortable and love hanging out at beachside bonfires. You smell like Hollister and think Matthew McConaughey’s Airstream is a dream home.

Facet Candleholder by Dwell Studio, $88, www.dwellstudio.com

Harry Allen, Banana Bowl in Gold, $280 www.harryallendesign.com

Gingham Him: You dress well but take yourself

a little too seriously. You know, the kind of guy who buttons his button-ups all the way up and uses a lot of pomade.

Daytripper Rug, Domestic Construction, digitally printed with a high quality scan of a hand made domestic construction paper collage 46"x66" $198, www.domestic-construction.com

Her: Unlike that madras-clad buffoon, your Mad Men aspirations are on point. You aspire to live on a prairie in a little house.

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Fashion & Beauty

Wild French Accessories Strange jewelry and accessory designs straight from France

By Rosie Jackson

AOI KOTSUHiROI This unusual line is composed of antique oddities, horsehair and leather, and each piece bears an unusual name like Nuptial Hunting and Silent Tears. “I become familiar with these things the way you approach a wild animal: waiting patiently, to seize their characters,� says Kotsuhiroi.

Fashion & Beauty

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ODETTE BOMBARDIER Paris native Bombardier started off as a cage dancer at the Limelight club in New York, where she discovered her love affair with fetish couture. Her metallic neck braces, gravitydefying worm necklaces, or stamen-shaped sandal straps are dual-use and full of double entendres. “When I make an accessory it’s to wear and to use... like a sculpture you have somewhere in your house,” Bombardier explains. “I like to play with what I'm wearing”.

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Eat, shop, explore, do what you do

Travel & Culture

TRAVEL & CULTURE

SHANGHAI MUSEUM OF GLASS AT A GLANCE Location: Shanghai, China Year Founded: 2011 Why to go: Collections of antique and modern glass, and a DIY glass blowing class for visitors Website: en.shmog.org

Travel & Culture

DESIGN BUREAU

Shanghai's House of Glass As the saying goes, “Those who live in glass houses shouldn't throw stones.” We don’t recommend it at this museum, either.

Part of Shanghai's citywide effort to build 100 museums in one decade, the Museum of Glass was born out of a sheer passion for the material by its owner, Zhang Lin, and brought to life by design consultancy Coordination Asia and architectural firm Logon.

The goal of the museum is to deepen the understanding of what a critical art and design scene in Shanghai can look like.

“We created a glass-like kaleidoscope of impressions and points of interest for the visitor to encourage them to be active and independent, showing the relationship between human beings and glass,” says Tilman Thürmer, CEO of Coordination Asia.

The body of the museum is a former bottling plant owned by Shanghai Glass Company, which was updated with black lacquer, glass, and a variety of electronic elements that lend themselves to an always-changing, shimmering environment.

The permanent collections at the Museum of Glass are composed of both ancient and modern glass works of art and design

And despite being located a bit off the beaten path in north Shanghai, more than 35,000 people visited the museum in its first six months, helping to jump-start Shanghai's cultural health. "Shanghai is doing quite well," Thürmer says. "To really become a capital of culture, Shanghai needs a different mindset and much deeper understanding [of alternative concepts] rooted in the society."

—caitlin ryan Art direction and museum planning by Tilman Thürmer; architecture by Logon; photos by diephotodesigner.de

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Travel & Culture

design jobs around the world

Global Census DESIGN CAN BE A LONELY TRADE. GET TO KNOW YOUR GLOBAL COMMUNITY—AND FIND OUT IF YOUR PAYCHECK MEASURES UP. This issue, it’s Food stylists. —caitlin fitzgibbons

Jenny Park locatioN: Los Angeles, CA WEBSITE: jennyparkfoodstyle.com,

spoonforkbacon.com INCOME per project: $450-1,400 EDUCATION: University of California,

Santa Barbara, Le Cordon Bleu, Pasadena, CA NOTABLE PROJECTS: Herballife,

Gourmet Trading, Co., Lucky Strikes Entertainment Weirdest Item Used to Style Food :

Paint stripper to evenly toast or melt (can reach 500 degrees)

Nir Adar

Charlotte Omnes

locatioN: New York, NY

locatioN: New York, NY

WEBSITE: www.niradar.com

WEBSITE: charlotteomnes.com

EDUCATION: DCT European

EDUCATION: Skagit Valley Community

Culinary Center, Lucerne, Switzerland

College

INCOME per project: $500-1,500

INCOME per project: Personal gratification-$1,500

NOTABLE PROJECTS: Applebee’s,

NOTABLE PROJECTS: Kraft, Starbucks,

Burger King, Häagen Dazs, Quaker Oats

Kahlua, Panera

Most Challenging Place You’ve Prepared Food: On top of a

10,000 ft. mountain in Northern Canada

Charlotte Omnes food shot by Burcu Avsar

Most interesting thing you’ve done to food to make it look camera ready: I

often need to fill crevices, add pieces, and patch holes. I call this Franken Food as it often requires the use of petrolatum, polymers, and glues.

Travel & Culture

DESIGN BUREAU

BUYERS' GUIDE

Slick Suitcases Going places this summer?

Consider replacing your beat-up wheely with one of these hip new models

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photo by doug human

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Hideo Wakamatsu's Tarpaulin, $190, www.flight001.com

Herschel Supply Co. rolling suitcase, $199, www.herschelsupply.com

Samsonite Black Label Cosmolite, $450, www.samsonite.com

Tumi Tegra-Lite™, $745, www.tumi.com

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Travel & Culture

The cookie factory's old street sign was fashioned into tabletops throughout the space

A puzzle of 19th century Genoan sink fragments make up the marble bar top

Hunt Studios was tasked with repurposing the marble work in Farina. “Working closely with Brett, we assembled antique marble sinks and drains into sculptural walls,” says Nathan Hunt, principal of Hunt Studios. Not only did Hunt add visual appeal with new marble walls, but he also pieced together a beautiful base to support the heavy marble countertop, bringing the bathroom fixtures into the heart of the restaurant.

Found Objects a san fran spot's throwback style Everything old is new again at Farina, an Italian restaurant in San Francisco’s Mission neighborhood. The building itself is actually a former cookie factory, and inside, old objects like sink tops and signs have received a new life as seats and countertops. Brett Terpeluk, Farina’s architect, explains: “I like the idea of elevating found objects destined for the waste stream to the level of almost nobility, so I tasked myself with the challenge of repurposing that history.” a

Interior and exterior photos by Cesar Rubio; table and chair detail and completed bar inset images by Joe Fletcher; all other process images by Brett Terpeluk

Webber + Studio

www.webberstudio.com tel 512.236.1032

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Travel & Culture

Fun Facts: Sam Bompas Creative Inspiration: Tim Hunkin Culinary Hero: Victorian celebrity

chef, Alexis Soyer

Favorite Cocktail: Eagles Tail Dream Venue: The Tate Modern in

London for its sheer grandiosity

Travel & Culture

DESIGN BUREAU

Jelly Designers Step aside, Bill Cosby. British designers Sam Bompas and Harry Parr are taking Jello to a new level

Adventure Hamper Selfridges and Bompas & Parr teamed up to create the ultimate in useless yet fun surprises with the Adventure Hamper. Contents include: anti-malarial cucumber & quinine jam, raspberry and violet jam for altitude sickness, caffeinated confits, various types of tobacco, a magnum of Champagne, an ice axe, a Saint Bernard’s Keg filled with Hendricks gin, and a rescue flare. Let the adventure begin.

F

ormer architecture and photography studentsturned-food evangelists Sam Bompas and Harry Parr are serious about jelly. The duo began creating fresh fruit jellies for friends’ parties, and thanks to their popularity and high demand, opened what is now a thriving culinary-based design firm Bompas & Parr in London.

“People love jelly: it’s one of the only foods to be guaranteed a reaction of some sort,” says Bompas. “Jelly is a good way to please a lot of people. It’s interesting and it’s brilliant fun.”—Aryn Beitz

Portrait by Nathan Pask; photos by Ann Charlott Ommedal. www.jellymongers.co.uk

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Travel & Culture

Husted clad the taqueria’s open kitchen in distressed metal panels similar to the ones found on Mexico City’s taco trucks.

“The interior inspiration came from the energy and vibrancy of neighborhood shops along the streets of Mexico City,” Husted says.

RESTAURANT SPOTLIGHT

El Centro D.F. An edgy design brings Mexican style and spunk to a D.C. eatery What: A modern Mexican restaurant featuring funky, authentic

style and world-renowned chef Richard Sandoval

Where: Washington, D.C. Designer: Brie Husted Architecture elements: Think Day of the Dead—bright colors, skulls, and design inspiration straight from the streets of Mexico City —KRISTeN EICHENMULLER

Photos by Brandon Webster

Husted got creative with the materials. “A lot of the stuff was designed and fabricated organically on the job,” she says, including the building’s old sprinkler heads, which were reworked into pendant lights.

Travel & Culture

DESIGN BUREAU

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RESTAURANT SPOTLIGHT

ING Direct Café II BY IV Design Associates Inc.

An eclectic mix of furniture make this banking outpost feel funky, not financial

What: A Canadian outpost of the Dutch banking leader’s hybrid café-slash-financial facility Where: Toronto, CA Designer: II by IV Design Associates

It's bank efficient, but coffee house quirky. Inside are bike racks, communal workstations outfitted with iPads, and furniture made from an old bowling alley.

elements:

Tremton Construction provided project management for the ING Direct Café

The communal workspaces are open to the public, no ING account required

Pops of ING's signature bright orange accent the space, from the ceiling to the booths

Photos by Evan Dion

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Travel & Culture

You've Gotta See This Amon Tobin’s concerts are more than just a sound experience Electronic musician Amon Tobin’s stage show reimagines how a DJ should be seen.

His recent tour ISAM blasted audiences into an intense and absorbing space journey that created what some people are calling the concert of the future.

Vello Virkhaus of V Squared Labs is the visual director behind ISAM. He and his team spent four months designing the show with 3D modeling software, LED mapping programs, and video game animation techniques. One of his goals for the stage show was to reflect synesthesia, the perception of mixed senses like hearing color or seeing sound. “It’s about using video and music to create an experience that merges the two worlds and paints a larger picture,” Virkhaus says. Using “Night Swim” as an example, Virkhaus says the song reminded him of “getting out of a boat and putting my feet down in the water and the splash it creates.” From this idea, he designed moody, nighttime visuals with iridescent colors to accompany the song.

But the centerpiece of the stage design is definitely the cube-like structure envisioned by Heather Shaw of Vita Motus Design Studio. Like a game of Tetris, the cubes (made of wood and steel) come apart, but if one part is placed wrong, it will not fit. “One thing I have been personally drawn to is making an environment that would extend the performance and involve the audience, while at the same time broadening their exposure by enticing concert goers,” she says.—lindsay oberst Above: set photos by JC Jaress (V Squared Labs) and Emma Gutteridge (Leviathan); Inset: Amon Tobin photo by Nathan Seabrook

lauren SAUNDERS hand-loomed in california

Tremton Construction Inc. is a professional commercial construction service provider. Established in 2005, TCI provides Construction Management / General Contracting services specializing in commercial leasehold tenant improvements.

shape

texture Visual director, Vello Virkhaus

momentum inspired by the California coast John Tremblay, President 905.763.7100 Ext. 223 www.tremton.com

78 North Ash Street Ventura, CA 93001 805.302.5479 www.laurensaunders.com

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Enviable interiors to shamelessly ogle

Structures & Spaces

STRUCTURES & SPACES

Above: Installation at The Essential Collection. Photo by Romy Rodiek

Structures & Spaces

DESIGN BUREAU

Lined Designs Installations that are black and white with shapes all over Vienna-based artist Esther Stocker creates paintings, murals, and 3D installations that manipulate the laws of geometry. Like walking through an optical illusion, black and white lines take the viewer on a journey of physical exploration, playfully challenging our perception of space and abstraction.

“I wanted to understand the process of perception, recognition, and how we form our relations with the world,” Stocker says of her work. “Of course, I still don´t feel I can fully answer these questions, but my art is a way of dealing with them. One of my main motivations for my work is a desire to show that formal and abstract systems can become tangible.”—antonia edwards

Destino Comune Photo by altrospazio La Solitudine Dell'Opera (Blanchot).

Photo by Loredana Ginocchio

www.estherstocker.net

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By MAGGIE LANGE

3 DESIGNERS / 3 QUESTIONS: The Up Studio It's our typical Five Designers, Five Questions… minus a couple designers and questions. But the witty design trio at The Up Studio were too quirky to pass...up. Har,har.

JEffrey ramirez Partner/Chief Designer

ADAM J. WANASELJA

JOHN PATRICK WINBERRY Founding Partner

Partner/Architect

1

Hallmark has taken over the world, and you're forced to design nothing but greeting cards. Which holiday do you pick first?

I choose National Pancake Day. There are countless opportunities for National Pancake Day.

I will be creating greeting cards for Festivus.

I'm torn between St. Patrick's Day and Martin Luther King Day. I can have both? Great. Love it.

2

You have to get a company logo other than your own tattooed prominently on your face. What's it gonna be?

World Wildlife Foundation—it's just a great logo. Can I get a chest piece instead?

My body is a temple and I prefer not to disturb it with imagery.

The Apple logo—it's based on the golden ratio, overlaid and rotated on itself. You could never know it's that complicated for such a simple design.

3

Pick a preposition other than "up" to end all of your sentences with.

"Before," because I like to end sentences on it.

Well, everything we have done, we have ended on the word "up," so I;m going to go with "up." What up!

"Lest." And "vice" because it's on Wikipedia on the list of prepositions.

The Evolution of Gramps

Turning the Tables on Renovation The Up Studio channeled the most essential part of their name for their largest renovation: expanding a mid-size, residential ranch home up rather than out.

The three designers removed the roof, and created a flat surface so the new capsule perches on top of the old structure. The addition smoothly integrates a new gym, lounge, and storage area into the original space.

Up takes the term "house brand" literally. Three years ago, a group of 20-something roommates approached the studio to create an icon for their quirky 1950s Long Island home. Inspired by a grandfather clock that had been left in the house by a previous tenant, the guys created a geriatric-cool logo nicknamed Gramps! Over the past three years, the housemates have stamped the Gramps! logo on all sorts of paraphernalia, from party fliers to posters, even themselves; eight of the former roommates have inked Gramps! on their bodies.

Photos by Harriet Andronikides / The Up Studio

Structures & Spaces

DESIGN BUREAU

HOT SHOPS

The Future of Fashion A sensory shopping experience in East London Down an octagonal orange hallway, inside a 5,000-square foot space is the Late Night Chameleon Café. The multi-personality spot features a clothing boutique, book store, record shop, photography studio, and a dance club, which blasts tunes selected by their inhouse music expert. Don’t worry if you can’t make it to London—you can always check out their online site, which carries Dries Van Noten, PAM, and the other hip brands that are sold in-store.

But you should know that you will miss walking through the store's indoor forest. a

www.ln-cc.com

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Structures & Spaces “There is a misconception that contemporary art has to be displayed in rooms that are sparse and all white. I actually believe that art and the rest of the design should all come together. If the room is well curated in terms of furniture and accessories, then the art will enhance and elevate everything to the next level.”

MY DESIGN STYLE

Maria Brito The interior designer and contemporary art advisor has worked with everyone from P. Diddy to Gwyneth Paltrow.

Here, Brito shares with us what she thinks makes a home pop (hint: it’s anything colorful).

“I’m passionate about contemporary art in people’s homes because it gives so much depth to any room. I’m into largescale pieces with a lot of color, photography, graffiti, and street art.”

“I’m inspired

by New York City. This is the most resilient, creative, interesting, and exciting place in the world because of the variety of backgrounds and nationalities of New Yorkers.

There is an openness and a desire to do more, to experiment more.”

Sitting area and dining room photos (pg. 65) by Scott Gabriel Morris for SGM Photography; portrait and all other project photos by Scott Jones

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DESIGN BUREAU

“I love Gandia Blasco’s rugs. This one was designed by Sandra Figuerola, and it’s so interesting to look at because it keeps the eye moving.” Gandia Blasco Palermo rug, price upon request, www.gan-rugs.com “When my clients are game, I go for whimsical. I love blocks, antique toys, interesting shapes, and an accessory that is slightly funky.”

“I love those amazing plates on the kitchen wall. They are from W2 Products in collaboration with the National Gallery of London.”

The National Gallery Melamine Portrait Plates Set, £30, www.w2products.com

“Traveling inspires me tremendously.

Paris, Cape Town, Rome, Capri, Athens, Berlin, Barcelona, Rio, and many other cities that I have visited have gotten into my designs.”

“I’m crazy about this super bold wallpaper and grateful that my client let me use it so freely. It’s pretty dramatic and also quite playful.”

Arizona wallpaper, Suzy Hoodless for Osborne & Little, price upon request, www.osborneandlittle.com

“The concept of the big loft with a sole bench in the middle of the living room terrifies me.

Thankfully, the minimalism of the 90s is dying down. Nowadays, people are much more interested in having a house that looks like a home.”

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Structures & Spaces

Darkly Dexter Remember Showtime’s Dexter-inspired home? Lau was responsible for its shocking dining room design. Cold, clinical white and mesmerizing blood spatter installation art make the space, like the TV show itself, oddly appetizing.

Tantalizing Tie-Dye a new line of Textiles take the pattern from happy hippie to contemporary sophisticate We never thought we would say this: tie-dye may be the next big thing. For its 40th anniversary, the high-end coverings company Maya Romanoff commissioned Amy Lau, an NYC interiors expert, to create a special collection. Lau dug deep into the Romanoff archives, and came away with early tie-dye experiments as her inspiration. Her new take on the prints tones down tiedye’s “loud t-shirt” image by playing up an earthy palette and smoldering shimmer. “A lot of the under-colors in the designs are warmer, and the wallpapers have a luster to them,” she says. This pearlescent effect builds a visual depth that is very interesting, and definitely makes tie-dye a high style option for any hot room.—MARGARET SUTHERLIN Photos courtesy of Amy Lau

“‘Go ahead, put your Lauren on it.’ That’s what Amy said to me after giving me a rough sketch of her vision,” says textiles designer Lauren Saunders. The two designers have collaborated three times, most recently on a Bridgehampton beach house. “Amy’s success comes from her uncanny ability to choose [collaborating] designers who innately understand her vision,” Saunders says. “She trusts [them] implicitly.” Obviously, this trusting bond is working. Next up on their project docket: a New York apartment for the very pleased Bridgehampton owners. And yes, Saunders promises to “ ‘put her Lauren on it.’”

Structures & Spaces

DESIGN BUREAU

Wild Windows Chicago design firm Indo gives you a reason to go window shopping again Who they are: Graphic designer Linsey Burritt and interior designer Crystal Grover Where they work: Chicago’s West Town neighborhood

Discarded objects reimagined as elegant structures from nature, such as their large-scale honeycombs made out of reams of paper. For a recent display for the Brizo/Delta Showroom in Chicago’s Merchandise Mart, the designers salvaged plastic “arms” from a mannequin shop, then arranged them into one cohesive, fluid shape meant to evoke a swimming school of fish.

Signature look:

Sustainability. Aware of the waste that can be created by display design, Indo's mission is to use just (or very close to) secondhand materials. Burritt and Grover consider themselves “quiet activists” whose relationship to sustainability is intrinsic and subtle, leaving the viewer to absorb the message. However, a recent display called “Slow Commerce” addressed the idea somewhat directly: It was made of thousands of styrofoam cups found in city trashcans. Arranged in several snow-white, cloud-like structures, the piece took first place in a competition organized by

Their passion:

Make Believe, which aims to fill disused commercial spaces with art. “People walked by that styrofoam every day and were either directly or subliminally affected by the wastefulness that exists in our culture,” Burritt says.—Katie Haegele INDO Steppenwolf Theatre, contracted by Ogilvy, photos by Bob Coscarelli

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Structures & Spaces

ON THE RISE

CYDesign After relocating from the Big Apple to the City of Brotherly Love, interior designer Christina Yorkston has officially found her sweet spot Name:

Christina Yorkston Hometown:

Philadelphia, PA Occupation:

Principal/Interior Designer Background:

Yorkston definitely qualifies as a renaissance woman.

She studied journalism and art history at NYU, managed projects in the defense and pharmaceuticals industries for a year and a half, and then studied interior design at Parsons. But design has always been a part of her life.

As a child, her parents, both art and antiques enthusiasts, remodeled the family’s 1729 Delaware home by blending traditional and modern aesthetics. This hybrid design style has stuck with her. “My parents still believe firmly in collecting what you like and mixing styles,” Yorkston says. “They have modern art hanging that serves as a backdrop for an 18th century farm table. I got to see firsthand the hard work involved in creating a truly personalized home experience.”

Building a Business:

While working for the NYC powerhouse architect and interior designer Deborah Berke, Yorkston made the snap decision to step out on her own. “I thought, ‘I can do this, I like this, I can make a living doing this,’ ” she says with crisp confidence. In 2008, she founded CY Design and moved to Philadelphia to jumpstart her firm.

Bigger is Better:

Yorkston just completed her first project, a private home located in sunny Palm Beach, Florida. Using a couple of vintage chairs that look like they came straight from Versaille as her focal point, she worked oversized pieces of art, including a large sunburst wooden mirror, into the design to create her trademark striking juxtaposition. Now, she’s transforming a 1860s townhome from traditional to contemporary cool by strategically placing large-scale modern paintings and simple furnishings in its ornate rooms. It’s her go-to look, and for the time being, she’s sticking to it.­—LAUREN CARROLL

Photos by Jessica Klewicki Glynn

At the North Palm Beach residence, Eric Kuczynski designed custom furniture pieces to fit Yorkston's design vision.

ek living american made

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-swagger armchair -tc glass top coffee table -circa 3 door credenza

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Dialogue

By J. Michael Welton

COLUMN: architects & artisans

Photos by dan gottlieb

Balancing Public and Private Art Photographer Dan Gottlieb doesn't let a physicality keep him—or his creativity—down

I

first met Dan Gottlieb in 2010 while working on a feature about the new wing at the North Carolina Museum of Art (NCMA).

Since then, every conversation I’ve had with him seems like peeling back another layer of an onion.

His career and art have been shaped by two life-changing events. Born with a hearing disability, his world as a child was largely

self-invented. “I learned about the world using my eyes,” says the director of planning and design at NCMA. “I began taking pictures. They were internal impressions of the world going by.”

When he was eight, he underwent a miracle operation, and suddenly he could hear. Still, he continued to interpret the world in his own way. An early photograph of Gottlieb’s was an image of a television screen with a caption: “First Man on Moon.”

For more from J. Michael Welton, please visit www.architectsandartisans.com Images clockwise from left: Shoulder, North Carolina, 2011; Bienal de São Paulo, 2010; Bosphorus Ferry, Istanbul, 2010

For 30 years now, he’s been involved in something bigger: transforming 164 acres near downtown Raleigh from scarred site to cultural masterpiece. Where a youth prison once languished, museums by architects Edward Durell Stone and Thomas Phifer now stand, surrounded with sculptures by Thomas Sayre, Roxy Paine, and Jaume Plensa.

Eleven years in the planning, Phifer’s wing engaged Gottlieb at every level, extracting a

Dialogue

Dan Gottlieb

Image, Style, DesigN

DESIGN BUREAU

By Steven Fischer Illustration by zach graham

The Question of Handcraft Is design still a craft if it's done with the click of a mouse?

“It's like what an architect does vertically or horizontally with a space. The camera is my proxy eye.”

—Dan Gottlieb, photographer personal toll. Four years ago, he suffered a heart attack. At 54, he underwent emergency surgery. “It was a near-death experience,” he says. “And part of my healing process was to re-acquaint myself with the digital camera, so that it’s an extension of my body.”

Once he’d recovered and the wing was complete, Gottlieb took off in 2010 for three weeks in Istanbul, alone with his camera. He began to internalize his experiences. When he got back to the states, he photographed the Chicago Marathon.

His images are hauntingly potent, longexposure works of lavish color and studied movement. Holding his lens open for one to three-and-a-half seconds, he moves his body before his subject. “It’s kind of a choreographed thing—my movements have to be in synch with the space,” he says. “It’s like what an architect does vertically or horizontally with a space. The camera is my proxy eye.”

Each image­—an attempt by an artist to arrest and capture time itself—is printed on fine linen with pigmented dyes. Typically, he’ll add six or so layers of acrylic paint atop.

Gottlieb lives one of the rarest and most balanced lives I’ve ever encountered: He’s an artist who works on a very large public scale, but who engages us in a very personal world.

“It’s work that another set of eyes could not be involved in,” Gottlieb says. a

S

ociologist Richard Sennett says that a craft is about “doing something well for its own sake, with an emphasis on skills and commitment to the craft.” That means that attention must be paid to even the tiniest details of a well-crafted product. Every stitch, every button, everything must be top notch to truly be considered a craft.

High-end brands like Hermès tout the heritage of its handcrafted items, having honed the hand detailing on its leather goods for hundreds of years.

Consumers lucky enough to afford a $9,000-plus Hermès Birkin bag will wait years to receive it and will pay the price premium for it because they know the quality of the handcrafted product will be worth the wait.

In today's digital world, there are entirely new skill sets and goods that have emerged. Graphic design, illustration, and typography are all highly specialized fields that require an enormous

amount of skill and commitment to be well-executed. But are these practices still considered a craft if they are done with the click of a mouse?

Yes, because it still requires a skilled craftsman to bring it to life. Ask someone other than a trained design professional to create a wayfinding system for a museum, or to develop a custom typeface for a company or product. Even if you give an untrained person the tools necessary to complete the job, they will ultimately fail. Because just like the artisans at Hermès, design professionals are trained in their craft and use the proper tools and skill set necessary to implement the design process for their craft.

A handcrafted bag and a specially commissioned font aren’t that different: each expresses our unique sense of personal style and communicates to others how we wish to be perceived.

Both are crafted through skill and longterm commitment to good design.

And that is truly craftsmanship. a

Steven Fischer is a lecturer of Image, Style, & Design at Northwestern University , president of the Valspar Color Institute, and leader of StyleSalon Chicago. For more details, go to imagestyledesign.com

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Dialogue

ADVICE FROM A DESIGNER

how to build a better portfolio Two design experts share their secrets to getting your work noticed

BY LESLEY STANLEY

Bruce John Riddell, Landscape Architect

P

ortfolios have to be crisp— it’s all about presentation.

You want to show your creativity, diversity, and true strengths.

No one wants to wade through a portfolio that blows up past experiences that aren’t relevant.

Don’t reveal all your work to potential clients up front. I don’t show all of my work on my website. When you sit down with a client, you want to pull out additional designs they haven’t yet seen— you have to save some fireworks, otherwise it diminishes your work.

Keep your portfolio handy. We live in an electronic age, but keep hard copy, full-size drawings and photos with you that you can leave with a firm or client. You have to make a lasting impression.

A great portfolio has imagination. Your designs must grow with you to stay fresh. You can have “a look,” but it must also evolve along with your personal and professional growth. Push the limits on what you can do, but also know when to pull back.

Don’t regret getting side-tracked. Don’t think skills and hobbies outside of the straight and narrow path of design are frivolous—that’s what will separate you from the pack. There are no long paths, just faster paths, to becoming truly unique in your design work. a Portrait by William S. Brehm

Top to bottom: Glass Orb sculpture

by Henry Richardson, photo by Bruce John Riddell; Rooftop Garden Dreamscape, garden construction by Jorgensen Landscape, bronze work

by Robert Breeden, photo by Chris Griffith; Braided Walkway, garden construction by Gordon D. Robb Landscape, photo by William S. Brehm

Dialogue

DESIGN BUREAU

“Never design with your portfolio in mind.

Keep your personal tastes out of a design—you should always be listening to the client and designing for them. If you stay true to a project, it will show, and impress people later on.”

—Chris Salas

Chris Salas, Interior Designer, Cocina Interiors

K

eep it polished. Make sure descriptions are not too fluffy.

They have to tell the basics and be easy to read. Also, don’t overstage photos. You should be able to see the intent of the design from an image.

Invest in quality photographs. Clients can tell the difference between snapshots and professional photography.

Communicate your portfolio. It’s so important to discuss and explain previous projects to potential clients. You want to show them drawings and photos specific to their ideas and needs, and tell them how you reached the end result. That way they have a better idea of the [design] process and what’s to come.

Never design with your portfolio in mind.

Keep your personal tastes out of a design— you should always be listening to the client and designing for them. If you stay true to a project, it will show, and impress people later on.

Keep work on-trend. Interior design is very much about fashion, so ditch designs that are dated. You can keep designs that are timeless, but instead of showing the entire project, feature certain details.

Make sure dates are current—people pay attention to those details. If your portfolio or website hasn’t been updated in a couple years, then what else aren’t you paying attention to in your work? a

Top to bottom: Private residence in the foothills of the Rocky Mountains in Alberta, cabinetry by Rivercity Woodworks, photo by Henry Georgie; kitchen addition in residence in Alberta; bathroom in residence in Calgary, photo by Obeo Virtual Tours

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Notes from the Bureau

Notes from the Bureau New Design projects

Gardner says. “We also installed operable skylights to capture views of the sky and the trees, and provide for passive ventilation.”

The architects then opted for Douglas Fir windows to warm up the space. Gardner admits that the solarium’s brick pavers are an unusual choice for indoor flooring, but they really connect the home to the outdoors. “In their beautiful black design, the bricks look almost more like a woven rug than pavers and help connect the interior and exterior spaces,” she says.

The revamped solarium details capture the home’s original shape and maximize its exposure to southern, eastern, and western light. Now, the new sunroom is worthy of its bright moniker. a By margaret sutherlin PHOTOS BY jim tetro

Space Saving Design U+B Architecture rework a small space into one of Minneapolis’ hippest restaurants

U

+ B Architecture doesn’t brush off small space potential. Their design for Spoonriver restaurant, located in Minneapolis’ Guthrie Theater neighborhood, packs a high level of drama into a site measuring roughly 100 feet long and 11 feet wide.

Gardner Mohr’s Sixties Solarium

Let the Sun Shine In Gardner Mohr Architects knows how to take a lightless room and make it shine

E

ver heard of a sunless sunroom?

Architects Amy Gardner and Cheryl Mohr were tasked with upgrading one such solarium affixed to a Washington D.C. home.

The original house was built in 1929, and the blighted sunroom added on in 1969. The room was always too hot or too cold, and the homeowners wanted a space that welcomed the home’s Rock Creek Park surroundings inside. So Gardner and Mohr opened up the tall, narrow space by lifting the solarium’s roof up to meet the pitches of the 1929 roofline. Enormous windows of various shapes and sizes were then installed to maximize light flow and the fantastic park U&B Architecture photos by Travis Anderson

“Translucent wall panels were used to create a wall that would glow naturally, or as a result of being lit from either side.”

—amy gardner, gardner mohr

views. “Translucent wall panels create a wall that would glow from natural light, or as a result of being lit from either side,” Berliner Construction worked on the 60s solarium by outfitting it with windows to fit the new roof.

“The trapezoidal windows in the great room had to follow the slope of the existing ceiling precisely,” says Charlie Berliner of Berliner Construction. He shimmed the existing ceiling framing to precisely match the original roofline, holding up each until the framing was complete. The extra time was worth it to Berliner. The precise window details “give the new rooms a delightful and ever-changing aspect [that] has created a sanctuary of light in an otherwise dark house,” he says.

U&B Architecture's Spoonriver restaurant at night

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Solarium, Washington, DC Design by Amy Gardner, Gardner Mohr Architects LLC Photos: Boris Suvak

Berliner Construction Annapolis, Maryland

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Notes from the Bureau

Apropos Studio At Spoonriver, sleekness runs over every design element, even up the plaster walls.

Since plaster naturally has texture, this is no small feat.

“Paul and Mark were very clear that they wanted the wall to be smooth with as little movement as possible,” says Jamie Reich, owner of Apropos Studios, the masters behind the plaster. A unique plaster finish gives the walls a “glowing effect” without overwhelming the tight dining area, augmenting Spoonriver’s polished cosmopolitan look.

Bloomer's ornament on the 360 State Street building

Many architects scoffed at the Spoonriver project, thinking that the space would be too tight to squeeze in both diners and an efficient kitchen, but Paul Udris and Mark Burgess, U+B’s principals, didn’t see it this way. “We didn’t bemoan that the space was strange, but made it a central feature and took advantage of the rail car [shape] to make a cozy, sophisticated restaurant,” Udris says.

The two architects took every opportunity to open up the restaurant. “We wanted a space that people would pass by and want to come in and see what was happening,” Burgess says. “The warm glow from the poppy orange walls and the large windows that open out to the sidewalk really invite people into the space."

Once inside, the bar’s dramatic stainless steel backdrop nods to the neighborhood’s industrial character, while the marbling in the Brazilian granite bar countertop reflects the movement of the nearby Mississippi. To maximize space, Udris and Burgess cantilevered the stools and chairs off the bar so that pushed-out chairs never block the walkway.

A long banquette at the end of the restaurant further increases seating capacity. Even the plates save space: oval rather than round dinner plates better fit the proportion of the tables. “Every inch in every direction had to count,” Udris says. a

By Margaret sutherlin Photos By travis anderson

Ornament at Work With his keen understanding of ornamentation, sculptor Kent Bloomer makes a parking garage look anything but standard

Y

ale professor and sculptor Kent Bloomer has made a career out of transforming drab buildings into eye-catching architecture. Now in his 70’s, Bloomer has studied ornament nearly his entire life, which has helped him to develop a very refined decorative taste.

“I lived in the time not long after the Chrysler building was built, [so] I grew up in the world of ornament,” he says. Bloomer traces his style to influential architect Frank Lloyd Wright and his mentor, Louis Sullivan, who helped give birth to modernism.

He believes their work points a way forward for architectural ornament today.

Bloomer’s ornament work is on display at the 360 State Street parking garage in New Haven, Connecticut. “I was brought in and said, ‘Why don’t we take the parking garage and make it more like a main street building?’ ” Bloomer says, but quickly qualifies his design. “But not a Disneyland version.

Decoration means good taste.”

The sculptor adapted Sullivan’s design process to create a geometric-yet-organic ornamental language. “Sullivan’s whole procedure is like the awakening of the pentagon: you get a square, then subdivide it into quadrants and diagonals, put curves

in and start pushing out through the outer edge,” Bloomer says. “You’re creating rhythms. All ornament starts with geometry and subdivides it into rhythms. It starts trying to bloom.” To make this ‘blooming’ happen, Bloomer sectioned the building’s façade by alternating stylized metal railings and trellises. He then chiseled a repeating

“[Louis] Sullivan's whole procedure is like the awakening of the pentagon. You get a square, then subdivide...you're creating rhythms.”—kent bloomer ring design with nature motifs above the garage’s street level bays. When viewed together, the decorative elements break down the parking deck’s overbearing proportion and help it to mesh with its traditional New Haven surroundings.

“When we walk down streets, we often love fairly ordinary buildings that are finely ornamented,” says the sculptor. “Ornament can make a big contribution to a building’s capacity to be linguistic.” a

By Brian Libby Photos courtesy of KENT BLOOMER

Decorative Plaster Finishes custom WallPaPers Faux Finishes

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Apropos Studio 1 malcolm ave se minneapolis mn 55414 phone: 612.672.0771 fax: 612.673.0411 aproposstudio@gmail.com www.aproposstudio.com

2011 perennial plant association national honor award for residential gardens

2010 american horticultural society’s landscape architect of the year

2011 boston society of landscape architects merit award for residential garden design

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Design Thinking

FAST FOOD, HIGH DESIGN Overseas, McDonald's has ditched the golden arches for a more cutting-edge makeover

Over the past decade, McDonald’s has refined its storefronts with a look that is much more design conscious. “The secret is simplicity,” reveals designer Tom Williams. He should know—his firm Juicy Design did the chain's new interiors, while Eduardo and Maria Villa, principals of Villa & Villa, produced its fresh architecture. Here, Tom and Eduardo talk about making McDonald's look as good as it tastes.

How did you combine design visions to improve the fast food giant's look?

Eduardo Villa: We wanted to address architecture rather than do a “McDonald’s,” so we did a building that wouldn’t be recognized as a McDonald’s without its logos. We named the concept Blade and Ribbon. We framed floor-to-ceiling windows to make the space flow to outside. Additionally, graphics and other smaller elements can be easily replaced. As trends fade, it keeps the overall look fresh.

Tom Williams: I took Blade and Ribbon and evovled it into my FORM palette. Its elements are bright, more urban, and focused on youthful style. Together, Blade and Ribbon and FORM have become McDonald's new look.

McDonald’s sells itself on consistency. How much creative freedom did they give you to vary your designs?

EV: It is extremely important to McDonald’s not to lose brand identity, so a design’s reproducibility is key. But we are uncomfortable with making each McDonald’s design reproducible. Contractors often miss some of the aspects that make the building really successful.

TW: The design has to be translatable. Other designers in other countries need to be able to do it, so every detail has to have clear intent.

But at least McDonald’s understands that design matters, right?

EV: Good design has definitely become part of promoting the brand.

They haven’t changed the food, but they are growing through design.

JD: Do not take McDonald's for granted. They have the ability to do new things, and they're using design to change people's preconceptions. a Right: Images courtesy of Villa and Villa; Facing page: Images courtesy of Juicy Design

Villa and Villa and Juicy Design first collaborated on the Gateway McDonald's located in Sydney.

The restaurant tests the early Blade and Ribbon concept, different types of seating, and highend light fixtures.

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Red lighting pendants designed

by Moooi are unique to Myeongdong, South Korea

Neon colors and sharp shapes in Juicy’s FORM graphics and finishes palette project a youthful, urban vibe

See all that writing on the wall? It’s actually the lyrics to the Big Mac jingle

Herzog & de Meuron’s famous Bird’s Nest Olympic stadium inspired the pattern that cuts into the ceiling and runs across the walls

Different types of seating, including communal tables and café stools, accommodate dining groups of various sizes

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Design to Boost the Spirit AT SEATTLE’S RONALD MCDONALD HOUSE, HAPPY INTERIOR DESIGN HELPS FAMILIES IN THEIR DARKEST HOUR

INTERIOR DESIGN

The Ronald McDonald House Seattle features a large totem pole in its dining area and lounging chairs where adults can mingle. Dining room photo by Heidi Leonard.

Thoughtful design also takes precedence at Ronald McDonald Houses, which provide a place for families to live while their children undergo intense medical treatments. Interior designer Karen Earl tells us how she gave one Seattle house a cheerful design boost.

You typically design hotels, not hospital stay centers. Did you do any special research to help guide your design?

The families who were residing in the Ronald McDonald House sat in on the meetings so they could hear where the design was heading and have an opportunity to directly input their own advice.

With so many medical situations that needed consideration, how did you prioritize your design?

We had to balance a fine line of comfortable cleanliness—no child wants to live

THIRD WALL Art can definitely make or break a room, so for the redesign of the University Inn in Seattle, Third & Wall collaborated closely with Earl to pick

in a place with stark walls that looks like an asylum. That was the biggest challenge. For children facing bone marrow transplants, a separate complex of apartments was built to protect their fragile immune systems.

Despite its seriousness as a medical home, The Ronald McDonald House looks like a happy place. How did you create a space that is so upbeat?

Since many of the children are not allowed to play outside, I wanted to take the outdoors in with bright, active colors.

The dining hall mimics a camping site with tables dressed in a red checkerboard print, and green tents that seemingly come out of the tables and onto the walls. The Northwest has a strong Native American heritage that is particularly known for its totem poles, so we recreated one in the dining hall that is whimsical and fun.—Lauren Carroll

pieces that would punch up the hotel’s retro-modern look.

“The artwork is the final piece of the puzzle that brings together the colors, theme, and attitude that the hotel conveys,” says

Brian Henn, president of Third & Wall Art Group. “The artwork helps to bring life to the rooms and brightens up the public spaces as well. It truly is the finishing touch.”

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LIGHTING DESIGN SECRETS FROM A PRO How do you make Barbara Walters look camera ready?

With lots of good lighting. Designer Dennis Size shares how he works his magic on TV sets.

No Fuss, No Muss Lighting at the United Nations PrimeTime Lighting does not take lighting, well, lightly. That’s why The Lighting Design Group enlisted PrimeTime for The United Nations’ North Lawn Conference Building. The “lighting challenge,” says PrimeTime’s Jim Rock, “[was to] supply needed light, in the appropriate quantity, at the appropriate angle, and in the appropriate color.” PrimeTime’s lighting delivers a realistic image to viewers tuning in to see UN leaders busy at work. They wouldn’t want to look bad on TV, afterall.

Toning Down the Heat Golf courses in the summer can be hot, hot, hot, and The Golf Channel’s TV commentators have to sit under bright lights, too. To make make them look not-so-dewy on camera, The Lighting Design Group and Nila, Inc. redesigned the network’s outdoor commentator booth.

“We reduced the energy used by as much as 75% and the heat load by more than 80%,” says Jim Sanfilippo, President of Nila.

Because of this, The Golf Channel has not only seen a drastic drop in its energy bills, but “the viewer has seen more comfortable oncamera talent,” Sanfilippo says with a laugh.

Dennis Size, Vice President of Design for The Lighting Design Group Without lighting, television is just radio.

Lighting is the one thing you can change instantaneously. It definitely plays a huge part in creating the “look” of a production.

A camera sees things totally differently than the human eye. I actually spend more time lighting backgrounds than foregrounds.

When I worked on ABC’s 2011: The Year with Katie Couric, I spent two days lighting the scenery, but only 40 minutes on Katie. If the background doesn’t look good, than the foreground will look awful.

Hard light defines, and soft light diffuses.

On 20/20, Barbara Walters wanted a soft, flattering light, but we also needed to separate her from the defined background. So, I used a Chimera, a silk diffuser on a metal frame

covered in wax, to control the light spill. It worked so well that Barbara decided she needed Chimeras on every production, but it didn’t matter because…

Patriotic lighting design for Rockefeller Plaza

It’s not necessarily the instrument, but how you use it. You know how when you can’t find a screwdriver, you can use something like a paring knife instead? Well, that’s a good metaphor for lighting design. We have all kinds of high technology, but sometimes it just doesn’t get the job done. a

THE ROUND

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C

ompetition. It is a natural sorter; after jury, those remaining at the top of the heap are undoubtedly the best of the best. It is a discoverer of talent; with a democratic playing field, a youthful entrant has as equal a chance as an experienced one. And it applies pressure; going head-to-head brings out a Darwinian desire to win, more effort is applied, and the outcome can often be even more progressive, more innovative, than it would have been without that competitive function.

However, when administered to subjective and sometimes intangible creative fields, these tenets become muddled. Ask a professional designer what they think about design competitions, and you’re just as likely to see them enumerate their own lengthy list of awards as to spout smoke and sound off.

The varying shades of gray and disagreement amongst design professionals—particularly architects and graphic designers—doesn’t lay forth crystal clear criteria for “good” versus “bad” competitions. Where contests are weighted on the scales of fairness depends a lot on additional modifiers: youth opposed to experience, the desire for accolades and portfolio-building, and of course, motivation and money. We’re not talking prize dollars, but motivation for profit. When you expose the inner workings of these contests, who are the real winners?

michael arad Architect

The emotionally-charged 9/11 Memorial was left to imagination. That is, until a competition was held in 2003 to select one extraordinary designer who could translate such rawness into a physicality. There is no question that a memorial was absolutely necessary; for the hearts and minds of every American, for loved ones and survivors, and for a record of posterity equal to the magnanimity of the event which will survive into future generations. It was the brave decision of a committee to design a competition to select such a person. Any one part of the process in such a high profile competition could undoubtedly have had dissenters, but it was painstakingly crafted to be fair and democratic. It would be open to all. The entrants would be anonymous. The jury would be meticulously chosen. They would spend hundreds of hours reviewing submissions. The road to final selection was arduous, heated, long, and incredibly difficult. It was the largest global design competition in history.

Michael Arad’s concept called Reflecting Absence was chosen as the winning design.

Arad’s design was carefully selected out of their ideas, and at this time began a phase 5,201 entries submitted from six continents, of demanding questioning which lasted even 63 nations, and 49 states. The esteemed jury longer. There was constant communication— selected eight finalists, and the eight became a barrage of e-mails, presentations, and three, the three became one. That one became meetings between inquiring jury members and two great voids in the the finalists. Arad did not ground of Lower Manhatmind. “I’ve sat on juries tan, a memorial of symwhere you had to make a bolic cascades of water decision that day, in the into perpetuity, which next few hours. This one have thus far generated was judged with integrity.”

WINNER resounding praise.

9/11 MEMORIAL For Arad, winning the DESIGN It’s difficult to make a competition had an unCOMPETITION contest like this fair, intended consequence— while at the same time notoriety. He was an protecting its integrity by unknown architect who keeping it from the prying emerged almost abruptly eyes of press and outside from obscurity to become critics. “Even as a finalist, nationally and historically we didn’t know we were the final eight,” says recognized. Unintended because, living in Arad. “They brought us to the site in groups New York City at the time, Arad’s design was of four, so you could speculate how many actually born out of catharsis in the days imgroups there might be.” All eight finalists mediately following 9/11, before there was got a month and a budget to further develop even a competition to consider.

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Award Competitions Award competitions allow people to get excited about design, to provide inspiration, and to capture a panorama of current trends. Many designers enter them as a resumé-builder.

They judge based on past, completed projects; they do not commission new work. Typically these kinds of competitions require a fee for entry. “For some organizations—not ours—it’s a cash cow. They do it to generate revenue,” says Ric Grefé of AIGA. In this kind of transparent scenario, the debate is less heated.

“If you want to do it, do it.” Easy.

Not so easy. Grefé challenges the role of award competitions when we can find inspiration easily in other ways. “There is a value in celebrating great design, and for people to see what judges consider great design to be. Those are the inherent capabilities of award competitions. But they are being challenged by social media and accessibility—we are getting inspiration now 24/7. And also, who are these people that say what is good design? There is also this questioning of authority, and whether the authority could come from the crowd itself.”

Designers still want to win awards though, which Grefé suspects is just as much for psychological reinforcement. It is a challenge to reconcile these forces: to utilize the selfdetermining capabilities of social media, and at the same time give designers the adjudication they ask for. That’s why AIGA will continue to hold award competitions, but with a modified model: less focus on the finished product, and more on the process leading up to it. Meanwhile, he encourages designers to upload their work to curated design blogs and to self-publish. Get out there.

It makes you wonder though. How much longer until awards go away?

LAUREN ROMANO

Ric Grefé is among the group that stongly criticized this competition.

Grefé is the executive director of AIGA, the professional association for design. “It’s the classic public good problem. This is a point at which an individual decides whether they’re going to look out for themselves, or to be a part of a community to help them achieve their aspirations,” he says. “If all her colleagues acted the way she did, the opportunity for designers to gain greater ground in terms of respect and understanding would be hurt.”

While Grefé does acknowledge that there should be special considerations for students, he does not budge from the principle—this is just not the path to success that it is perceived to be. “I think she is naïve, yes. I also think she is totally

Graphic Designer

College senior Lauren Romano just wanted a good grade on her school project, and maybe even to win a little something. But after entering her submission in the Art Works: Obama for America poster competition, something she thought to be fairly benign, she witnessed a monumental backlash erupting from the design community. “Free work,” shouted a massive swell of professionals. “It’s pro bono,” another group shouted back. Romano, selected as one of twelve finalists, stayed out of it.

sincere. I understand the value for students, that’s no question. But I still think it’s a mistake.”

As a student at Miami University of Ohio, Romano was encouraged by a professor to enter. The assignment was to create a poster in support of Obama’s jobs plan and the Obama for America campaign. Three winners were to receive a poster signed by the President. “I know there’s a lot of controversy over this competition,” Romano says. “For me, I got a grade on this for my class, so I don’t see it as unfair. While it wasn’t really rewarding anyone, you have to judge for yourself. Especially for students, it’s an opportunity to get your name out there. It’s a talking point in an interview, and something to put on a resumé.” But beyond a talking point, Romano got little else. There was no prize for a finalist, and since she didn't win, there was no autograph from the President, either.

But what, exactly, is the problem?

In a nutshell, it is a matter of who it was for. “If the poster had been for America-for-something, then fine. But this is a case in which it’s for commercial use—for the Obama campaign,” says Grefé. In this case, the commercial usage of the poster was for a revenue-generating organization poised to raise $1 billion for the next election. As Grefé points out in a poignant letter to Jim Messina, campaign manager for Obama for America, it is hard to imagine that political consultants, lawyers, telecommunications, and advertising agencies are asked to donate services without compensation. In his opinion, design is being singled out as a “creative indulgence” that should be given away for free, rather than as a potential, ahem, job.

FINALIST

ART WORKS: OBAMA FOR AMERICA

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DESIGN BUREAU

OPPOSING VIEWS WINNER

BROOKLYN INDUSTRIES T-SHIRT COMPETITION

Ric Grefé, Executive Director of AIGa:

“A competition for the commercial benefit of a single stakeholder is unfair, unprincipled, and immoral. They think they’re being progressive, when they’re actually being manipulative.”

Georgeen Theodore Interboro Partners:

“We're very pro competitions, we don't think of them as being exploitive.”

NICK MISAnI Graphic Designer On the other hand, Nick Misani would probably tell you that his work is, indeed, a creative indulgence. Misani is a graduate student at Pratt Institute, and the recent winner of a t-shirt design contest for the clothing store Brooklyn Industries. He received a $500 gift card to the store and a party in his honor.

Misani entered this competition, and actually a few others as well, on impulse, on the thought that it would be fun, and on the fact that he had a little bit of free time.

“They were all during a two-week period,” reports Misani. “I had a burst of energy after school ended, and I thought ‘Hey, why not.’ The fact that it was Brooklyn Industries didn’t make any difference, I just wanted to try this whole contest thing out. I could have walked into American Apparel that day instead and gone for that one.” Misani is untroubled by the fact that it was a shirt design for a clothing company, or that the product retails for $35. He reiterates that it was fun, and that the assignment was easy. No harm, no foul.

Brooklyn Industries sells nice clothing and is undoubtedly not lacking for designers who want to work for them. So why forsake the traditional work-for-hire mechanism and turn to a competition? It’s likely that it was conceived of as a marketing campaign, for the company to be perceived of as innovative and connected to their audience.

Why should we care? Grefé explains. “It takes creative property, and to the detriment of the design community, it creates an auction mechanism, and drives the price down, not up.” No matter what the example, Grefé remains firm. “A competition for the commercial benefit of a single stakeholder is unfair, unprincipled, and immoral. And the dilemma here is that people will do it. As long as there are designers that engage in it, companies often think that what they’re doing is encouraging co-creation and co-participation, and so they just won’t listen. They think they’re being progressive, when they’re actually being manipulative.”

There’s a name for this kind of competition, and it’s called speculative work—dubbed “spec work” by the design community. It is also called crowdsourcing. Put the assignment forth to an indiscriminate crowd to tackle. Let the crowd develop their designs to the point of completion. Pick a winner at leisure from hundreds of entries. Websites like 99designs.com and crowdspring.com run on this model, and organizations like No!Spec and the AIGA consider it downright contemptible.

Misani, however, sees a difference between the Brooklyn Industries contest and “those” contests. “There's more stuff involved if you win. You get recognition, and you get other things that give them a little more ethical wiggle room.” So, has it advanced his career? “Well, it happened just a few months ago, but I can't say I've really noticed any advancement. Despite the party, it was a pretty low-profile contest,” he says. And the party? It was held in the store with merchandise available for purchase, so Misani could get a head-start on spending that gift card. “Had it been cash, that would have been nicer,” he admits. “But that’s fine. It’s okay. I was satisfied with the result.”

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prestigious invite was likely in their trajectory. From the 25 portfolios, a jury then casts five finalists to generate concepts. From the five, one winner is chosen. Armchair critics—who perhaps consider themselves to be worthy—are bothered by this lack of transparency. Others find it fair—you can’t just be a nobody from nowhere to get in.

“We’re very pro competitions, we don’t think of them as being exploitive,” says Theodore. “We’ve done big ones but we’ve also done small ones that weren’t on everyone’s radar. They were on our radar because it gave us a chance to investigate and research— that’s what we use competitions for.” Interboro isn’t unique to the competition circuit.

For architects, it’s common, it’s accepted, and it’s often a way for young firms to build their portfolios. And there are other benefits. “A lot [of] competitions result in commissioned work.

For example, we did the Shrinking Cities competition and that ended up yielding lots and lots of projects,” adds D’Oca.

The MoMA PS1 Young Architects Program is fies something of a step-up into the big leagues. an annual design competition held as an outlet “It’s just about the most important competition for emerging architects to explore innovative for young architects now, ideas and new techniques. The assignment is worldwide. When we got to re-imagine a courtyard space at the Queens, the call we were absolutely New York branch of the Museum of Modern Art. thrilled, it’s a tremendous The reward is international recognition and re- honor,” says Theodore.

Another intended consources to execute their concept—four months sequence of competiWINNER and a $90,000 budget, inclusive of a fee.

However, this is not an tions, in this case, is MoMA PS1 YOUNG open competition for also undoubtedly about ARCHITECTS Last year’s winning installation called Holding anyone to enter. The “call” reputation-building. “It PROGRAM Pattern was created by Interboro Partners, an that Theodore refers to is has definitely raised experimental architecture and urban design the phone call in which our profile. More people firm led by Tobias Armborst, Daniel D’Oca, and they were informed that know about us. We get Georgeen Theodore. A canopy of ropes was they could submit a porta lot more resumés. We strung across the courtyard area, below which folio for consideration, get a lot more invitations were an eclectic array of seemingly uncon- along with 24 other canto talk. And these days nected objects—mirrors, ping-pong tables, didates who were pre-judged to be worthy of we’ve been on the jury for other competitions, lights, benches, and chairs—all to be later attention. When pressed, Interboro Partners which is a whole new perspective.” For archidonated to local business and institutions that conceded that it wasn’t completely out-of- tects, advancing a career is almost impossible had asked for such items. To win, and even just the-blue—given other notable competitions without first getting noticed. And winning to be nominated, is a big deal. The honor signi- they had won, they had an inkling that this competitions is how to do it.

Like graphic designers, architects also know what crowdsourcing is, and they don’t like it either. Even Michael Arad, a glowing example of the best of what design competitions can accomplish, referenced it with clear disdain. “If you think this is some cheap crowdsourcing thing, it’s not.” It is certainly not. Arad participated in a competition of ideas in which his entry was just the beginning of an eight-year journey, where he turned a drawing into a real thing. He was paid for those years of hard work. It was his job, how could he not be?

And like graphic designers, architects understand the difference between clientdriven work and public service work. The partners at Interboro do both, but not as competitions. “We would never, for example, engage in a competition for 'Mary Smith' or whoever wants to build a house,” says Theordore. It seems obvious, and yet Ric Grefé of AIGA finds himself enumerating these distinctions repeatedly. “It’s better if the cause is something [of ] which the public is the beneficiary and there is no commercial stakeholder,” he outlines. “It’s better if the

designer retains ownership [of their submissions]. That’s an onerous thing, when the rules say there’s a transfer of copyright, and you no longer own your own design. It’s even better if two other conditions occur.

One is where it’s based on a good brief. The other is if they get paid. If those cumulative attributes aren’t there, then it’s worse, borderlining on evil.”

Wow. Ask some designers what they think, and indeed, design competitions do turn out to be quite the conundrum. a

Design Thinking

bernard trainor + associates We begin every project by listening, observing and exploring the connections between human, built and natural systems. Within these complex relationships, we practice an ecological approach to design that cultivates regeneration.

Exposing site-given assets and utilizing local materials that blur the distinction between architecture and landscape, we balance the interplay of structure and nature. Essentially we seek out poetic solutions that expose and elavate the spirit between people and landscape.

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Wooden stilts, which Trainor playfully calls a “skirt,” better integrate the house’s bottom level into its site

Trainor positioned the cedar barrel sauna to make the most of the stunning vistas. From inside, it looks out towards the landscape’s yoga terrace, firepit, and dramatic ocean view.

IN THE DETAILS

A top-to-bottom look inside home design

big style in big sur It took 18 months of work to make this slice of Californian Coast look good, but from the photos, you would never know it

Architect: bernard trainor & Associates Project: wind + sea Location: big sur, california PHOTOS: jason liske

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Walk just beyond the beautiful stone amphitheater, and you’ll fall right off a steep cliff. “We wanted the landscape to ground the house and bleed off the edges, so we placed the plantings right up to the property’s drop-off,” Trainor says.

Trainor teamed up with landscape contractor Habitat Gardens and concrete gurus Trapkus Concrete to help him construct Big Sur's gorgeous design.

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Matching weathered steel tubs are the perfect place to cool off after a hot steam

“A big part of the project was detailing all the steps.

There are more than 70,” Trainor says. Rocks and wood similar in color and texture to beach boulders and driftwood create a seamless winding path.

“A lot of people think you can only use native plants to replicate Nature, but I try to find ways to make them all look different,” Trainor says. 70% of the plants, including the Monterey Cyprus trees, are native to the site. By strategically playing off textures and colors, they knit together into a striking visual landscape.

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If you talk to our clients you’ll hear a recurring theme: We care about your garden and the surrounding environment.

We are first and foremost plant biologists and horticulturists deeply committed to protecting the environment. Habitat Gardens is our labor of love and it shows in the natural beauty of our work.

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Think LED …

Think Juno Lighting Group Thinking about a brighter future Global warming, dwindling natural resources, eco-systems in peril. What can the lighting industry do to help? By turning to energy-efficient, eco-friendly light sources like LEDs, we can reduce our carbon footprint and make the world a better place.

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Residential, retail, commercial … recessed, track and linear lighting … our extensive range of LED fixtures are designed to save energy, minimize environmental impact, and put the smile back on Mother Earth.

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Shine On

DB Picks

COOL DESIGN HOTELS

The

7

BEST NEW HOTELS IN

On the models, from left: Marlene Landauer: Dress, Irina Marinescu; Necklace, Tuleste; Earrings, AZ by Azature; Shoes, Barbara Briones.

Courtney Erickson: Dress, Sacai.

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COOL DESIGN HOTELS

DESIGN AMERICA

Pack your bags and book those plane tickets because we've found the perfect summer vacation destinations: 7 of the sexiest, hippest, and most designsavvy new spots to stay at across America.

Photo: Eric Luc Styling: Nicholas Whitehouse Hair/make up: Annamarie Tendler Models: Courtney Erickson, Orion Hinkley, and Marlene Landauer of Q Model Management in New York location: H么tel Americano, Manhattan

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COOL DESIGN HOTELS

PRISMATIC VIEW

The colorway used on the hotel's exterior follows the light spectrum, which in turn creates different perspectives of the hotel according to the time of day

DESERT INSPIRATION

1

The saguaro

Coachella Valley, Palm Springs, CA

It’s hard to miss the Saguaro Hotel in Palm Springs. Much like its sister hotel in Scottsdale, The Saguaro Palm Springs was also designed by Stamberg Aferiat Architecture, and features a façade painted in fourteen different hues—think vivid Southwestern tones meshed with Roy G. Biv. The interior boasts cool custom furnishings, a lush courtyard, three different restaurants, and of course, the requisite pool.

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The natural desert surroundings heavily influenced the hotel, including its name, which is after the iconic Saguaro cactus, and its bright color palette, which is inspired by the area’s native flowers

DB Picks

COOL DESIGN HOTELS

Sophisticated AND SCALED BACK A neutral color palette is complemented by warm, amber lighting, clean lines, and comfortable furniture

2

PUBLIc

Gold Coast, Chicago, IL

Ian Schrager, famous for NYC spots like Studio 54 and Gramercy Park Hotel, has made his mark in Chicago with Public, the first in his line of boutique hotels that are as high end as you’d expect but without the price tag. Schrager’s mission with Public is to cut out the riff raff and unwanted amenities, and to make sure the space and the services are all top-notch. Accessible luxury inside impeccable design? Now there's no good reason not to visit the Windy City.

DINING DETAILS

The Pump Room— Hollywood’s favorite old haunt has been revived and is now the Gold Coast’s hottest spot. Dine on farmto-table American fare while living it up at the place where Frank Sinatra,Humphrey Bogart, and a slew of other stars used to frequent.

Thompson Ocean Drive 3

South Beach, Miami, FL

Electric pink lights on a hotel façade can only mean one thing: you’re in Miami. One of the hospitality industry’s most buzzed about new openings is Thompson Ocean Drive, from the hotel group who brought us stylish places like the Hollywood Roosevelt and Smythe Tribeca, among others.

Here, they took the bones of Miami stalwart Hotel Victor and revamped it for today’s sexy South Beach crowd.

The Hotel Victor is enjoying a new updated look as Thompson Ocean Drive

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COOL DESIGN HOTELS

HOSPITALITY SPOTLIGHT

CARLOS COUTURIER The Mexican hotelier takes on The States with Hôtel Americano

D

By Laura Neilson

espite being the destination for New York’s art and design crowd, west Chelsea maintains a relatively quiet existence after the galleries shut their doors.

Its gritty, industrial character, cool and stylish by day, often goes unseen at night.

And while many a hotelier have understandably avoided this remote part of town in favor of higher-traffic locales, Carlos Couturier of the newly-debuted Hôtel Americano is quick to articulate that this was precisely what appealed to him.

“We like the fact that we’re in our own world, and yet, things are changing so swiftly,” he says. “We wanted the hotel to be an emblem, a foundation, before the neighborhood changes into something else.”

“We wanted the hotel to be an emblem, a foundation, before the neighborhood changes into something else.”

—Carlos Couturier

Visitors to Mexico may already know of hood. And since most art galleries have con- or collector, or whatever. This is a neutral Couturier’s hotel group, Grupo Habita, and crete floors, we wanted that too,” Couturier space, where they can almost disconnect its various assortment of ten-and-counting says. Matching the hotel to its surroundings from that.” properties, ranging from Mexico City’s sleek was key for the hotelier, who moved to west Hôtel Habita, to Maison Couturier, a tropical Chelsea a year ago to gain a local’s perspec- Room rates aren’t inexpensive per se, but they farm estate nestled away in Veracruz. Hôtel tive. “Cities have become countries,” he adds. are affordable. And yet, Americano doesn’t Americano, however, is the group’s first en- “They have a personality independent from skimp on hospitality. Here, the notion of terprise north of the border. the country they’re in, and the neighbor- luxury is rooted in offering the same level of hoods are becoming the real cities. Each one service to all its guests. Providing luxury that’s Couturier and his team enlisted Enrique has a different lifestyle.” attainable, but without devaluing its very defiNorten, now based in New York, to masnition has always been a top priority for Grupo termind the design. Having worked with Couturier says he wanted the Americano Habita, now more than ever.

Grupo Habita before, Norten’s participation to reflect the nearby galleries, but not rival tempered the daunting nature of an interna- them, opting for the first time not to use “In this economy, guests are much more tional project, while his understanding of art as part of his hotel decor. “How can you focused on value. They want to be accomChelsea’s landscape appropriately shaped compete with Gagosian, or Paul Kasmin, or modated individually, regardless of whether the hotel’s aesthetic.

Pace gallery, or anything else in walking or not they’re staying in the smallest room or distance? That experience is out there, so the biggest—everyone should be treated like “We agreed on a metal façade because there’s we wanted to be respectful of it. It doesn’t they’re staying in the best room,” says Coutua lot of industrial aspects in the neighbor- matter if someone’s an artist or gallerist, rier. “And that’s what we do.” a

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Photo by Eric Luc

DB Picks

COOL DESIGN HOTELS

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HÔTEL AMERICANO

Chelsea, New York, NY

At just ten stories, and with only 56 rooms, Hôtel Americano is intimate in size, yet large in its presence. Design enthusiasts will appreciate the modern metal façade, airy, open lobby, and sparse yet stylish guest rooms.

Establishing itself as a part of Chelsea and appealing to its denizens speaks to the hotel’s open-door philosophy.

For all its cool, downtown character, Americano is extremely welcoming and accessible. “We are Latins, after all,” notes Couturier.

Besides the ground-level bar and restaurant, there’s an open rooftop and subterranean lounge, all of which are overwhelmingly frequented by locals.

Photo: Noah Kalina; Stylist: Annie Mangen; Hair and Makeup: Jenna Riehl; Model: Laura Petersen of Q Model Management; On Laura: Blouse, Stylist’s own; Shoes, Alaïa.

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DB Picks

COOL DESIGN HOTELS 5

YOTEL

Hell's Kitchen, New York, NY

YOTEL New York is the first stateside version of the sushichain-turned-capsule-hotel conglomerate. The Hell’s Kitchen property stands out from anything surrounding it, thanks to its purple and white façade. Inside, the futuristic theme and pod-like furniture keep it interesting.

The rooms here aren’t exactly spacious—think cruise-ship sized cabins—but the technology throughout the property makes it worth giving a second look.

DAY DRINKING Word around Mission Control (the information center on the main floor) is that YOTEL serves up a crazy Sunday brunch, including bottomless mimosas and a DJ

TECH NOTES No need for a bell hop, just check your luggage with the robot. Tumi, mostly known for their high-end luggage, designed a robotic arm that efficiently and safely stores your bags during check-in and after checkout. Self check-in kisoks make it an easy in-and-out, no line necessary.

6

Hotel IGNACIO

Midtown, St. Louis, MO

St. Louis isn’t exactly a designer’s choice destination. But if you find yourself in Cardinals Country, you might as well stay at the new design-centric hotel in town. Designed by the Lawrence Group, the historic building that now houses Hotel Ignacio took on a major design overhaul in 2011. The new look includes modern furnishings, earth-friendly amenities, and rooms decked out in different art and architecture-related themes.

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Notable Neighbors

The hotel is strategically located near several architecture and design spots of note, including the Contemporary Art Museum Saint Louis, Pulitzer Foudation for the Arts (right), the historic Fox Theatre, and the Moto Museum, which is home to an expansive collection of rare and vintage motorcycles.

The Pulitzer Foundation for the Arts, Watercourt, Blue Black by Ellsworth Kelly piece, and rooftop view. Photos by Robert Pettus.

DB Picks

COOL DESIGN HOTELS 7

the NOLITAN

Nolita, New York, NY

The Nolita area of New York isn’t as much of a destination for out-of-towners as, say, Times Square is. But those willing to make the journey can now rest their heads at The Nolitan, a new architecture-and-design savvy hotel in the neighborhood. Designed

by DB cover boy Matthew Grzywinski and partner Amador Pons, the exterior of the hotel is wrapped in a jigsaw puzzle-like façade, while the interior is decked out in a mix of laid back, yet luxurious furnishings. Don’t forget to scope out the 2,400-square foot rooftop; it’ll make you glad you skipped the hubbub of Midtown for life in the ’hood.

FRIENDLY STAFF The Nolitan’s mantra is all about feeling at home, and their staff is willing to tend to your every need.

So go ahead, put in a request for your favorite organic milk to be stocked in your room upon arrival, or have them book your dog at the groomer. Unlike family, they’ll do it with a smile.

GET READING Book publisher Phaidon specially curated the library in the lounge. If books aren't your thing, there's always the bar, or restaurant Ellabess.

The Nolitan photos by Floto + Warner

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Goodman Charlton turned to the lighting experts at Robert Abbey Lighting to create the hotel's smoldering appeal.

GO FOR THE LOBBY

The Empire Hotel New York, NY

Take a good look at The Empire’s lobby— you’ll probably recognize it. “Sex and the City was filmed on the second floor,” says Jeffrey Goodman, the architect responsible for the sultry lobby space. It’s also the hotel Gossip Girl’s Chuck Bass owns on the New York-based teen drama. Goodman explains that the lobby feels camera chic because “it doesn’t have a period or particular style— it’s something in itself.” To get the look, Goodman used rich fabrics in bright hues and deep textures, and played up proportion by installing oversized hand-hammered bronze chandeliers.

Thanks to Fashion Week at nearby Lincoln Center, the Empire sees its fair share of well-dressed guests.

“The space has a good vibe when it’s filled with the fashion business," Goodman says.

High-Design hotels, Stand-out specialities Fantastsic hotels offer more than just well-designed rooms. Check out a few of our favorite bars, beaches, and restaurants not to miss

gossip girl character cocktails 1

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Inspired by the guilty-pleasure series, The Empire Hotel has the drinks to match your favorite tawdry teens.

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3

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NATE'S FICKLE FLINGS

JENNY'S TARTLET

GEORGINA'S MIND ERASER

XOXO

Sagatiba Cachaça, St-Germain, and Sour Blackberries

Montecristo White Rum, Mint, Ruby Red Grapefruit, and a Lollipop

Fresh, sweet, and tart redheads, blondes, and brunettes fill Archibald's little black book

Deceptively devious, Little J packs a zingy punch. She'll take the limelight at any cost...kids these days.

Vieux Carré Absinthe Wash, Don Julio Silver Tequila, Pomegranate, and an Atomic Fireball

Gossip Girl doesn't reveal her identity, and the Empire can't give up the secret concoction that comprises this signature drink.

Just enjoy the chocolate catch phrase—XOXO.

Dangerously delicious and surprisingly strong, this one leaves a mark like mean G

DB Picks

COOL DESIGN HOTELS

GO FOR THE HOLLYWOOD SCENE

Chateau Marmont Hollywood, CA

Who doesn’t know about Chateau Marmont? The castle-like hotel has served as a playground for Hollywood’s elite for many years, and it shows no signs of cooling off. Fernando Santangelo, the designer who led the hotel’s renovation, enhanced its old-school charm by using vintage lamps, custom shades, and rich upholsteries to perfectly capture the Chateau’s silver screen style.

Photo by Tim Street-Porter

Santangelo studied up on the Chateau’s golden years while planning the redesign. “I spent a lot of time driving around Los Angeles imagining the glamour of old Hollywood,” Santangelo says. One surprising influence? “There was a lot of Hitchcock as inspiration.”

Since completing Chateau Marmont, Santangelo has incorporated custom metal pieces into his designer bag of tricks. Brooklyn Built LLC makes sure they always look just right.

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DB Picks

COOL DESIGN HOTELS

See that fireplace? It's a signature to Mr. Important's spaces. BTU Marketing is responsible for their racy designs, including the fiery stunner at Vanity Night Club in Las Vegas.

design Secret: The entrance to Chambers is hidden behind an unmarked wooden door. Channel your inner Keith Richards, open it up, and go in for a drink.

GO FOR rocker style

Chambers Eat & Drink The Phoenix Hotel, San Francisco, CA

Blend equal parts sexy, scholarly, and rock ‘n’ roll chic, and you’ll get Chambers Eat & Drink, a bar and restaurant located inside San Francisco’s quirky Phoenix Hotel. The mixture of plaid-covered chairs, racy silk wall hangings, and 7,000 vinyl records on display in a library-like setting all work together to form the eclectic, laid back vibe designed by Charles Doell of Mr. Important Design.

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DB Picks

COOL DESIGN HOTELS

GO FOR THE scene

Bar Vdara Vdara Hotel & Spa, Las Vegas, NV

Sensory overload is typical for Vegas, so it’s nice to walk into a bar with some focus.

At Bar Vdara, designer Therese Virserius reined in the excess glitz by designing a breathtaking chandelier that hovers over the bar space. Even though the bar is situated in the middle of the Vdara hotel, it’s the perfect place to kick back with a cocktail and amusingly watch the hustle and bustle from the center of it all.

To strike a balance between whimsy and drama, Mor and his team at Lightswitch Architectural worked with Juno Lighting Group to install a clandestine series of cove lights. By projecting floating panes of light onto the ceiling and walls, the cove lights both mellow the hotel's diva atmosphere and add a little extra touch of humor to its signature style.

Design Note: Why go out when The Wit has its own movie theater? Screen, the private screening room at the hotel, can accommodate 40 people, and includes super comfy recliners, an old-time popcorn machine, and a hi-def movie screen.

More than 40 opalescent glass disks are suspended from above and then hung at various levels and angles to form the chandelier, manufactured by Shakúff.

GO FOR THE Lighting

The Wit The Loop, Chicago, IL

Wit and drama combine to create the design inside one of Chicago’s hippest hotels. Lighting designer for The Wit Avraham Mor says he used many diverse light components to set the mood for the property, using cove fixtures and colored acrylic screens to create different environments throughout the hotel.

Photos by Eric Laignel

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DB Picks

COOL DESIGN HOTELS

GO FOR THE ROOFTOP

The Kimberly Midtown, New York, NY

What does The Kimberly have that its heavyweight hotel neighbors (including the Waldorf Astoria and The Four Seasons) do not? A beautiful rooftop bar with a killer skyline view. Designed by New York architect Farnaz Mansuri, the bar called The Upstairs sits thirty stories above midtown Manhattan’s pavement, and features lots of lush ivy and a retractable roof.

Photos by Frank Oudemon © 2012

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“The lounge is charged with the unending energy of New York,” architect Farnaz Mansuri says.

“It is the place to go to be both part of and removed from New York.”

DB Picks

COOL DESIGN HOTELS

GO FOR THE landscape

El Cosmico Marfa, West Texas, TX

Who says a hotel needs to be in a building? Not Liz Lambert. For her, a trailer and teepee will do just fine. The Texas hotelier, known for hip Austin spots like Hotel San Jose and Hotel Saint Cecilia, made high design trailers her latest hotel concept. Located in Marfa, El Cosmico is composed of five redesigned vintage trailers, a 22-foot teepee, numerous yurts, wall tents, and campsites across 17 acres. Because sometimes the best luxury is staying in a well-designed yurt.

Photos by Eric Ryan Anderson

off the grid: Unlike many other luxury properties, the trailers at El Cosmico are proud to be unconnected—to phones, TVs, and WiFi. For those who just can’t seem to break their habit, there is free internet in the lounge.

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Unexpected Places, Well-Designed Spaces Must-see hotels outside the us

1

JERUSALEM, ISRAEL Hotel Mamilla At Hotel Mamilla, cutting-edge design meets ancient architecture. Familiar arched windows and hewn limestone combine with modern furnishings and arresting lighting to create a new world atmosphere done in Jerusalem’s Old City style.

2

St. Kitts, west indies Pavilion Beach Club Making the beach the star of The Pavilion Beach Club was a no brainer for landscape architect Raymond Jungles. He used coconut palms and low-growing greenery to outline the gorgeous infinity pool and highlight the pool’s nearly seamless transition into the clear blue sea.

OUSTIDE OF ST. KITTS: Back in the states, Jungles assembled a tropical

landscape for a home in Miami that brought the outdoors in. “His design with water features and warm Brazilian wood garden elements fused [with] the built environment seamlessly,” says Carlos Sardiña of Woolems Inc. Miami, the general contractor for the project. Groups of indigenous plants flush out this effect and make the house feel like a secluded tropical resort in the heart of Miami’s suburbs.

Great Gardens at a Miami Mall: Architecturally, outdoor malls can be such a bore, but at Miami’s 1111 Lincoln Road, sexy design takes top precedence. To add some va-va-voom to its landscape, Jungles called upon

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Edgewater Exhibits to install impressive water features and luscious tropical plants. The combination “encourages tree and plant growth,” says Kristin Mertz, Director of Edgewater Exhibits. These not only enhance the mall’s

overall look, but also attract local fauna, too. Nobody, including Mertz, minds this residual effect. “There is something soothing about the running water and watching the wading birds chase the fish around in the middle of the city.”

DB Picks

COOL DESIGN HOTELS

3

Sao paulo, brazil Hotel Unique

Hotel Unique taps into São Paulo’s unconventional attitude. Designer Ruy Ohtake built it to resemble a ship in dry dock, complete with a glass lobby that looks like water flowing beneath a hull. Stop in and enjoy a cocktail under the stunning glass bar that soars 60 feet into the air.

2012's Brightest hospitality designers Architectural Concepts, Inc. San Diego, CA / www.4designs.com

This year, NEWH, the Hospitality Industry Network, named 51 firms that are setting the pace in elite hospitality design, which they dubbed the Top ID. “The leading firms are firms who have embraced change and reach to the future,” says Trisha Poole, principal of Design Poole and a member of NEWH. Since these firms know all about designing the best hotels, we had to ask:

What does “luxury” mean when it comes to hospitality design?

Algiere Design & Purchasing Services, Inc.

Baskervill Richmond, VA / www.baskervill.com

Plano, TX / www.algierehospitality.com

AJC Interior Design New York, NY / www.ajcinteriordesign.com

Architecture + Design Associates, Inc.

“Luxury is the simple elegance of private interiors.”

BBG-BBGM New York, NY / www.bbg-bbgm.com

Dawson Design Associates Seattle, WA / www.dawsondesignassociates.com

Fairfax, VA / www.archidesign.com CONTINUED ON PAGE 114

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DB Picks

COOL DESIGN HOTELS

2012's Brightest hospitality designers (continued)

L2 Studios, Inc. Orlando, FL / www.l2studios.com

LuP Interiors, LLC Orlando, FL / www.lupinteriors.com

Montgomery Roth Architecture & Interior Design Houston, TX / www.montgomeryroth.com

“Luxury is experiencing impeccable service and exceptional amenities that exceed personal expectations.”

Noble-Hampton Northfield, NJ

OPX PLLC Washington, DC / www.opxglobal.com

What does “luxury” mean when it comes to hospitality design?

Cauhaus

Gensler

Frederick, MD / www.cauhausdesign.com

Houston, TX / www.gensler.com

“Luxury is accommodation. Luxury is about options. We want whatever experience we desire, whenever we want it.”

Degen & Degen architecture + interior design Seattle, WA / www.ddseattle.com

Design Atelier

Gettys Chicago, IL / www.gettys.com

HL Reed Design and h2h, Inc. Richmond, VA / www.hlreeddesign.com

ID & Design International Fort Lauderdale, FL / www.iddidesign.com

II by IV Design Associates

Pierre-Yves Rochon, Inc. Chicago, IL / www.pyr-design.com

Puccini Group San Francisco, CA / www.puccinigroup.com

Richmond International London, UK / www.richint.com

Rowland + Broughton Architecture & Urban Design

San Rafael, CA / www.design-atelier.net

Toronto, ON, CAN / www.iibyiv.com

Denver, CO / www.rowlandbroughton.com

Design Continuum

Innovative Designed Environments Associates, Inc.

RTKL Associates, Inc.

Atlanta, GA / www.designcontinuuminc.com

Design Group Carl Ross El Segundo, CA / www. carlrossdesign.com

Design One Studio Atlanta, GA / www.designone-studio.com

Design Poole, Inc. Satellite Beach, FL / www.designpoole.net

Edge of Architecture (EOA) Coral Gables, FL / www.edgeofarchitecture.com

Flick Mars Dallas, TX / www.flickmars.com

ForrestPerkins San Francisco, CA / www.forrestperkins.com

Friedmutter Group Las Vegas, NV / www.fglv.com

GA Design London, UK / www.ga-design.co.uk

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Hotel Unique

“Luxury will become more architectural and less additive and spaces will provide better function in a smaller footprint, all while remaining plush, warm, and comfortable.”

Portland, OR / www.idea-interiors.com

“Luxury is anything that makes you feel special. [It's] comfort, delight, opulence.”

Johnson David Interiors Englewood, CO / www.johnsondavidinteriors.com

Kay Lang Associates Los Angeles, CA / www.kaylangassocs.com

Kling Stubbins Philadelphia, PA / www.klingstubbins.com

KNA Design Los Angeles, CA / www.knadesign.com

Matchline Design Group Dallas, TX / www.matchlinedesign.com

“Luxury means refined comfort.

Clients and guests alike want high-impact design while still being cost-conscious.”

Miami, FL / rtkl.com

Simeone Deary Design Group Chicago, IL / www.simeonedeary.com

SM Design Associates Corona del Mar, CA / smdainc.com

Smart Associates Ltd. Minneapolis, MN / smart-associates.com

Studio Rouge Atlanta, GA / www.studiorougeinteriors.com

studioDW Houston, TX / studiodw.us

TAL Studio Las Vegas, NV / www.talstudio.com

Therese Virserius Design New York, NY / www.theresevirseriusdesign.com

Trevillion Interiors, Ltd. Enfield, Middlesex, UK / www.trevillion.co.uk

Gensler

Moncur Design

Wynn Design & Development

Denver, CO / www.gensler.com

Toronto, ON, CAN / www.moncur.ca

Las Vegas, NV / www.wynnresorts.com

Holiday Inn Bedford Bedford, Texas

AFTER

A custom designed regionally influenced turnkey renovation of a closed non-operating hotel. Now a “Renovation of the Year” award winning 250 room full-service Holiday Inn in Bedford, TX. A delicate weave of organic colors, heavy textures, natural stone, rustic woods, iron accents, decorative lighting and local art welcomes the guests. From the refreshing new exterior color scheme, architectural stone and native landscaping to the hotel’s Porte Cohere entrance; the guest is greeted with a warm and inviting southern artistry. A rare combination of Texas Charm enriched with a contemporary elegance to offer guests a modern experience and the comfort the guest has come to expect out of their Holiday Inn brand. Algiere is pleased to have provided turnkey design, construction and purchasing services.

BEFORE

JFK Hilton Hotel JFK International Airport, NY

AFTER

The newly designed guestrooms and public spaces combined with the latest technology at guest’s fingertips is sure to win-over the most discerning of seasoned travelers. Phase 2 of the renovation of the former Holiday Inn at JFK Airport in New York to a flagship Hilton Hotel with new architectural detailing, open spaces, clean lines and subtle elegance of contemporary styling and warm color palettes layered with rich texture will welcome all guests and international travelers. Phase 2 reaches up the twelve story guest tower where all 360 rooms were completely renovated to include new sound absorbing windows, new furnishings, and new ultra plush bedding. An all new luxury bathroom with enlarged walk in showers will complement the refreshed guestroom to ease guests with transitioning from home. Algiere is pleased to have provided turnkey design, construction, and purchasing services.

BEFORE

7704 San Jacinto Place, Suite 100 / Plano, TX 75024 / www.algierehospitality.com

For more information on Algiere's services please call 972.608.3746 113

Brooklyn Built LLC

Smart lighting.

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www.MALCOLMBERG.com 305.444.0990

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Features

Americans in Paris Design couple David Rager and Cheri Messerli add their USA spin to the French design world

By Laura NeilsoN / photos by François coquerel

Construction paper and colored pencils have DR: We had some free time and wanted to never been David Rager’s thing. In fifth grade, “make stuff,” and found that there’s a group the designer traded up to the computer and of people here who feel the same way we did. launched his career with a custom cassette Don’t get me wrong—French pessimism can tape cover commissioned by a neighborhood be a very real thing, but I’ve found that the band. Since then, he has dabbled in a little bit people here who want to forget about that of everything, from album covers to furniture way of thinking tend to be drawn towards design, and he’s globe-hopped from Southern each other. It’s funny, we never felt especially “American” before we lived here.

California to Europe.

and grew. So when interior architecture and design came up, I thought it would be something that Cheri and I could do well and do together. Physically, the front space lent itself nicely to a traditional style taqueria. It’s bright and crowded, and the more broken in it gets, the better it looks. The cocktail bar in the back plays off of that. If tacos are a day at the beach, then cocktails are the bonfire on the sand afterwards.

Although you’ve dabbled in many different design areas, it’s safe to say doing the interior design of a restaurant is pretty different from the rest. What got you interested in Candelaria?

Is there an aspect of design or a product market that you haven’t touched on yet, but you’ve liked to?

Now Rager and his wife, jewelry and fashion designer Cheri Messerli, find themselves in Paris where they’ve been living for the past two years. As they’ve immersed themselves in the local design scene, new projects have taken them in new directions, including the design for Paris’ hippest Mexican restobar, Candelaria. Rager and Messerli let us inside to talk design, France, and of course, tacos.

Both of you are deeply involved in the design scene in America. Was it tough getting involved in the creative community in Paris?

CM: Living in Paris makes you see and miss things from where you’re from. I think the fact that tacos were in the equation automatically made us think of California, and it just was a natural progression from there.

DR: The owners originally approached me to do the logo and website, then menus and other printed materials, and then the job just grew

CM: I’ve always been interested in designing a record. Music is a huge inspiration.

DR: Personally, I’d love to have an excuse in the future to work in product design. Bags are something I’ve always got an opinion on— and a closet full of. Even app design is something I’d be interested in pursuing. The great thing about being a designer is that nothing is out of bounds. We’re literally surrounded by problems that need design to solve them. a

David Rager and Cheri Messerli inside their Paris apartment

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DESIGN BUREAU

Features

Around the world with David & Cheri We asked Rager and Messerli to chart out various key moments that propelled the couple to their current state. Rager did—in the form of a graphic Metro map of his life.

1 1

Sri Lanka: Cheri and I took a trip to Thailand and Sri Lanka in 2004. The day after Christmas, we decided to travel to the center of the island. We left town at about 9:30 a.m., and had we stayed 10 minutes more, we would have been trapped by the tsunami.

2

New Museum: We were living in LA when I found out the New Museum needed someone to oversee the design for the launch of their new building. Less than a month later, we found ourselves living on the opposite coast. I arrived on my first day, got one file — the new logo created by Wolff Olins — and was basically told, “Ok, you’ve got the logo, now let’s build everything necessary to have the museum open in less than six months.” It was an incredible experience.

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California: The California Map was created for the Selby exhibition at Colette in Paris a few years ago. We were living in New York at the time and missing the Golden State.

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The Ecology Center: Cheri and I helped brand and launch The Ecology Center, a space for sustainable education in San Juan Capistrano. It's situated in an old farmhouse on an organic farm, and I still work for them today.

5

Our Wedding: There were no professionals involved, just our friends and us doing everything by hand, from silk-screening the napkins, to collecting driftwood, and folding thousands of tiny paper cranes.

6

Fool's Gold: I know a few of the guys in Fool's Gold from San Francisco and our college days, when we were playing the same house parties. I was lucky enough to reconnect with them just as they were recording their debut album and was asked to design it.

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Best Coast: Lewis from Fool's Gold recorded Best Coast's album. When they were looking for someone to do the cover, he suggested me. My only instructions were "just make sure to include this photo of our cat," so I did.

Grey Magazine: Cheri helped style a Grey photo shoot and, coincidentally, a friend recommended me to help design the magazine. I'd fly out to Rome where we'd lay out the book, then we'd drive through the night to Venice to make it to the printer.

Candelaria: The first real taqueria to open in Paris, and the first big client project that Cheri and I tackled together. We had five weeks, so there was a lot of creating designs on the fly.

Caluvfornia

MOCA

Design Assistant

Trend Consultin New Museum

2004 Sri Lanka Trip (Tsunami)

Ca

California E. Moving

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Features

DESIGN BUREAU

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The Ecology Center The Ecology Center Build Out

Paris

CM Jewlery

Selby at Colette

Wedding W. Moving

New York

It

Best Coast

Grey Magazine Candelaria

Fools Gold Ofr.

California Paris New York

Rome

Fashion Consulting Residential Projects Bar/Club Design

Pa 2011

Ny Exterior Candelaria image by Danielle Rubi; all others by David Rager

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Features

Aaron Rose

Mandy Kahn

Brian Roettinger

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BOOK TOUR

COLLAGEA-TROIS How is a culture defined if it isn’t able to create something that is its own?

Authors Mandy Kahn and Aaron Rose, and designer Brian Roettinger, explore the meaning of making something original with their book, Collage Culture. i n te rv ie ws By Man d y Kah n

on col l ag e culture kahn on the making of the book: The book began as a late-night talk at a diner between Aaron and I, and ended as a conversation between the book’s two halves. Each is a distinct, long essay that considers a troubling trend: our culture’s current tendency to pick through and splice together borrowed content rather than creating new works of art—or anything—from scratch. Our prescription isn’t so different from Ezra Pound’s for poetry: “Make it new, day by day, make it new.”

Rose on readers' response to the book: There have been two recurring comments. The first is: I totally agree, this is right on time, which I get eighty percent of the time. Where it’s like, “Oh my god, I’m so glad you wrote this.” And then there are people who have come to me and said, “You idiot. Collage culture is our identity. There is no crisis. This is it. You’re not looking at this world through the right lens.” And I think there’s a valid point to both. I like both arguments.

Above: Promotional posters for the Collage Culture book tour Left: Portrait by Autumn deWilde

Roettinger on designers' response to the book: Half the people I’ve talked to agree, half the people disagree, especially from a design sense.

Because in graphic design, being inventive isn’t always what needs to happen.

It’s not always about innovating new ideas—it’s about giving fresh ideas, or appropriate ideas. Which a lot of the time I agree with because half the stuff I do, I’m not in the position to be entirely innovative—I’m dealing with content, and I have to take a back seat to that content. It’s really about presenting something in a way that makes sense, even though you’ve probably seen it a hundred times. And that’s come up. Like: Maybe design isn’t always about being innovative, but about being fresh.

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Paris: Colette Kahn: I’d never been to Colette before and I was sort of blown away by it. I’d never seen shoppers quite so obsessive, or a store that inspires such apparent fervor. And then when we were doing our signing, I felt like we were another thing Sarah [Colette’s owner] had chosen to display—and not in a bad way.

It was just really surreal for me. I felt like I was sitting in a vitrine in a museum.

Collage Culture Travelogue

ROSE: I really do consider Sarah a cultural anthropologist, even though everything in that store’s not to my taste—I still respect her ability to search the world and hunt out things that she deems relevant. And every time I’ve ever done anything there— and the Collage Culture release in particular—I’ve felt it’s an honor to be included in that, even if it’s awkward or commercial or unacademic. That store reaches more people than academia ever could. So I think that’s cool.

From Berlin to Paris and back to The States, Kahn, Rose, and Roettinger chronicled their Collage Culture book tour through their thoughts, photos, and experiences NEW YORK CITY: PRINTED MATTER Roettinger: One thing I liked about the New York thing was that we were like, Okay, we’re going to wheat paste the front of the store. And we get there and we’re like, Shit, there are stickers there.

How are we going to cover that?—Well, let’s just go get some glue. It was so from the hip. It wasn’t pre-planned—and I like that sort of energy. You just have to do it and get it done. You don’t overanalyze it.

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Colette photo by Cristel D; Printed Matter photos by Andrew Long

BOOK TOUR

THE BOOK Collage Culture poses several questions, including why has the 21st century become an era of collage, in which creative works are made by combining elements from the former century? Kahn, Rose, and Roettinger dissect the question via words and design.

BERLIN: MOTTO Roettinger: Motto was the first event where we were able to say out loud, This is our book, this is what we did, this is what it’s about, whereas Colette was kind of— ROse: At Colette, we were a visual representation rather than an intellectual one.

LOS ANGELES: FAMILY Roettinger: I felt like, the book is so visual that if people came to that event, everyone should be able to easily see the book rather than there being one open book and people saying, Oh, I want to see it—where is it? It’s funny, [Family’s co-owner] Kramer said: Oh shit—you’re installing the whole book? I’m in the business of selling books and you’re giving away the whole thing on the wall.

For more information, or to purchase a copy, visit www.collageculture.com

Family and Motto photos by Aaron Rose

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Features

PHOTO ESSAY

Love Hotel “Love Hotel is a series of portraits of unmade beds at love hotels in Seoul, where lovers are known to carry on secret affairs. I was permitted to enter the rooms just after the lovers’ departures. Their energy was still lingering in the air. It created an atmosphere that was rich for exploring tension between presence and absence, and the subtle fictions inspired by what remained. They resonate with personal memories of love and loss, and explore these connections as vestiges of time and love’s ephemerality.”—GRACE KIM, 2008-2009

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Anonymous, Seoul 2008

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www.grace-kim.com

Features

Features

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Facing page: Anonymous, Seoul 2008. Above: Anonymous, Seoul, 2009

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Above: Anonymous, Seoul, 2009

This issue’s best Albums

Presented by

Music

DESIGN BUREAU

A

ALARMPRESS

MESHUGGAH Koloss (Nuclear Blast) With its mix of palm-muted chugs, metallic tones, and dissonant chords on deeply down-tuned eight-string guitars, Sweden’s Meshuggah has helped to spawn the onomatopoeic “djent” subgenre. This, combined with the churning, hypnotic beats of drummer Tomas Haake, has made the band an influential force on modern metal.

The band’s first full-length album since 2008, Koloss maintains all of the key Meshuggah traits while widening its net ever so slightly. The rhythm riffs hit a wider range of notes than in recent years, and the high-speed aggression of albums past has returned on tracks such as “The Demon’s Name is Surveillance.” The worming, alien guitar solos still sound like they’re played backwards, but a few more “traditional” solos make appearances, as do more “plainly counted” math riffs.

Simply put, Koloss is a behemoth. [SM]. /01 02/

03/

04/

05/

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07/ Supported by the Initiative Musik Non-profit Project Company Ltd. with project funds from the Federal Government Commissioner for Culture and Media on the basis of a resolution passed by the German Bundestag.

3: Le Prêtre Viré was originally an argument between a priest and a doubter.

Karsten Hochapfel - guitarist, cellist and composer of this piece - discarded the part of the priest though, hence the title. This piece was written for his band „Das Rote Gras“ in which he plays with Daniel Glatzel, who created this adaptation for Andromeda.

7. Despite his dubious character, the express messenger Space Purolator is always on his way.

Burdened and thrilled by the goods he has to carry out into the world, he jets around between utter apathy and supernatural motivation.

1,2: Saturn Hoola Hoop is quite simply a beat combining orchestral and cut-up aesthetics. Something it has in common with the more abstract Sotho Hotho Ro, which you could call a distilled essence - a constellation of musical aphorisms and assumptions, colorful crystals mirrored and juxtaposed in the tightest of spaces.

6. Anebulamanifesto is a collage of scattered, improvised fragments by harpist Anna Viechtl.

5. September 27th, 2010. Mankind has gone insane. Something has to change. Something has to move. But not us! We need a hero who can pull us all along. We need you! We long for you! We desperately call you…

BUM BUM 4. Hektra Mumma Gulla is a musical diary, written in the cold winter of 2009.

Outside people tried to balance on the thick layers of ice like clumsy penguins.

Everyday rainy showers made matters only worse. Inside it was dry and empty.

Repetitive patterns riddled the author… daily routines, music, perception – absurdity and mystery of life…

Ceci n‘est pas de la musique?

BUM

BUM

BUM

BUM

BUM

BUM

BUM BUM ANDROMEDA MEGA EXPRESS ORCHESTRA

paranormal solistic activities: Gerhard Gschlössl trombone on Track 2 Andi Haberl drums on Track 3 Grégoire Simon 1st violin, Johannes Pennetzdorfer viola on Track 4 Anna Viechtl harp on Track 6 Kalle Zeier guitar, Magnus Schriefl trumpet, Matthew Lonson whistling on Track 7

All tracks composed by Daniel Glatzel except Track 3: composed by Karsten Hochapfel, arranged by Daniel Glatzel

Music composed in 2009-2011.

Recorded in 2010-2011 at Studio P4, Lovelite Studios and Bärenhorst in Berlin.

Mixed in 2011 at Lowswing Studios and Candybomber Studios in Berlin.

Mastered in 2011 Calyx Studios in Berlin.

This album was created by a group of friends and idealists called the Andromeda Mega Express Orchestra. They had been playing and living together with this music-form for over 4 years when a vision of a parallel reality arose in the year 2010: The deconstruction of the whole organism into its individual parts, its reconfiguration and transformation into something that could not be done live.

The Andromeda Mega Express Orchestra: Oliver Roth, Laure Mourot flute, alto-flute Daniel Glatzel clarinet, tenor sax, melodica, vocoder Sebastian Hägele bassoon Johannes Schleiermacher baritone sax, flute Aki Sebastian Ruhl, Magnus Schriefl, Ritsche Koch, Fidelis Hentze trumpet Gerhard Gschlössl, Johannes Lauer trombone Karl Ivar Refseth vibraphone Andi Haberl drums, percussion Anna Viechtl harp Kalle Zeier guitar, banjo Andreas Waelti, Andreas Lang bass Matthew Lonson, Josa Gerhard, Mokkapan Phongphit, Grégoire Simon, Adrian Kimstedt violin Johannes Pennetzdorfer, Martin Stupka viola, recorder Isabelle Klemt, Sophie May cello Elena Kagaliagou french horn Marie Séférian, Annika Ritlewski, Ulrike Schwab, Jelena Kuljic vocals The »Lusubilo Choir« and our neighbours from the 4th floor vocals and kids voices

Produced by Daniel Glatzel Mixed and Mastered by Francesco Donadello and Daniel Glatzel Edited by Daniel Glatzel Recording Engineers: Martin Ruch, Jean Szymczak, Andreas Stoffels and Jochen Ströh Assistant Engineers: Florian von Keyserlingk, Maurizio Borgna and Martin Stupka

This led to a one-year long journey into the unexplored realms of editing, processing and mixing of millions of puzzle-pieces that had been recorded in numerous overdub-sessions before.

This odyssey is now condensed to one hour of music which you are about to listen to.

We welcome you on board aswell as the great Enrico Caruso and Bruce Lee who will be able to join us for a minute despite their busy schedules and early deaths in 1921 and 1973 respectively.

1: Saturn Hoola Hoop 2: Sotho Hotho Ro 3: Le Prêtre Viré 4: Hektra Mumma Gulla 5: Rainbow Warrior 6: anebulamanifesto 7: Space Purolator

A Ninety-Degree-Thank-You-Bow to all the people who helped realizing this epic thingy!

Thank you for your love and commitment!

Special Thanks to the idealistic musicians, the dedicated engineers (Ciao Francesco!), Mama Andromeda, Vater Staat, Familie Glatzel/Brandmaier, Familie Viechtl, Bärenhorst, Das Rote Gras, Mari Sawada, Max von Aulock, Markus & Micha Acher, Florian Steinleitner, Oli Zülch, our Gneisenau-neighbours and Henning Wagenbreth.

Katalognr. N 29

8 80918 20371 3

Artwork by Henning Wagenbreth

SIGH

MARRIAGES

EYVIND KANG

In Somniphobia (Candlelight)

Kitsune (Sargent House)

The Narrow Garden (Ipecac)

Formed in Tokyo in 1990, Sigh isn’t like most extreme metal bands. With the direction of singer, songwriter, keyboardist, and front-man Mirai Kawashima, the band has spent the past two decades producing black metal truly outside the norm, stirring genres such as classical, disco, electronica, riff-driven ’70s British metal, and film scores into the mix.

Sigh’s latest, In Somniphobia, still finds ways to surprise—whether from progressive, sax-infused metal, Sergio Leone-esque melodies, or tunes that would belong to the classiest jazz band in hell. From start to finish, it’s another unwinding adventure. [TH] /02

Though their union is new, the members of Marriages are veterans of post-rock experimentation, and their self-titled debut challenges the very notion of the sub-genre.

Many listeners might recognize multi-instrumentalist and composer Eyvind Kang’s name from work with Sunn O))), Sun City Girls, Animal Collective, Lou Reed, and others, but his personal work is an avant-garde fusion of modern compositions and classical and traditional elements. On his latest solo recording, The Narrow Garden, Kang shows the extent of his influence across a broad spectrum of styles by leading a collective of 30 musicians. It’s a musical synergy that moves through delicate and soaring moments, with unexpected turns that divulge influences from non-Western melodic modes and tonalities. [MN] /04

Guitarist/vocalist Emma Ruth Rundle, bassist Greg Burns, and drummer Dave Clifford all spend time in Red Sparowes, a band that has pushed the boundaries of the loud-soft dynamic with an innovative use of pedal-steel guitar and subtle vocal textures. But Marriages is markedly different, built around Rundle’s intoxicating vocals and unconventional guitar style. One might compare the sound to PJ Harvey teaming up with Tool in 1995 to cover Mazzy Star—but you should skip comparison entirely, as Marriages isn’t quite like anything else. [JT] /03

EARTH

LIBERTEER

Angels of Darkness, Demons of Light II (Southern Lord)

Better to Die on Your Feet Than Live on Your Knees (Relapse)

Last year, Angels of Darkness, Demons of Light I captured guitarist Dylan Carlson’s drone group Earth yet again turning into something new.

The songs may have had the slow tempos and clean-but-menacing guitar lines of 2008 album The Bees Made Honey in the Lion’s Skull, but the record challenged Carlson and drummer Adrienne Davis to embrace more collaboration and improvisation with a pair of new bandmates, cellist Lori Goldston and bassist Karl Blau.

Angels of Darkness, Demons of Light II reveals just how far they were stretching. Like the songs themselves, the change in Earth can appear maddeningly gradual. But let Angels II soak in for a while, and you’ll hear the members pushing each other to create moments that no one’s capable of creating alone. [SG] /05

As the new solo moniker of Santa Cruz grind veteran and multi-instrumentalist Matt Widener, Liberteer has delivered a maiden opus that might truly justify using the words “grindcore” and “opera” in the same breath.

It’s an epic and unorthodox debut—one that plays essentially as one continuous song while marrying D-beat crust to horns, flutes, banjos, and marching snares.

From the opening moments, it’s obvious that Widener’s over-the-top militarism is meant as a parody of patriotic fervor. He has embraced the tenets of anarchism since the mid-2000s, and though Better to Die… might be mistaken for a militiaman’s bitter renunciation of the federal government, the album is in fact a call to rebuild society from the ground up, and to take action against the very idea of social hierarchy. [SRK] /06

andromeda mega express orchestra BUM BUM Under the guidance of composer Daniel Glatzel, the 20-piece Berlin-based Andromeda Mega Express Orchestra is shaking up the assumptions that come with orchestral music, putting forth modern sensibilities and intelligent composing styles to fuse its myriad influences together.

The styles already visited on its 2009 debut, Take Off!—minimalism, classical, jazz, film and television scores, drone, and modern composition—are all heard on BUM BUM, but in an electronic cut-and-paste aesthetic. Imagine the album as a 1,000-piece jigsaw puzzle, where each piece is a sound snippet and they have endless possibilities for configuration—that’s BUM BUM in a nutshell. [MN] /07

Scott Morrow is the music editor at ALARM Press and author of This Week’s Best Albums, an eclectic weekly series presenting exceptional music. Visit www.alarmpress.com for more.

[SG] Scott Gordon, [TH] Tom Harrison, [SM] Scott Morrow, [MN] Michael Nolledo, [SRK] Saby Reyes-Kulkarni, [JT] John Taylor

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For Hire

FOR HIRE DESIGN TALENT FRESH ON THE MARKET

FOR HIRE FOR HIRE For Hire: Bijan Berahimi DESIGN TALENT FRESH ON THE MARKET

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE Design Talent Fresh On the Market

This multi-tasking CalArts design student is as sunny as his favorite color

FOR HIRE

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

How did you pick graphic design as your area of expertise?

Design Talent I was interFresh On the Market ested in fine

FOR HIRE

FOR HIRE

DESIGN TALENT FRESH ON THE MARKET

DESIGN TALENT FRESH ON THE MARKET

art but also into computers. Graphic design is this realistic magical middle profession, it allows you to be fun and creative but also to have a job.

FOR HIRE

How would you describe your style in 3 words or less?

FOR HIRE: Laura Allcorn

Playful, serious, detailed

DESIGN TALENT FRESH ON THE MARKET

DESIGN TALENT FRESH ON THE MARKET

Who are some designers you look to for inspiration?

CalArts has been theFRESH biggest DESIGN TALENT FRESH Professor Ed Fella DESIGN TALENT ON THE MARKET ON THE MARKET source of inspiration for me. His passion for making

FORFORHIRE HIRE

is unmatched; he is constantly working in his studio at CalArts. He has influenced my design practice more than any class could have.

What are your post-graduation career goals?

This is something I need to start thinking about more.

There are so many facets within design, and, unfortunately, I’ll have to just pick one. All I can hope for is that I work in a creative, progressive, and positive environment, whether that be a large or small studio. I’d like to continue to collaborate, make illustrations, design, screen print, make art, start a magazine, curate shows/ publications, write essays, publish books, start a storefront, hold lectures and then when I’m done…teach everything I learned to students and then, maybe, at some point, relax for a bit.

Top to bottom:

A mailer for Revelation Readings for the Red Bull Theater in New York.

Collaboration with Chris Burnett

Packaging design & custom type for MILK, Reverie’s anti-frizz hair product

Why should somebody ‘hire you’?

Bijan Likes: Penny & Ghost (my two pups), screen printing, the color yellow, paper, sleeping in, corduroy pants, Spoon (the band, not the utensil), MINI Coopers, Portland in the summer, manual transmissions, being organized, and a good pair of socks

My greatest assets are my social skills as an originator, organizer, editor, and collaborator: I’m someone who makes things happen. a

Bijan Dislikes: Bad digital printing, strong perfume, vanilla scented candles, sleeping in, buying clothes, raccoons, spam mail, large crowds, heights, and automatic transmissions

RESUME SNAPSHOT: Bijan Birahimi EDUCATION California Institute of the Arts BA in Graphic Design Expected graduation: 2013

Work Experience Good Magazine/Good Corps, 2012 Internship involving illustrations for Google and Mastercard, worked on design for Issue 026 Smog Design Inc, 2008 Internship working on album packaging for The Decemberists and Tom Petty

Interested in being featured in For Hire? Email us at forhire@wearedesignbureau.com

Skills Adobe Creative Suite - Illustrator, Photoshop, InDesign Coding - Wordpress, HTML, CSS

Wanna hire Bijan?

Check out his website: www.bijanberahimi.com

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