Design Bureau Issue 23

new work from Gang, foster, JAHN, & More p. 106

toyo ito

Hot Shots

this year’s pritzker architecture prize winner looks ahead

Meet the photographers who make buildings look badass

Inspiring Dialogue on Design

Buenos Aires big-name designers heat up argentina’s must-visit capital

the architecture issue

building The future 10

Dudes ‘n denim 6 cool jean jackets for fall

Big Ideas changing the way we live, work, and play

october 2013 $8 USA/CAN

october 2013

the latest architecture-inspired fashion, jewelry, films, and more

Ph. Vincent Chaigne Ph. Vincent Chaigne Bar Cart Bar Cart

gentner gentnerfurniture furniture showroom showroom228 228wwkinzie kinziestst2nd 2ndfloor floorchicago chicagoilil60654 60654| |t t312 312755 7550700 0700gentnerdesign.com gentnerdesign.com

106

Building the Future Ten upcoming projects that will blow your mind

CONTENTS issue 23 FEATURES 106

130

Building the Future A high-rise full of gardens.

A building that breathes fresh air. An airport for spaceships.

We look at 10 groundbreaking projects that some of the biggest architecture firms in the world have on the boards.

Hot Shots The building is built, now people need to see it—that’s where architecture photographers come in. We get to know some of the best in the biz.

DIALOGUE & DESIGN THINKING 53

56

66

76

Building Character Architect Shane Fernandez’s quirky background fuels his work Impeccable Taste Architect Juancarlos Fernandez fused Old West charm with modern functionality for a Napa Valley winery

INFORMER 13

Pixels & Print

17

Objects & Gear

23

Fashion & Beauty

31

Travel & Culture

41

Structures & Spaces

Living Naturally The landscape and architectural design of an island property pays homage to Florida’s diverse ecosystems Modern Glow Panoramic views and a statement staircase are central to a reimagined 1960s house

PLUS 4 6 8 94 143 144

Contributors Letter From the Editor Letters Notes From the Bureau This Issue’s Best Albums For Hire

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October 2013

Travel

Buenos Artes Building by building, a fashion exec turned real estate developer remakes a Buenos Aires arts district—with some help from a few big-name architects 31

Interiors

Art-chitecture Site-specific art installations are integrated into the architecture of a colorfilled family home 80

Fashion

Built For Wear Croatian designer Matija Cop looks to centuriesold architecture techniques for fashion inspiration 27

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CHICAGO

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SALES@NIEDERMAIER.COM

NEW YORK 212.888.8680 NIEDERMAIERNY@AOL.COM

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“A 1-NIGHT STAND” DESIGN: SEAN J SCOTT

DESIGN BUREAU CONTRIBUTORS

Atelier Olschinsky created this issue’s cover illustration.

The small creative studio, run by Peter Olschinsky and Verena Weiss and based in Vienna, Austria, works in graphic design, illustration, photography, and art direction. In addition to jobs for clients, they also run several independent projects. olschinsky.at

Ann Binlot wrote this issue’s travel feature on Buenos Aires and developer Alan Faena. Her career as a journalist has taken her to Hong Kong, London, Paris, and beyond. She’s been a New Yorker since 2003 and works as a freelance writer for ARTnews, The Economist online, Lifestyle Mirror, Marie Claire, and more.

Gwendolyn Purdom is a writer and editor who covers architecture, history, and culture. In this issue, she wrote about Napa’s Brand Winery and architects Shane Fernandez and Michael Kovac. Her work has appeared in Preservation, Washingtonian, and USA Today, among others. gwenpurdom.com

Billy Rood photographed this issue’s cover model.

His cinematic and ethereal imagery of fashion, beauty, and portraits always have a strong visual style, sophistication, energy, and wit.

He is based in NYC but has clients all over the country for assignments ranging from stills to motion. billyrood.com

cool by Publisher & editor-in-chief Chris Force chris@alarmpress.com ----MANAGING EDITOR

Kristin Larson kristin@alarmpress.com associate editor

Joel Hoglund joel@alarmpress.com Features Editor

Elizabeth Hall lhall@alarmpress.com editorial interns

Lexi Crovatto, Sara Driscoll, Emily Rosen -----

Sales and ACCOUNTs DIRECTOR

Tarra Kieckhaefer tarra@alarmpress.com

New Business Development

Ellie Fehd ellie@alarmpress.com

Shannon Painter shannon@alarmpress.com Account EXECUTIVEs

Alyssa Erickson, Gail Francis, Kim Kozub, Miranda Myers, Courtney Schiffres, Allison Weaver production manager

ART DIRECTOR

Lauren Carroll laurenc@alarmpress.com

Design intern

Jenny Palmer jenny@alarmpress.com

Spencer Matern spencer@alarmpress.com

Ellen Winston -----

contributors

Atelier Olschinsky, Kathryn Freeman Rathbone, Amber Gibson, Jordan Mainzer, Jill McDonnell, Gwendolyn Purdom, Lesley Stanley, J. Michael Welton ----Assistant to the Publisher

Samantha Slawinski sam@alarmpress.com

de-

account managers

Jill Berris, Joel Bednarz, Krystle Blume, Lindsay DeCarlo, Matthew Hord, Brianna Jordan, Moira Kelley, Natalie Valliere-Kelley, Caitlin Kerr, Xavier Winslow

Marketing coordinator

Human resources

Lauren Miller lmiller@alarmpress.com STAFF ACCOUNTANT

Mokena Trigueros ----on the cover

Photography by Billy Rood. Illustration

by Atelier Olschinsky. Stylist: Brandy Kraft at Artists by Timothy Priano.

Hair/Makeup: Kat DeJesus for Factor Artists Emerging. Model: Maddy for Factor Women

design Featured on the cover: Dress: Karen Millen, $350, karenmillen.com. Shoes: Julian Hakes, $249, courtesy of Akira, shopakira. com. Necklace: Oscar Galea, $205, courtesy of MCA Chicago, mcachicago.org. Ring: Gillion Carrara, gillioncarrara.com. Google Glass, courtesy of Nansen, nansen.com

A one-year subscription to Design Bureau is US $40 (international $80).

Visit our website at wearedesignbureau.com or send a check or money order to: Design Bureau 900 N. Franklin St., Ste. 300 Chicago, IL 60610

T 312.386.7932 F 312.276.8085 info@alarmpress.com

Design Bureau (ISSN 2154-4441) is published monthly with the exception of May/June and Nov/Dec, by ALARM Press at 205 N. Michigan Ave., Suite 3200, Chicago, IL 60601. Periodicals postage paid at Chicago, IL and additional mailing office(s). POSTMASTER: Send address corrections to Design Bureau at 205 N. Michigan Ave, Suite 3200, Chicago, IL 60601 Retailers: To carry Design Bureau in your store, please call 201.634.7411. Š 2013 Design Bureau. All rights reserved. Reproduction in whole or in part without permission is strictly prohibited. DESIGN BUREAU is a trademark of Design Bureau.

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October 2013

LETTER FROM THE EDITOR

We wanted to spend this year’s big architecture feature looking at what’s to come rather than looking back. We know that architects play a huge role in shaping our world. Things that seem obvious to us now, like building vertical skyscrapers to use space more efficiently, were once a crazy idea in someone’s head. So we looked to 10 architecture firms to find out what crazy ideas they’ve been coming up with, and how they’re going to solve problems and shape our future.

Architects are always thinking ahead.

It’s their future projects that seem to interest them most, not ones from the past.

Take Japanese architect Toyo Ito. This is a guy who’s been designing buildings that have pushed architecture forward for the last 40 years. And earlier this year, when he took the stage to collect the highest honor in his profession, the Pritzker Architecture Prize, he hardly wasted a breath patting himself on the back or recounting his past accomplishments. He wanted to talk about the challenges that the next generation of architects faces and the problems they’ll have to solve. Something about that stuck with me.

Photo by Jim Krantz, jimkrantz.com

We also pay some much-deserved attention to an unsung hero in the architecture world: the photographer. In this issue we dragged five top architecture shooters from behind the lens for a little time in the spotlight. As always you’ll find more awesome architecture and interiors photography throughout our Dialogue and Design Thinking sections—in this issue we’re covering everything from an amazing winery to a groundbreaking public housing project.

And since I know we’re not the only ones who are inspired by architecture, we found a bunch of cool designers working in fields like fashion and jewelry to talk about how architects have influenced their own work. We hope you enjoy.

-----

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

E xp L Or E THE p O SSIb ILIT IES | H O LId AY 2013

T WELVE EAST OHIO STrEET CH I CAGO I L L InOIS 60611 ( 312) 6 4 5 - 7 760 IV YrOOMCHICAGO.COM

DESIGN BUREAU

October 2013

LETTErs to design bureau SOUND BITES

Last month we celebrated our third anniversary with our annual Inspiration Issue and released a special edition all about interior design. Email us your thoughts: letters@wearedesignbureau.com

“You’ve got to wonder sometimes if huge designers are ever phoning in it— doesn’t seem to be the case with Starck.”

(S.D., via Email)

IVERS

AR Y

ANN

philippe stArCk: “DesigN is my politiCAl weApoN” p. 142

E

dI Io t

(Y.S., via Twitter)

The

inspiraTion issue

september 2013 $8 UsA/CAN

a look inside the worlds of film, music, fashion, technology and more...

september 2013

“DB’s special edition Inspiring Interiors is top-notch, with details, engaging dialogue and stunning project visuals—XXO.”

Inspiring Dialogue on Design

Inspiring Interiors

The Inspiration issue

DB shout-outs from the Twitterverse

Join the conversation at twitter.com/DesignBureauMag

DB TWEETS @iamstacy_ @DesignBureauMag helped me decide to be an architect.

Philippe Starck

N

8

@olive_interiors Obsessed with Design Bureau magazine. That is all... @MGravesDesign Thank you @DesignBureauMag for putting together such a great article about Michael Graves!

“[This issue] is the perfect example of why I like Design Bureau—a graphic designer, photographer, singer, actor, etc. all get together to talk about what gives them inspiration.”

DB ON INSTAGRAM DB visits the Jasper Group showroom at #NeoCon13

(E.W., via email)

0_Cover.indd 1

6/6/13 12:31 PM

“Architecture in the 20th century has been cut off from nature. In the 21st century architects will be required to solve that problem—and will solve it.”

Architect Toyo Ito P. 46

The colorful Moroso window installation from #ICFF in NYC

See more of our photos on Instagram. Follow us @designbureaumag

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

Radio, Radio

50/50

Mies

Kaiten

iPods changed the way people listen to music—and the design of the systems we use to crank that music out loud. Find the dock that fits your taste in tunes on p. 22

A legendary Danish furniture brand and a fiery Spanish designer walk into a studio... find out how the Jaime Hayon/Fritz Hansen collaboration went down on p. 19

A whole lotta people we talk to in this issue, from jewelry designers to photographers to our For Hire grad, cite the modernist master as an influence on their work

The Japanese name for conveyor belt sushi displays, which, believe it or not, inspired a wild museum concept in our Building the Future feature on p. 127

Toyo Ito portrait by Yoshiaki Tsutsui

d’Autremont Penthouse, Portland, OR Architect: In Situ Architecture | Jeff Stern Designers: Jeff Stern, Don Tankersley, Hugh d’Autremont Photo: Jeff Stern

modern fires

Design Competition Winner Congratulations to In Situ Architecture from Portland, OR for winning the Grand Prize in our 5th Annual Design Competition.

See more images of the winning design and our full portfolio of well designed installations at www.sparkfires.com or contact us directly at 866.938.3846

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October 2013

design bureau recommends…

Gotta give a gift? Check this stuff out if you’re shopping for a friend or treating yourself. Send us your recos at letters@wearedesignbureau.com.

Jenny Palmer, marketing coordinator

Elecom Orime Mouse “The amazing Japanese design studio Nendo created this origami-inspired mouse—to make being at a computer all day a little cooler for those of us with office jobs.“ $66, japantrendshop.com

joel hoglund, associate editor

FACETED TERRARIUM “Now that the leaves are falling outside I need to make sure my terrarium situation is under control, and Restoration Hardware has some super-cool ones.“ $149, restorationhardware.com

kristin Larson, managing editor

Cooling Sleeve “Martin Kastner has designed amazing servingware for world-famous restaruants.

His new wine cooling sleeve for Kim Crawford is up there with his best.” $149, experiencekimcrawford.com

Spencer Matern, Art Director

LEGO Fallingwater “The only thing better than seeing Frank Lloyd Wright’s Fallingwater house is building one yourself, and this is the closest any of us are coming to that.“ $100, shop.lego.com

Specializing in the art of Venetian Plaster

Recreating Old World finishes using ancient skills, and artist's eye, a historian's perspective combined with modern technology. www.rexjprattinc.com | 805-967-0532

PIXELS & PRINT

Fill in the Blank

Out of Context

W

e’ve got our eye on L.A.-based graphic designer Tyler Spangler, and he’s got his eye on the colors, forms, and photographs he takes from their original context to create lively, colorful, unabashedly chaotic digital collages. A self-professed design school dropout, Spangler has created five books filled with his own designs and works with clients in the music, surf, and textile industries. And the illegal punk venue he ran lasted for 13 shows before the police shut it down. Now those things take skill.

CONTINUED

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Images courtesy of Tyler Spangler, tylerspangler.tumblr.com

i

The best of the best in graphics and photos

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DESIGN BUREAU

Pixels & Print

October 2013

fill in the blank: Tyler Spangler 1

(CONTINUED)

2

3

People tell me I remind them of…

the most inappropriate person they ever met.

My biggest vice is…

saying inappropriate things.

If I weren’t a designer I would be…

a disgruntled employee.

I would love to design graphics for…

buildings. I want to cover a 100-plus-story building with a crazy pattern.

The movie title that best describes my life is…

The Naked Gun.

4

I will never get sick of looking at…

waves.

If I had only a week left to live…

I would surf, have amazing meals with my family and friends, and give my hard drive full of work to my girlfriend to archive.

If I could collage two historical figures into a real person, it’d be…

George Carlin and Andrea Dworkin.

In the year 2100 design will be…

a continued refuge for people who hate ugly.

I’d quit the business if…

um, I would never quit. a

Images courtesy of Tyler Spangler, tylerspangler.tumblr.com

1 “Social Mask” 2 “Eager” 3 “Depersonalization” 4 “Exchange of Fluids”

October 2013

Pixels & Print

DESIGN BUREAU

the architecture issue

must-have Architecture Book

Architects in Their Natural Habitat Ever wonder where Arne Jacobsen kicked off his shoes to relax? Or Le Corbusier chilled out with a cold one to watch football? A new Taschen book wants to show you.

From top: Francisco de Asís Cabrero TorresQuevedo’s current home in Madrid, built in 1961; Le Corbusier’s former home, built in 1931, now owned by Fondation Le Corbusier; Aurelio Galfetti’s current home, built in 1986, in Bellinzona, Switzerland

D

on’t have time to read the biographies of 100 architects?

A look inside each of their own homes should tell you all you need to know.

New from Taschen and author Gennaro Postiglione, an Italian writer and professor of design, The Architect’s Home is 480 glossy pages of eye candy and insight into how famed

architects such as Giò Ponti, Eduardo Souto de Moura, and William Morris lived when they weren’t designing iconic structures for others. Images and details on the location, layout, lighting, style, artwork, and furnishings of their homes shed more intimate light on their personal lives and inspirations than any book of their built work ever could. a

The Architect’s Home by Gennaro Postiglione, $40, taschen.com

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Pixels & Print

October 2013

the architecture issue

essential viewing

close-up A

rchitects don’t usually make great movie stars, but sumptuous cinematography and the behindthe-scenes stories of their work can make for great documentaries. Here’s a few of our faves.

infinite space: the architecture of john lautner Directed by Murray Grigor

eames: the architect and the painter

Perhaps it’s because of the proximity to Hollywood, but Southern California modernism produced some of the most camera-ready architecture ever made. And John Lautner was one of its greatest practitioners. This graceful doc soars through Lautner’s landmark spaces while telling the story of his brilliant but complicated life.

Available from The John Lautner Foundation, johnlautner.org

Directed by Jason Cohn & Bill Jersey

Directed by Markus Heidingsfelder & Min Tesch

The name is synonymous with modern design, but the personal lives of husbandand-wife team Charles and Ray Eames were as interesting as their indelible influence on American life. Narrated by James Franco, this spirited documentary gets to the heart of the Eames’ genius.

Available from First Run Features, firstrunfeatures.com

the pruittigoe myth Directed by Chad Freidrichs Public housing is some of the most researched, theorized, and ultimately controversial architecture there is. This riveting dramatic doc seeks to “implode the myth” of modern architecture’s model public housing project.

Available from First Run Features, firstrunfeatures.com

Rem Koolhaas: a kind of architect Rem Koolhaas’ work is as much about ideas as it is about buildings. Of this visually inventive doc on the provocative architect’s work and theories, Koolhaas himself said it best: “It’s the only film about me that I have liked.”

Available from Arthouse Films, arthousefilmsonline.com

how much does your building weigh, mr. foster?

sketches of frank gehry

Directed by Norberto López Amada & Carlos Carcas

The most candid portrait of Gehry ever captured came from his friend, the late Oscar-winning filmmaker Sydney Pollack, who gets into the creative mind of the man who can turn a few squiggly lines into some of the most revered architectural works of our time.

Available at amazon.com

A majestically filmed look at the works of Norman Foster and the man behind the relentless quest to improve the quality of life through design.

Available from First Run Features, firstrunfeatures.com

Directed by Sydney Pollack

Eames, Mr. Foster, and The Pruitt-Igoe Myth DVDs courtesy of First Run Features; Infinite Space DVD courtesy of The John Lautner Foundation; Rem Koolhaas DVD courtesy of Cinedigm; Sketches of Frank Gehry DVD courtesy of Facets Multimedia, Chicago, facets.org

objectS & gear

Things that make us drool, covet, and go broke

Clarissa Hood Armchair by Patricia UrquiolaÂ

Furniture

The Puffy Chairs No offense to all the straight-backed chairs out there, but sometimes we want to just relax on the cushiest, coziest piece of furniture we can find.

Here are some new pieces we want to sink our bottoms into.

CONTINUED

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Photo courtesy of Moroso, moroso.it

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Objects & Gear

October 2013

Furniture: The Puffy Chairs

(CONTINUED)

Talma Chair Designer: Benjamin Hubert The British designer and Italian brand Moroso created a comfy, padded “cloak” that wraps around a lightweight metal chair and snaps in the front like two arms giving a nice warm bear hug. moroso.it

Hug Armchair Designer: Claesson Koivisto Rune With its outstretched arms begging to give a comforting embrace, the Swedish designer’s armchair for Italian brand Arflex is the only piece of furniture we want to turn to when we need to let out a good cry. arflex.it

Dalia Chair Designer: Marcel Wanders The larger-than-life Dutch designer created a flower-shaped chair for Cappellini, and its curvy contours and soft foam seat and back make it just what we imagine it feels like to sink into a largerthan-life dahlia flower. cappellini.it

Clarissa Hood Armchair Designer: Patricia Urquiola

Alloy Chair Designer: Shawn Henderson With a sophisticated wood frame, an inlaid brass drink coaster, and a big marshmallowy puff of heaven for a cushion, this is not the chair to sit in if you ever want to, y’know, get up again. An interior designer by trade, Henderson also designed a bookshelf, daybed, and small tables as part of his Amalgam Collection. altforliving.com

All images courtesy of the designers/brands

If you ever doubted the famed Spanish designer and architect’s artistry when it comes to combining sensual shapes, colors, and textiles, look to her latest creation for Moroso. moroso.it

October 2013

Objects & Gear

DESIGN BUREAU

Q+A

Christian Rasmussen

Head of Design, Fritz Hansen

A

s cultural identities go, the Scandinavians and the Spanish aren’t easily confused with one another. So when Fritz Hansen, the Danish furniture brand with nearly 150 years of history creating iconic furniture with the likes of Arne Jacobsen and Hans Wegner, announced it would be collaborating with Jaime Hayon, the influential Spanish designer who has earned a reputation for shaking things up, not everyone knew what to expect. Not even Fritz Hansen’s Head of Design, Christian Rasmussen. We talk to Rasmussen about working with Hayon on the Ro Chair, the latest lovely product of their unlikely union.

DB: How did Fritz Hansen hook up with Jaime Hayon?

Christian Rasmussen: Many people tell me— Jaime Hayon, a Spanish designer, that’s a weird match for a brand like Fritz Hansen. But for us it really makes sense because he challenges our approach to design and we challenge his approach to design. He is very artistic and intuitive in his way

“he is Spanish and has a completely different approach to design than Scandinavians, but that makes the collaboration interesting.”

– Christian Rasmussen

of working, which maybe doesn’t characterize Scandinavian designers that much, but it gives us super interesting discussions about design and what you can and can’t do. He is a very unique combination: 50/50 artist and designer. He comes out of a skater culture and graffiti painting.

Spanish designer Jaime Hayon designed the RO chair with Fritz Hansen

DB: What was your working relationship? Does he just go off on his own to design something or was it a true collaboration?

CR: It was great. I love working with Jaime. It has to do with chemistry. When we start a collaboration, we want it to be a 50/50 collaboration, so it’s not like us receiving a sketch from Jaime and then it comes back to us six months later. We expect

Inspired by the form of the human body, the easy chair Ro (which means “tranquility” in Danish) comes in nine colors.

him to spend time with us in the workshop working on the piece himself—so we end up with a 50/50 product that is a Fritz Hansen piece and also a Jaime Hayon piece.

DB: Were there ever any culture clashes?

CR: When we did the [Favn] sofa he was quite frustrated with us at some moments because he is Spanish and he has a completely different approach to design than Scandinavian design, but I think that’s what makes the collaboration interesting. He said he learned to be patient. He said sometimes coming to Copenhagen is a little bit like doing yoga. a

Images courtesy of Fritz Hansen, fritzhansen.com

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Objects & Gear

October 2013

Bathroom

On Tap We’re enormous fans of a hot, soapy hand-washing after a trip to the loo. A good-looking sink faucet is a great way to encourage others to do the same.

Malmaison by THG Paris The French luxury bath atelier partnered with premier silver designer Christofle for its latest collection, inspired by the ornate French Empire stylings of the Chateau de la Malmaison near Paris.

An intricate pattern of lotus leaves and palmettes graces the faucet handles, crafted with crystal, marble, and brass. thgusa.com

Axor Starck Organic The name says it all: The distinctive, designercentered identity of the Axor brand, the sculptural playfulness of the Philippe Starck aesthetic, and a focus on environmental concerns makes for an innovative faucet that looks great and uses half the water of typical faucets. head-and-heart.com

Ametis by Graff The joystick-looking controller, LED color ring that indicates the water temperature, and, uh, fluid form of this faucet by Swiss designer Davide Oppizzi makes it look straight out of a bathroom of the future. graff-faucets.com

Caroma Marc Newson One of Australia’s most famous designers and its foremost bathroom brand team for a full collection of minimalist yet assertive hardware like this faucet with a standout lever and unique swivel head. caromamarcnewson.com

see the entire collection at L AXseries.com or call 310.313.4700

Images courtesy of the brands

October 2013

Objects & Gear

DESIGN BUREAU

Serenity Now ThermaSol, creator of the first home steam shower unit, is all about making your shower more therapeutic. With its Serenity Light & Music System, the brand can make it chromotherapeutic, too. Bluetooth technology and a high-intensity full spectrum LED light system allows users to customize their shower experience with personalized audio selections and a high-performance speaker set. All of this is controlled by a handheld device that works from anywhere in your bathroom. – Sara Driscoll

Brooklyn 31

by Watermark “Industrial chic” has stuck around so long for good reason. Brooklynbased manufacturer Watermark hit a high point with that style in this solid brass bathroom hardware inspired by mid-century gate valves and garden hoses used throughout NYC. It’s available in 35 finishes. watermark-designs.com

Brooklyn 31 faucet in a bathroom by Incorporated Architecture & Design, photo by Annie Schlechter

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Objects & Gear

October 2013

Must-Have Gear

Know Your Docks B

y now even the most technophobic music lovers have found a way for an iPod to coexist with their mounds of vinyl, and there are plenty of designers big and small crafting docks that’ll look and sound good with the tunes that fit your personality

Buddy Holly Not Fade Away: Complete Studio Recordings

Justin Timberlake The 20/20 Experience

Yamaha PDX-11

Portability is key when you’re the one who brings the party (and, more importantly, the jams) with you wherever you go. Yamaha packs some heavy sound into this grab-and-go unit, which comes in four colors and can run entirely on batteries if you’re prone to fleeing parties in a rush. $130, yamaha.com

Crosley Radio Ranchero

JBL OnStage IV

In the 1920s, Crosley was the first manufacturer to bring low-cost radios to the masses. The brand is still going strong in the 21st century by updating its classic designs, like the 1950s-era Ranchero, to hold mp3 players. $138, amazon.com

In the OnStage IV, the “weave” design JBL has come to be known for takes the form of a bunch of bodies hitting it hard on the dance floor, so that bodes well for whatever house party you roll up to with this battery-operated beaut. $100, jbl.com

Relectronics

Designer Jim Smith turns all manner of old radios—from a 1940s Philco Portable to this early 1960s pastel pink Arvin— into mp3-ready and Bluetooth-enabled docks, adding new speaker technology while restoring vintage design details. $275, etsy.com/shop/relectronics

Bon Iver Bon Iver

My Bloody Valentine MBV

AeroSystem One

Audio perfectionists with fat wallets, take note: When every single sound counts, look to French composer Jean Michel Jarre’s studio-quality tower of power, elegant and ultra-modern in its stainless steel and toughened glass design, and loaded with pricey bells and whistles. $1,231, jarre.com

Zikmu

Designed by Philippe Starck for Parrot, Zikmu is sonically immersive, fun-looking, and smart as hell in the wireless department, letting you stream from your computer via Wi-Fi, from your cell via Bluetooth, or the “old-fashioned” way by docking your device. $1,600, amazon.com

Koostik Original

If you’re one traffic jam away from living offgrid in a cabin in the forest, this is the dock for you. Handmade using fine woods, Koostik docks passively amplify your iPod—that’s right, they don’t use a drop of electricity—and their sturdy, au naturel construction provides a nice design counterpoint to sleek Apple gadgets. $95, koostik.com

Vers 1.5R

Simple, just right for the bedside table, and built by hand from bamboo, this dock and radio is so green that buying one actually grows trees: Since its inception, Vers has replaced the wood it uses in production 100 to 1 in partnership with the Arbor Day Foundation and U.S. Forest Service. $220, versaudio.com

fashion & beauty

Because style never goes out of… style

Who to Know

The Hot Knits These aren’t the knits your granny made, but Lindsay Degen’s funky collections show just as much TLC By Amber Gibson

L

indsay Degen says genetics, and her geneticist parents, inspired her latest collection, but we detected some architectural inspiration in the knitwear designer’s work as well. After launching her capsule collection of knit bras, underwear, and socks in 2011, Degen now has an entire eponymous ready-to-wear line. We talk shop—and expansion plans—with the New York-based designer.

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Footer Sentinel Book Italic lorem ipsum dit endentPhotos eped quias

by Cleo di consent, Sullivan,as courtesy dictor aof diDEGEN, consequiae degen-nyc.com Bea dolorpo

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Fashion & Beauty

October 2013

Who to Know: the hot knits

(CONTINUED)

“I Always describe my stitches as architectural because they are always building to create unique fabrics.”

– lindsay degen AG: Your knitwear has a 3-D, architectural element to it. How do you connect fashion and architecture in your work?

Lindsay Degen: That’s a cool thing to say. I always describe my stitches as architectural because they are building and moving and piling to create unique fabrics. I try to work with the stitches as a 3-D element.

But knitting is drapey after all and a lot of the architectural element is on the micro side.

You can only see it up close.

AG: How did you balance the structured and the organic in your latest collection?

LD: I used knitted structures that had a repetition or striping on a grid combined with a technique called ottoman that basically allows you to build up more fabric on only some of the stitches. The ottoman technique adds the organicness. The structures are more lush.

AG: Do you have more local customers in NYC or more international fans?

LD: I think people in New York are more aware of DEGEN so I have more fans here, but most of my online sales are to L.A. and Berlin. I really want to take DEGEN to Asia. a

Photos by Cleo Sullivan, courtesy of DEGEN, degen-nyc.com

Images from DEGEN’s fall/winter 2013 collection.

Top: Designer Linsday Degen

October 2013

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Fashion & Beauty

October 2013

the architecture issue

Jewelry

Architects of Influence Jewelry designer Erin Wahed creates “wearable architecture” for her brand Bande des Quatres

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here’s no hiding the inspiration behind Bande des Quatres’ elegant metal rings, bracelets, and earrings. Consider some of the style names: There’s the Eames, the Kandinsky, the Van der Rohe, the Koolhaas. “I take my inspiration from a variety of styles, periods, and mediums based on photography, painting, sculpture, architecture, and graphic and industrial design,” says Erin Wahed, founder and designer of the brand along with her mother Janis Kerman, a master goldsmith.

From their Montreal studio they’ve been creating extensive collections inspired by the work of Bauhaus masters, modern abstract photographers, and, to our delight, architects like Oscar Niemeyer, Tadao Ando, Frank Gehry, I.M. Pei, Jean Nouvel, and more. Wahed says she had the idea while studying photography at NYU. “My aesthetic is heavily inspired by the Bauhaus movement, specifically Laszlo MoholyNagy’s philosophy of learning by experimentation,” she says. “The tie between the Bauhaus and architecture was so strong that the seeds were planted.”

The influence of each individual architect is unmistakable in each piece of the Architects collection.

“Daniel Libeskind’s use of triangular shapes and his engineering genius inspired the Libeskind ring—the goal was to create a piece that pushed a viewer to ask, ‘How is the ring staying on the finger?’” Wahed says. A Zaha Hadid-inspired piece had to be big—double finger big—to reflect the big ideas of the architect. “I see Zaha’s buildings as largescale sculptures,” Wahed says. “I can imagine that her biggest challenge is in making her buildings work the way she sees them.” a

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Top: The Ando ring inspired by architect Tadao Ando and the Eisenman bracelet inspired by Peter Eisenman. Above: The Libeskind ring shows the influence of Daniel Libeskind’s triangular shapes

October 2013

Fashion & Beauty

DESIGN BUREAU

the architecture issue

One to Watch

Building Fashion Croatian designer Matija Cop looks to centuries-old architecture techniques for fashion inspiration

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rchitect. Forensic scientist. Fashion designer. The way Matija Cop sees it, the roles aren’t so different. For collections like City Lace, which accurately maps Zagreb’s city streets onto textile, and Object 12-1, interlocking foam garments inspired by the stonework on Renaissance-era cathedrals, the Croatian designer is drawing big buzz for his multidisciplinary approach to fashion—and he’s not even out of school yet.

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Photo by Nives Miljesic and Zvonimir Ferina

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Cop mapped Zagreb city streets into his City Lace dress (opposite left) and constructed it from nonwoven polyester that disintegrates with wear to stress the ephemeral nature of contemporary fashion trends.

In Object 12-1, montage characteristics connect the garments to the way the St. James Cathedral in Sibenik was built.

Fashion & Beauty

October 2013

October 2013

Fashion & Beauty

One to Watch: building fashion

DESIGN BUREAU

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“In a way I am practicing architecture. I simply use different materials to explore relations with the human body.” – Matija Cop

human body, then in a way I am practicing architecture. I simply use different materials to explore relations with the human body.

DB: Your collection Object 12-1 applies architectural techniques to fashion.

Were you ever interested in becoming an architect?

Matija Cop: I see fashion design as very close to architecture. I think both disciplines ‘clothe’ a person. They both serve as a sort of housing in a way, and that’s why I intertwine them with one another. If the job of both the architect and the fashion designer is to clothe the material and the immaterial

DB: What are your other sources of inspiration?

MC: When I start working on a fashion collection, I explore problematics that I’m interested in, so often psychology, philosophy, and of course art come out as the dominant field.

DB: Why did you choose interlocking foam for this collection? What materials are you interested in working with in the future?

MC: I used foam (Ethylene-vinyl acetate, EVA) because its

characteristics best suited my needs. I’m interested in using a wide range of materials, from cotton to hightech nano materials.

I don’t limit myself.

The way you use and process your materials is what’s important.

I think an original approach to materials comes from studying and adapting those materials to yourself, but with a special emphasis on respecting their possibilities.

DB: The pieces in Object 12-1 are designed to be deconstructed and reconstructed—are you making a statement with this idea of rearranging your fashion rather than making it permanent?

MC: The idea is that every garment can be

assembled differently, and that the wearer himself decides on the form he wants to wear.

The task was to make, by utilizing simple technical accomplishments, the act of clothing completely adapted to the individual. I don’t think of clothing as permanent. It changes with every wear, and it lives because of it.

DB: If you weren’t designing fashion, what would you be doing?

MC: Always something else. I think fashion lets me do so. Fashion uses my character and my need for change. In one collection I am a journalist, in the other a forensic scientist, in yet another I’m an architect. a

City Lace photo by Zvonimir Ferina; Object 12-1 photos by Nives Miljesic and Zvonimir Ferina

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Fashion & Beauty

October 2013

A collection of the best interior design around the world— where you live, where you work, where you play

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travel & culture

Eat, shop, explore, do what you do

Design Destination

Buenos Artes Building by building, a fashion exec turned real estate developer remakes a Buenos Aires arts district—with some help from a few big-name architects By Ann Binlot CONTINUED

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A 2012 exhibit by German artist Franz Ackermann at the Faena Arts Center. Photo courtesy of the Faena Arts Center

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October 2013

Design Destination: buenos artes

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ore than a decade ago, real estate developer Alan Faena, a former fashion executive, had a grand plan for urban transformation in Buenos Aires. He wanted to turn an abandoned east-side port called Puerto Madero into a bustling arts district by teaming up with a star-studded roster of architects and designers.

Now you can walk across a Santiago Calatrava bridge to stay in a Philippe Stark hotel, live in a Norman Foster condo, or work in a César Pelli skyscraper.

“I felt I wanted to give my city a gift,” Faena says. “So I created an international hub for arts and culture, for the best architects and talented minds to push the limits and work towards redefining the way we live.”

“We try to act as urban curators and edit everything that comes into our district.” – Alan Faena Faena started his project by repurposing century-old industrial buildings. In 2011 he turned a former flour mill into the Faena Arts Center, a light-filled exhibition space that connects local artists with the global art scene.

Before that he remade a former grain storage facility into the lavish Faena Hotel + Universe. “I saw a majestic building standing in the middle of nowhere,” Faena says. “The site was spectacular but abandoned.” The developer became fixated on the structure’s architecture, which reminded him of the Belle Époque grandeur that defined Buenos Aires at the turn of the last century.

Grandeur was in order for the new interiors, too, when Faena enlisted Philippe Starck to help design the hotel. “I was the mind and Starck the eyes,” Faena says. “I needed someone that would translate my ideas and he turned out to be a perfect collaborator.” Their creation is a luxurious bordello, filled with

plush carpeting, chandeliers, and furnishings in sensual red, representing the love and passion they put into the project.

For the latest development in the district, Faena wrangled another wishlist starchitect: Norman Foster. In its first Latin American project, the sleek Faena Aleph Residences, Foster + Partners incorporates clean lines into Buenos Aires’ traditional architecture, which blurs indoor and outdoor living.

“Puerto Madero is slowly becoming the example of what an ideal city could be,” Faena says. “We try to act as urban curators and edit everything that comes into our district, promoting culture as an anchor to all of our projects.” a

Top photo by Todd Eberle; bottom photo by Nigel Young / Foster + Partners

From top: Overlooking the Faena Arts District with the Faena Hotel + Universe, a former grain storage facility, in the foreground; an interior at the Faena Aleph Residences, designed by Foster + Partners

October 2013

Travel & Culture

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Shop: Asunto Plus Next Stop:

Miami

With the success of the Faena Arts District in Buenos Aires under his belt, Faena has his sights set on creating another cultural hub in Miami Beach, which will again encompass residences, an arts center, and a hotel with boldfaced designers like Roman and Williams, Rem Koolhaas, and Foster + Partners attached.

Artist Sabrina Merayo Nuñez conceived of Asunto Plus’ design, planning the interiors and illuminating the first object and books shop in Puerto Madera with her lamps. The boutique also features dolls by Momish Toys, jewelry by Dos Riberas, furniture by Merayo Nuñez, diaries by Monoblock, and books on everyone from Jean Paul Gaultier to Man Ray.

Stay: Faena Hotel + Universe Outside the 90-room five-star hotel are the riverbank, parks, protected ecological reserves, and hip street life, and inside

Visit: Faena Arts Center Situated in the former engine room of a turn-of-the-century flour mill, the Faena Arts Center has attracted the biggest names in the global and Latin American art scene, from Brazilian installation artist Ernesto Neto to Russian art collective AES+F, whose large-scale works are a perfect match for the Center’s expansive open spaces.

is the ultimate in luxurious design, boasting red interiors conceptualized by Alan Faena and Philippe Starck.

Eat: El Mercado Conceived by Starck and Faena, El Mercado fuses the intimacy of old European markets with Buenos Aires’ famed cantinas. Dine on traditional Argentinian dishes like chuletón de novillo, a T-bone steak served with chimichurri sauce, in a space decorated with exposed brick, wood tables, and antiques sourced from the nearby San Telmo district.

Asunto Plus photo by David X Prutting; Faena Hotel and El Mercado photos courtesy of Faena Hotel + Universe; Arts Center and Ernesto Neto exhibit photos courtesy of Faena Arts Center

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October 2013

R&R The materials for Rancho Santana were “locally sourced” in more ways than one. Not only did the design incorporate native wood, but it was also shaped on-site by local craftspeople. “We created a wood shop that ended up doing all of the woodwork and tables and chairs.

The wood shop has continued to evolve and now does the woodwork for residents who buy homes in Rancho Santana,” says Matt Turner, partner of Tola Development Corporation, the resort’s owner and developer.

Top 5

Robert J. Altevers’ Favorite Things About Nicaragua

Simple, serene, healthy lifestyle

Open Air Want to feel at home in tropical Nicaragua?

Skip the hotels and check out the local handiwork at Rancho Santana

By Amber Gibson

B

efore he began work on Nicaragua’s 2,700-acre resort Rancho Santana, Robert J. Altevers had designed his share of LEED-certified buildings, but never a sustainable eco-friendly community at this scale.

The founder and president of San Diego-based Altevers Associates took advantage of Nicaragua’s tropical

climate when laying out the villas and casitas—available for holiday rentals or to purchase—that make up the sprawling ranch (a 17-room boutique inn is also in the works for 2014). “The buildings are for the most part open-air so we don’t have to rely on air conditioning and heating,” he says. A wind turbine is also being constructed so the ranch can supply all its own power.

“We used all local building materials that are easily available,” Altevers says. Stone was harvested from a nearby hillside and reclaimed clay tiles were used on rooftops. Although Altevers designed everything from the decorative light fixtures to ceramic tiles, he manufactured it all in Nicaragua and hired local artists for interior design elements.

Photos by Jan K. Glenn, jancyproductions.com. For availability, visit ranchosantana.com

Friendly, hardworking, honest people Old colonial architecture at Granada Huevos rancheros at La Finca y El Mar restaurant Riding horses on the beach at Rancho Santana

“All of the wood we used, from furniture to buildings, was reclaimed wood blown down during Hurricane Felix,” Altevers says. “It was brought in logs to the site and a wood shop was set up right there.”

Local craftsmen manufactured all windows and doors on-site. “There’s a lot of beautiful wood in Nicaragua; hardwood that in other parts of the world is protected,” he says. “But these trees were already down from the hurricane, so they were just going to rot.” a

October 2013

Travel & Culture

DESIGN BUREAU

restaurant spotlight

Triple Action Organic design flourishes at this hip San Francisco spot come in threes

By Amber Gibson

What: Craft cocktails and fresh small plates Where: Maven, in San Fran’s Lower Haight Who: Interiors by Gi Paoletti Design Lab

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ucky number three is one of the primary inspirations for principal designer Gi Paoletti’s work at Maven in San Francisco. “I envisioned a space that mimicked the symbiotic nature of the concept and menu,” Paoletti says.

“Since it was a pairing of three items (cocktails, wine, and food) instead of two, I took advantage of the fact that we had three windows on each wall to the exterior and repeated the ‘pairing of three’ throughout the space.”

Raw-edged redwood communal tables, Spanish red shaved wood chandeliers, vertical alcove gardens, and display shelves for sauces and herbs all appear in groups of three. “I felt like we needed a punch of color to pull everything together

since our walls are all light gray, tan, and sage green and the wood floors are ebony,” she says. “The punch of red is the perfect accent to bring life to the muted tones.”

But the showstopping centerpiece in the warm and organic space sits above the mica and black stone chip bar: vertical living garden alcoves. Three of them, of course. a

General contractor Bannside Construction created the custom wall with inset living alcoves at Maven.

Bannside Construction’s founder Declan Wilson parterned with plaster contractor Mark Dickson to give the wall its unique texture. “We came up with a plan to plaster the [existing] wall, and make some varying imprints and texture to create a truly unique wall,” Wilson says.

Photos courtesy of Gi Paoletti Design Lab, gpdesignlab.com

Bannside Construction, a contractor in the San Francisco Bay Area, specializing in unique finishes, should it be a Traditional Victorian that San Francisco is so famous for or the Ultra Modern architecture springing up in trendy restaurants around the city and Marin County. Let us help you with your construction needs, from foundation to turning the key, in your home, restaurant or office place.

415 678 6978

or email us at bannsideconstruction@yahoo.com 816 Cindy Ln. Petaluma, CA 94952

Ocean-View Homes | Puerta del Mar Villas | Garden-view Casitas

Rancho Santana is a world-class resort and residential community located on the Pacific coast of Nicaragua.

It boasts 2,700 acres of rolling hills and two miles of rocky and dramatic shore, broken up by five distinct beaches nestled in their own hideaways. Make the Ranch your home, or visit for special events.

STUNNING RESIDENTIAL & VACATION HOMES

Rancho Santana provides both resort amenities for vacationers and special group occasions as well as residential options for those seeking a second home in the sun and/or investing in emerging markets. Visitors will enjoy stunning ocean, mountain, and valley views from countless spots.

ranchosantana.com

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the architecture issue

museum design

State of the Art A crop of new art museums from major architects is giving modest cities a major style boost

By Kathryn Freeman Rathbone

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hat do Alberta, Canada; East Lansing, Michigan; and Northeast Ohio all have in common? Aside from being places where it snows (a lot) they are all home to cutting-edge new art museums designed by world-class architects.

Akron Art Museum Location: Akron, Ohio Architect: Coop Himmelblau Old and new architecture crash together unapologetically at the Akron Art Museum. The museum’s expansion breaks down into three main forms, known to Coop Himmelblau principal Wolf D. Prix as “the Crystal, the Gallery Box, and the Roof Cloud.” Each space serves a specific functional purpose, but they all intersect the museum’s original Italian Renaissance building, the old Akron post office. The juxtaposition of corrugated glass and metal with traditional brick and limestone is a bit jarring, but it allows the design to take risks. Its boldest move? The 327-foot metal canopy that appears to float above the museum. It’s visible from the rest of downtown Akron.

Now On exhibit: Paintings, photographs, and more from 1930 to 1955 examine how American artists produced dream-inspired images in Real/Surreal.

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Akron Art Museum photo © Roland Halbe Fotografie

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October 2013

museum design: state of the art

Museum of Contemporary Art Cleveland

Location: Cleveland, Ohio Architect: Farshid Moussavi Architecture Located just up the highway from Akron, Cleveland’s MOCA makes quite the statement. The first U.S. project for Moussavi, it’s an irregular hexagon covered in black stainless steel paneling.

Museum of Contemporary Art Cleveland photo by Dean Kaufman

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Inside, bright blue trusses, concrete floors, and a white grand staircase set the stage for the contemporary exhibits.

The MOCA lacks any kind of permanent exhibition space—a bold move for a museum design.

Instead, MOCA’s staff can install the museum’s art however they see fit, so visitors will always have a new experience each time they visit. Paul Westlake,

managing principal of architect of record Westlake Reed Leskosky, sums it up: “It’s more cinematic than static.”

NOW On exhibit: The group show Realization Is Better Than Anticipation showcases new regional works that explore the relationship between inspiration and making art.

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Art Gallery of Alberta Location: Edmonton, Alberta, Canada Architect: Randall Stout Architects You have to travel pretty far north to reach Edmonton, but the stunning Art Gallery of Alberta makes it worth the trip. Architect Randall Stout updated the museum’s original 1960s Brutalist structure by building out sleek new spaces using patinaed zinc, glazed glass, and smooth stainless steel.

The materials make the building stand out from its drab, concrete neighbors, and its sweeping forms really catch the eye. “From our site visits and aerial photography, we noticed a distinct similarity between the AGA’s needs and Edmonton’s urban form,” says Stout of the building’s beautiful curves, a nod to both the area’s North Saskatchewan River and the Aurora Borealis.

Now On exhibit: Kids of all ages can explore a lifetime’s worth of unusual objects collected by local artist Lyndal Osborne in Cabinets of Curiosity.

Art Gallery of Alberta photos © Randall Stout Architects

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Travel & Culture

October 2013

Museum Design: state of the art

Eli and Edythe Broad Art Museum Location: Michigan State University, East Lansing, Michigan Architect: Zaha Hadid Architects Unlike the Art Gallery of Alberta, there are no curves in Michigan State’s new Broad Art Museum. Zaha Hadid, the architect behind the ultra-modern design, took the campus’ many crisscrossing paths and roadways as inspiration, translating them into a stainless steel and glass assemblage of folding planes and sharp angles.

Inside, the flexible gallery spaces look just as sleek.

Their slanting walls and varied designs make them anything but the standard gallery-white cube. “The story of the museum has changed a great deal,” Hadid has said. “They are no longer just a collection of rooms which connect sequentially, as in a palace.”

Now On exhibit: In The Land Grant, artists and architects explore the concerns facing today’s global world.

Eli andEdythe Broad Art Museum photos by Paul Warchol

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structures & spaces

Inspiring Interior

Making Minimalism Fun An architect proves it’s about more than just black and white in a wildly prismatic home that maintains sleek minimalist properties

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he owner of this downtown Montreal loft—an avid collector of contemporary art and design—wanted his home to showcase his collections. But rather than deliver the sterile, all-white, gallery-like space that the owner first envisioned, Canadian architect Jean Verville took five colored pencils in the client’s favorite shades and sketched on white paper shocks of vibrant color into the floor plan.

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Photos courtesy of Jean Verville Architecte, jeanverville.com

Enviable interiors to shamelessly ogle

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October 2013

Fittingly for an art-filled home, the palette of paint shades was formulated by an artist specifically for this job. Shocks of colored vinyl run through the floor, which is covered in a glossy epoxy coating.

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October 2013

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Inspiring Interior: making minimalism fun

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“He wanted a place that would stimulate his creativity,” Verville says. “I shaped an environment that modifies the usual domestic proportions and offers him a physical and emotional experience.” He also created storage solutions to allow the owner to rotate the art pieces on display, engaging in a process of constant renewal of the space. The floor has insertions of colored vinyl and a glossy epoxy coating, and the palette of paint shades is custom formulated and applied with unique blends prepared by an artist.

So what’s the secret, we asked, to making a minimalist interior that’s so full of life? Turns out, that’s kind of a stupid question. “For me there is no right or wrong, do and don’t, or tips to achieve minimalism as a style,” Verville says. “My formal exploration is like a laboratory—there

is no recipe, no imitation, and no cut and paste. I work with simple but bold gestures… the objective is to simplify every aspect to the maximum in order to get the feeling of an oversized place, a flow of air and space that will bring calm and purity sometimes and dynamism other times.” a

“there is no recipe, no imitation, and no cut and paste.”

– JEAN VERVILLE

Photos courtesy of Jean Verville Architecte, jeanverville.com

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Wallpaper

From the Darkroom to the Living Room

Trove shakes up the wallpaper world with new methods and materials—and prints that are freaking huge

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ess repetition, more randomness. It’s an unlikely approach for a wall covering brand, but that’s what you get with two multimedia artists at the helm. Jee Levin and Randall Buck, the creative team behind NYC-based Trove, found the perfect medium to the create organic, free-flowing patterns found in its latest collection: photography.

“We went into the dark room with large photographic paper and light toys like fiber optics, flash lights... things you would get at a carnival,” Buck says.

“We didn’t know what we were going to get.” After experimenting and refining, they ended up with patterns that blur the line between painting and photography, like the cloudlike strokes of “Nimbus” and the abstracted circles of “Heze”. The lines are available on an innovative range of materials pioneered by Trove, from matte foil and printed wood veneer to printed window film in bamboo or rice paper textures.

“We said at the very beginning we are not going to limit ourselves to the normal silk screen format or very traditional wallpaper printing methods,” Buck says. Trove isn’t limiting itself to the same old size formats either.

Schooled in the art of printmaking, the team uses new technologies to turn out vast sheets that are more than five and a half feet wide and 12 feet high with no vertical repeat. “If you don’t have a 15-foot painting for your living room you have to figure out what to do. Architects don’t think you need anything on those walls, but we really like to address those spaces,” Buck says. “We like our work to be able to handle a big canvas.”

And more big ideas are in store for Trove: Buck, always the advocate of bringing different disciplines together, says the creative team is working with sound for its next collection. a

Images courtesy of Trove, troveline.com

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October 2013

the architecture issue

Q+A

Toyo Ito Looks Ahead The 2013 Pritzker Architecture Prize winner on his inspiration, opening up to nature, and the challenges of the 21st century

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hen Toyo Ito accepted architecture’s highest honor, The Pritzker Architecture Prize, this year, it was a reward for more than 40 years of innovation. But the 71-yearold architect from Japan was more interested in talking about the future of his trade than celebrating his own past accomplishments. “I believe that the time has come for us to take back our closeness to nature, to open our humdrum city grids to nature’s abundance, and to rebuild a more vibrant and human environment,” Ito told the crowd of colleagues and admirers in his acceptance speech.

DB: When did you first become aware that architecture was more than just buildings?

Toyo Ito: After graduating from Tokyo University in 1965, I started to work at the architect Kiyonori Kikutake’s office. At that Portrait by Yoshiaki Tsutsui

time, Mr. Kikutake was in his mid-30s. I was really impressed by his brilliant ideas generated from his sharpened sensibility and extreme concentration, and I was inspired to be an architect as my life’s work.

“Architects must not be cornered into thinking as an architect, but must think of architecture as an ordinary person.”

– Toyo Ito

DB: What inspires you to create? Are they the same things that inspired you early in your career?

TI: The images found in my architecture come from nature—water, forests, wind, and so on. It is also important to feel the atmosphere of the current era through five senses of my whole body, not by knowledge. In the process of translating my images into actual buildings, they are developed, transformed, and metamorphosed through encounters and collaboration with many people who are involved in the projects. This has not changed from my early career until now.

DB: Are there other arts or sciences that have influenced or inspired your architectural aesthetic?

TI: [Artist and draftsman] Paul Klee’s sketches. His sketches represent a relationship between concreteness and abstractness in a marvelously clever way. I am interested in architecture that embraces the concrete and abstract like Klee’s works.

DB: Three of the four Pritzker Prize winners so far this decade have come from Asia— during the course of your career, in what ways have you

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Q+A: toyo ito

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seen Japanese or Asian architecture influence the rest of the architecture world?

TI: The works of the Pritzker Prize winners have been designed in their own style and concept. In my point of view, Asian architecture and cities do not put up walls between them and nature—they are open to nature. This will influence the architecture of the 21st century because it deals with energy conservation and sustainability.

DB: Your work over the last 40-plus years is often described as innovative—what do you see as the challenges that young architects must face, and what innovations must they strive to make, in the next 40 years?

TI: Architecture in the 20th century has been cut off from nature and unable to embrace history and regionality. In the 21st century, architects will be required to solve that problem—and will solve it. Architects must not be cornered into thinking as an architect, but must think of architecture as an ordinary person. To fix a form of architecture is to limit your image. a

Serpentine Gallery Pavilion, 2002, London, U.K.

Main Stadium for The World Games 2009, 2006—2009, Kaohsiung, Taiwan R.O.C. Photo by Fu Tsu Construction Co., Ltd

Dome in Odate, 1993—1997, Odate-shi, Akita, Japan. Photo by Mikio Kamayaa

Meiso no Mori Municipal Funeral Hall, 2004—2006, Kakamigahara-shi, Gifu, Japan

Images courtesy of The Pritzker Architecture Prize, pritzkerprize.com

Za-Koenji Public Theatre, 2005—2008, Suginami-ku, Tokyo, Japan

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Toyo Ito Museum of Architecture, 2006—2011, Imabari-shi, Ehime, Japan. Photo by Daici Ano

Toyo Ito Museum of Architecture, 2006—2011, Imabari-shi, Ehime, Japan. Photo by Daici Ano

Tama Art University Library (Hachioji campus), 2004—2007, Hachioji-shi, Tokyo, Japan Photo by Tomio Ohashi

Model for the Taichung Metropolitan Opera House, 2005, Taichung, Taiwan R.O.C.

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Material Man To architect and furniture designer Eugene Stoltzfus, design comes down to nature’s basics

by Kathryn Freeman Rathbone

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or Eugene Stoltzfus, good design comes naturally. That’s because the designer looks to the natural characteristics of materials like bamboo and cork to provide beauty, structure, and finish in his furniture and spaces. Stoltzfus gives a raw account on designing in the material world.

KR: How do the materials you work with shape your designs?

Eugene Stoltzfus: We have a saying in our office, ‘No veneer here.’ We work with the natural beauty of raw materials to reveal their patterns and textures. It brings a rich, tactile experience to humans, and, of course, it's better for the earth.

Our furniture deals with the same structural issues and showcases the beauty of connections, details, and materials that our architecture does. For example, with the Double-O nesting table the details of the connections serve as the decoration of the piece.

“A rich assemblage of textures, patterns, and solids give the Sundial House a certain character,” Stoltzfus says of the Virginia property he and his wife call home.

Corrugated metal decking, dimensional lumber, steel gridding, concrete block, and glass all contribute to the Sundial House’s layered composition.

KR: Right now, you’re working a lot with bamboo. Why is it one of your go-to materials?

ES: I feel that when you look at furniture from any angle, it should be as beautiful from the top as it is from the bottom. Bamboo is ideal because the patterning that gives it such incredible strength is also what makes it so beautiful.

KR: Is it hard to work with?

ES: Our bamboo pieces have really lent themselves to collaboration. For the CONTINUED

Images courtesy of Eugene Stoltzfus Architect, eugenestoltzfus.com

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Stoltzfus designed many of the Sundial furnishings himself. “The Rotolo Table is a great blend of materials, function, and geometry.

The glass seems to sit so lightly on the cylinders, but because they’re cork they have enough grip to hold it in place,” he says of one of his favorite pieces in the house.

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“We work with the beauty of raw materials to reveal their patterns and textures.”

– eugene stoltzfus

Sundial House, I wanted to do a credenza using bamboo. I had a design in mind, but it really only took its final form when I worked it out with Doug Lance, the cabinet maker. In the final design, Doug was able to lay out the bamboo sheets so the pattern of strips wrapped up the front, across the top, and down the back of the credenza. Very subtle and just beautiful!

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Made from 100 percent bamboo, Stoltzfus’ Double-O nesting tables showcase the beauty of the wood.

KR: Does this type of collaboration and experimentation translate to your architecture, too?

ES: Yes. I don’t separate the values and aesthetics of my furniture designs from my architecture. They’re just done at different scales. In both, you can read the forces at play in the form and materials. It’s wonderful to see: Everything’s revealed. a

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Residential, Commercial, and Industrial

Building Character Architect Shane Fernandez’s quirky background fuels his work By Gwendolyn Purdom

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hen he’s strapped for inspiration, Oklahoma architect and designer Shane Fernandez has plenty of material to tap: His years growing up among cuttingedge architecture and design in Denmark or Hong Kong, for example. Or maybe the time, at age 7, he was named California State Champion in Tae Kwon Do. Then there was the period he spent sketching fossil diagrams

Fernandez is known for juggling so many projects at once that his office has asked him to lead time management seminars.

and medical illustrations for museums and textbooks while he was in college.

Even as executive vice president of Crafton Tull architects, Fernandez still finds time to squeeze mountain biking excursions and sculpture projects into his schedule. But juggling such diverse experiences doesn’t faze the Tulsa-based father of four. In fact, he credits his colorful lifestyle with steering his work.

“If I’ve got a client that wants Miami Art Deco, I’ll do Miami Art Deco,” Fernandez says. “And then I bring my global experience and my global vision, and try to meld that into a solution that gives them the aesthetic and the look they want combined with some of the things that I have seen and experienced.”

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Photos by Duane Fernandez

R. B. Weatherman Masonry, Inc. was established March of 1995 serving Oklahoma/Arkansas. The President, Randall Weatherman, started his masonry apprenticeship in 1972. R. B. Weatherman Masonry, Inc. is a total masonry service company specializing from new work to historical restorations in the residential, commercial, and industrial fields. Randall Weatherman and his skilled craftsmen are noted for installing stone and masonry veneers ranging from complex systems to ordinary walls. R. B. Weatherman Masonry, Inc. is knowledgeable of masonry and building envelope systems and current with state-of-the-art technologies. Randall maintains a high level of quality through training and QA processes.

Randall himself is a “hands-on” owner who knows the project thoroughly, directs his crews well, and demands high quality work and safety.

R B Weatherman Masonry Inc 33183 E. 667th Way Chouteau, OK 74337 p 918-806-2745 www.weathermanmasonry.com

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Fernandez’s design for this Oklahoma ranch house featured 30-foot ceilings in the master bedroom, steel exterior touches, and a garage that can accommodate the owners’ hulking RVs

traditional Texas ranch with a contemporary edge. With only three bedrooms in 12,000 square feet, Fernandez delivered the ample entertaining space they were seeking and then some. Another client, country music star Toby Keith, relies on Fernandez for the design of everything from his hunting cabin to multifamily units on his golf course.

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Born to immigrant parents in Hollywood, California, Fernandez has spent the last two decades in Tulsa where he divides his time between massive undertakings at Crafton Tull, like Oklahoma State University’s new football stadium, and his own residential designs, like the sprawling house he recently completed overlooking the Verdigris River. The clients were looking for a

“I bring my global experience and my global vision to my work.”

– shane fernandez

DIALOGUE on design— ON THE IPAD Packed with extended photo galleries, additional content, and interactivity exclusive to the tablet edition.

Search Design Bureau in the iTunes App Store to get started.

“My personal style is definitely contemporary, but it’s very sculptural as well,” Fernandez says. “I tend to like more fluid and very dynamic features.” Though he’s lived on the other side of the world and taken on a long list of unexpected extracurriculars (did we mention he once coached gymnastics for Olympian Nadia Comaneci?), it’s Tulsa, the sometimes-overlooked city he calls home, that sparks a lot of passion in Fernandez and his work today.

So what’s next for the eccentric architect?

Fernandez says he’d like to delve into construction in the future. And as his life has proven so far, anything’s possible. a

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dialogue The Luxe Life An expert in high-end construction takes us behind the design of New York City’s luxury lofts

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obin Leach has nothing on Rocco Basile. The principal of Avo Construction has not only seen more swanky pads than the former TV host in his 17 years in the business—he’s built them himself.

Here, the leader of one of New York City’s choicest general contracting and management firms offers a behind the scenes look at how to build a luxury home... and a lifestyle to match.

DB: What does luxury mean to you?

RB: The term ‘luxury’ in today’s market signifies thoughtful, design-driven projects or spaces, quality finishes and workmanship, and extensive attention to detail. These project attributes ensure a superior and ‘luxurious’ product.

DB: What design elements contribute to a high-end look?

RB: Finishes are the defining factors of a space as they contribute to the overall design concept and character. Our team meticulously selects high-quality finishes, often incorporating natural materials. That said, the trades we select are highly skilled in their field and consistently demonstrate thoughtful, quality workmanship, which is evident in our final products.

DB: How can designers ensure a quality result?

RB: Careful attention to detail during the pre-construction phase is essential to ensure the successful completion of a project. If drawings are not fully coordinated according to the architect, engineer, and designer’s specs, the general contracting team will inevitably encounter conflicts or issues during the construction phase.

DB: You live and work in NYC, a city synonymous with luxury. How does it influence your work?

Rocco’s Modern Loft: High-quality finishes are essential to achieving a luxury look, says Basile, whose team built out this New York City home.

“The term ‘luxury’ means thoughtful, design-driven spaces and attention to detail.” – Rocco basile RB: I prefer building and living in the city, as I was raised here; I wouldn’t have it any other way. I enjoy the diversity of NYC neighborhoods and their varying character and architecture. It’s especially interesting, as a builder, to shape the landscape through architecture and construction. a

Photos courtesy of Avo Construction, avoconstruction.com

Avo Construction is a full-service construction, general contracting and management firm with over one hundred years of cumulative experience; the firm’s focus is ground-up development and high-end interior renovations.

65 Vestry Street New York, NY 10013 T. 212.965.9300 | F. 212.965.9811 info@avoconstruction.com

www.avoconstruction.com

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Brand Winery overlooks the rolling hills of Napa Valley. Architect Juancarlos Fernandez’s design of the winery structures reflects the historic architecture of the West.

brand winery

Impeccable Taste Architect Juancarlos Fernandez fused Old Western charm with modern functionality at a Napa Valley winery By Gwendolyn Purdom

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ike a fine wine, great architecture has layers of complexity—and plenty of flavor. So when Signum Architecture’s Juancarlos Fernandez was brought on to envision one of Napa Valley’s hottest new wineries, he bucked the traditional and opted for something sleek that would set itself apart. The owners of Brand Winery initially wanted a classic barn structure to reflect the pastoral hillside setting, but Fernandez pushed them to consider a different rural motif.

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Photos by Adrián Gregorutti, gregophoto.com

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A central skylight in the main building casts ample natural light onto the winery’s fermentation area and adjacent tasting room.

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Photography by Mark Luthringer Designer Patricia Motzkin

We are a custom metalworking shop located in Napa, California specializing in working closely with Architects, Designers and clients to produce unique, highly crafted work.

Our scope of work runs from complex hot-forged curved railings, entry and cave doors, gates, exterior rails and balconies to smaller interior elements such as fireplace screens, doors and tools, tables and light fixtures. We work in all metals and bring in other skilled craftspeople to add elements such as wood, glass and specialty finishes to our projects.

Footer Sentinel Book Italic lorem ipsum dit endent eped quias di consent, as dictor a di consequiae Bea dolorpo

p 707.252.1949 | www.copperirondesigns.com | copperirondesigns@yahoo.com

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(CONTINUED) “The

concept comes from mining towns in Colorado and Utah. They are taller buildings, more simple in their shapes, and more basic in their design,” Fernandez, who worked at Lail Design Group when he designed the project, says. “I used those ideas and concepts and tried to bring a European flavor to the project.” CONTINUED g

“The concept comes from mining towns in Colorado and Utah. The buildings are taller, more simple in their shapes, and more basic in their design. I also tried to bring a European flavor to the project.” - Juancarlos Fernandez

Photos by Adrián Gregorutti, gregophoto.com

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Rough-sawn Douglas fir and softer materials in the hospitality space are a gentle contrast to the cool metal and concrete palette of the production areas.

signum architecture is a design-oriented firm working on commercial, winery and residential architecture st helena, ca / napa valley p 707 963 8831 / info@signumarchitecture.com

Photos by Adriรกn Gregorutti, gregophoto.com

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brand winery

“We located the boulders around the winery in a way that gave the sense that we just carved our niche into the hill.”

- Juancarlos Fernandez

Brand Winery now stretches across 12 acres perched above Lake Hennessey, its contemporary corrugated metal main building jutting into the open sky. Working with landscape designer Hoichi Kurisu, Fernandez accented his mining mindset with natural elements that would reflect the surroundings. Boulders that dot the grounds were dug out of the hill to create a 6,000-squarefoot wine cave. “We located them around the winery in a way that gave the sense that they were around it and we just carved our niche into the hill,” Fernandez says.

(CONTINUED)

Design details like the sculpted iron sconces in the wine cave are an expression of Fernandez’s unique concept, which blends the architectural vocabulary of historic Western mining towns with the sophistication of European design.

The combination was a perfect match for Copper Iron Designs’ Andrew Bradford, a skilled metalworker and architect who was trained in England and designed lighting and architectural details for the Brand Winery project.

“Carlos has a vision for the overall design of a project. He is not constrained by ‘Napa Valley design,’ and he stays true to his vision,” says Bradford, who has designed and fabricated rails, gates, lighting, and architectural elements for Fernandez’s winery and residential projects for more than 15 years. “I enjoy working with him because he has a great design sense and is concerned and interested in how something will be built.”

The cave itself, used for storing Brand’s barrels at naturally cool temperatures, stands beside the towering CONTINUED g

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main building that houses the vineyard’s fermentation tanks and tasting room. Inside, light spills in through a central skylight that lines the tall ceilings. Fernandez used rough-sawn Douglas fir and softer materials in the hospitality space to contrast the cool steel, metal, and concrete of the production areas. By also playing with proportions throughout the design—including calibrated outdoor columns and eightfoot concrete wainscoting instead of the standard three—Fernandez added interest and detail without getting in the way or distracting from the winery’s business.

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“We didn’t want to compromise the process of making the wine just for aesthetics,” he says. “It was a really good balance.” a

Portland-based Kurisu International, Inc. has been creating natural-style gardens since 1972. The Brand Winery gardens, designed and built by owner Hoichi Kurisu, make it “a destination for people; it is not only a place for people to come taste wine, but more so an experience where they can get a real sense of relaxation, rejuvenation, and peace that they can take home with them,” says Kurisu.

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casey key estate

Living Naturally The architectural and landscape design of an island property pays homage to Florida’s diverse ecosystems By Elizabeth hall

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ith one look at this verdant island property on Florida’s Gulf Coast, it’s easy to see how the state got its name. From the dune grasses and cabbage palms that skirt the beach to the graceful live oaks that stretch down to the Sarasota Bay and the lush landscape in between, the Casey Key estate recalls Ponce de Leon’s vision of “La Florida,” or “flowery land.”

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Photo by Greg Wilson, gregwilsonphoto.com

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The design of the guesthouse facing the bay was inspired by the property’s windsculpted live oaks. Opposite page: The connection to nature is likewise apparent in the design of the main house, which opens onto a lush courtyard.

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“I knew there was something amazing underneath but you couldn’t see it. We came in and removed the invasive materials and it was like sculpture coming alive in that oak canopy.

A gorgeous site was revealed.”

- John Wheeler

It’s fitting then that when new owners purchased the property in 2006, their new home began with the land. They called on landscape designer John Wheeler to assess the property, which housed a dated Cape Cod amidst a tangled, overgrown site. “I knew there was something amazing underneath but you couldn’t see it,” Wheeler says. “We came in and removed the invasive materials and it was like sculpture coming alive in that oak canopy. A gorgeous site was revealed.”

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Wheeler recommended longtime collaborator Jerry Sparkman of Sweet Sparkman Architects to help the owners achieve their vision for the estate. Like the couple and Wheeler, Sparkman was struck by the natural landscape. “It’s an extraordinary property,” he says. “Drawing from the site was a thread that went through the whole design process. We often look to sources of inspiration that aren’t architectural, and this particular site was rich with those sources of inspiration.”

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The mature oak hammock was one such muse. Before beginning the project, Sparkman spent a week on the site, exploring the land and getting to know the owners. He recalls being so taken by the grandeur of the oaks that he couldn’t sleep and spent a night sketching the island’s various landscapes, elements that would ultimately influence the architecture of all three houses on the property.

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Sparkman’s first design—the guesthouse with a bay view—began with the oaks.

When the owners requested a “tree house,” Sparkman responded with a structure that not only sits among the oaks, but also reflects their wind-bent shape. Constructed from exposed pine, the house is characterized by a giant, arched roof that wraps the top and one side of the box-like structure.

Completed two years later, the main house and its adjacent pool guesthouse were likewise inspired by the island landscape.

The U-shaped main house envelops a central courtyard that serves as one of the home’s main living areas. At one end of the courtyard sits the guesthouse, a cozy, onebedroom that overlooks the Gulf. Described

by Sparkman as “a garden folly,” the structure is nonetheless a powerful reflection of the environment. The copper-clad exterior was inspired by the shells of the native sea turtles that nest on the island, while the strong stone wall foundation protects the guesthouse from storm surge and lifts it above the dune landscape, giving it a view of the ocean.

With its palette of stone, copper, and wood, the main house is another strong presence on the property. “We wanted to establish the notion of permanence, so we selected a material palette that was organic and would wear well over decades of use,” Sparkman says. At the same time, the architect didn’t want the house to lose its connection to the land. Retractable glass walls enable sight lines to the outdoors, as well as the option for open-air living. Sparkman and Wheeler also added 940 square feet of vegetative roofs—the largest installation of its kind in the area—that blend the line between the site’s built and natural environments. “There was an effort to reconnect with nature as you move through spaces and landscapes,” says Sparkman. “When you look out across the courtyard, you have a hard time distinguishing where the manmade stops and nature begins. It’s not architecture or landscape; it’s an amalgam of both.” a

Above: Landscape designer John Wheeler added a living wall to camouflage a stucco column and draw guests into the open-air living space under the main house. The home features green roofs, too.

Right: Anchored by a stone wall that meets FEMA regulations, the floating, one-bedroom guesthouse by the pool overlooks the Gulf dunes.

The copper exterior is reminiscent of the textured shells of sea turtles that nest on the island.

Top photo by Kelly North, johnwheelerlandscapeinc.com; bottom photo by George Cott, georgecott.com

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60 richmond east

Changing Tastes Built around a common interest in food, 60 Richmond East represents Toronto’s new take on public housing By Kathryn Freeman Rathbone

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oronto’s 60 Richmond East building really stands out. Aside from the extremely contemporary aesthetic of 60 Richmond East, the 11-story, midrise building boasts a ground floor restaurant space and a visible, sixth-floor outdoor garden. But the most surprising fact about this modern architecture newcomer? It’s actually public housing.

60 Richmond East is part of Toronto’s Regent Park, the city’s oldest and largest public housing project. The neighborhood itself has a pretty typical history. “Regent Park was a neighborhood of fourstory, brown brick, dogbone buildings. There was no defined public space and poor urban design,” says architect Stephen Teeple, whose firm Teeple Architects headed its design. “Essentially, it was a ghetto in the middle of the city.”

That’s all changing now, thanks in part to new Regent Park redevelopment efforts like 60 Richmond East.

“The building actually sits south and east of Regent Park,” says Teeple. “It’s made up of 85 units, and it’s specifically intended to house residents working in the food service and hospitality industries. It’s run as a co-op, just like you would find in a private condo building.”

Since most residents living at 60 Richmond East share a common interest of working with food, Teeple wanted the building’s design to help strengthen their community and hone their industry skills. On the ground floor, his team incorporated a full-service restaurant meant to employ building residents and act as a dining destination for the neighborhood. On the sixth floor, they created a CONTINUED g

Photos courtesy of Teeple Architects, teeplearch.com

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60 Richmond East won a Toronto PUG Award, given by city residents to buildings that they like the most. The building has been vandalized, but Teeple team likes the urban touch its new graffiti adds. “It was done in colors that match the exterior color scheme,” he says. “It’s done so well that we had it photographed.”

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“The building is intended to house residents working in the food service and hospitality industries. It’s run as a co-op, just like you would find in a private condo building.” - Stephen Teeple

Integrating 60 Richmond East’s natural and built environments was the goal for landscape design firm NAK Design Strategies, says senior landscape architect Cindi Rowan. “Utilizing principles of permaculture, xeriscape, and urban horticulture, 60 Richmond Street surrounds and supports a living ecosystem that flows throughout the building, providing cooling, shade, and air quality benefits while supporting a productive herb and vegetable garden for the benefit of the community kitchen and restaurant,” she says.

space for a 700-square-foot outdoor garden that can sustain crops, thanks to its access to direct sunlight and its dripwater irrigation system. “You can see it from every floor. It’s positioned perfectly,” Teeple says of the small space.

Due to this smart siting, the garden has become the gathering point for 60 Richmond East’s community.

(CONTINUED)

But back on the ground floor, it’s the restaurant that’s brought the building into

the neighborhood. Last December, Toronto’s Unite Here hospitality union opened Hawthorne Food and Drink in the space, which has become a go-to Toronto dining hotspot. Teeple fully anticipated the restaurant’s success, but he has been pleasantly surprised by how fast the building has become part of the neighborhood.

“People really like it. We were prepared for it to be seen as too radical, but that hasn’t been the case. People have really embraced its different aesthetic.” a Photos courtesy of Teeple Architects, teeplearch.com

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Architecture Eye Candy

Modern Glow Panoramic views and a statement staircase are central to a reimagined 1960s house By Gwendolyn Purdom

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ooking out from inside architect Michael Kovac’s Lantern House, the vista stretches from the skyline of downtown L.A. to the Pacific Ocean. Capitalizing on those rare hilltop views was Kovac’s top priority in taking on the renovation of this 1960s Bel Air home, he says, but the project got its nickname from the perspective outside, looking in: Bathed in light, a translucent glass staircase is a striking vertical divider in an otherwise horizontal layout.

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Architecture Eye Candy The Lantern House, which marries mid-century architecture with contemporary updates, is not architect Michael Kovac’s first experience blending modern conveniences with classic style. On his own home, the Sycamore House, Kovac worked with Rex Pratt, owner of the Santa Barbara-based Venetian plaster company Rex J. Pratt Inc., to integrate timeless plaster finishes into the contemporary residence. “Michael has a wonderfully unique design style that has provided me with the opportunity to create finishes that fit his panorama,” Pratt says. “While I personally understand old-world finishes, I also love the clean lines and crisp feel of contemporary elements and architecture. Venetian plaster is usually considered an old-world finish, but I can simply modify the technique and color to create a finish that works in a contemporary environment.”

“We didn’t want it to be completely exposed as you walk up and down the stairs, yet we also wanted to pull a lot of natural light into the space,” Kovac says.

“We were enamored with the idea of how it would glow at night with softly lit blurry figures moving inside, and that’s what it does.”

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The clients were looking for a change from the traditional style of their previous house, so Kovac added a dramatic second story to the initially dated property to house the master suite, seamless glass walls, and a central reflecting pool, among other contemporary features. “We were responding to the view and the footprint that was there and trying to solve that puzzle of how to update a house after 40 or 50 years,” Kovac says. Details such as a sliding door clad in stainless steel on the kitchen side, leather on the dining room side, and plenty of indoor/outdoor spaces, keep the modern design feeling warm and inviting to friends, family, and grandkids. a Photos by Lars Frazer, larsfrazer.com

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A striking wood and steel stairwell connects the original 1950s home with the modern, second-story addition. Enclosed by frosted channel glass, the staircase has an internal glow when viewed from the exterior.

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Art-chitecture Site-specific art installations are integrated into the architecture of a family home

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rt often influences architecture, but at this 4,500-square-foot town home in New York City’s Greenwich Village the connection between the two was literal. “The house features a number of sitespecific art installations,” explains Galia Solomonoff, creative director of Solomonoff Architecture Studio, which worked with artists like Jim Lambie and Rirkrit Tiravanija to integrate their artwork into the historic structure, a home for a young family. CONTINUED g

Solomonoff Architecture Studio designed the second-floor staircase, which features airplane cables. The multi-hued cables call to mind another of the home’s colorful stairways: the Jim Lambiepainted entry stairs.

Photos by David Joseph, davidjosephphotography.com

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NYC Penthouse East Village Condominium East Village Condominium Solomonoff Architecture Studio (SAS) Grade Studio Architect +Design Solomonoff Architecture (SAS)

a formula that includes personal ds personal a artistic with formula a passion. formula Since that includes its that inception includes personal in personal 1994, Olympic Construction Incorporated succeeds with a formula that includes personal Constructi an The company’s Since its inception in 1994, Olympic mpany’s an ty with artistic an passion. artistic attention passion.

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Olympic Construction is completing high-scale residential craftsmanship, combined with a conscious ab esidential ects d completing and completing well high-scale versed high-scale inresidential managing residential all their clients’ needs, working closely with architects and completing high-scale residential well versed in managing all their clients’ needs, w projects for an elite and diverse New York clientele. projects for an elite and diverse New York clien

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Olympic CP

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Olympic CP

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Art was integrated into furniture, too. The living room coffee table by artist Yves Klein is filled with powdered pigment in his signature blue hue. “If you open the box, which is possible since it is not glued, the entire house could become covered in Yves Klein Blue, which was his desire,” Solomonoff says. “The purple couch is to help propagate the blue glow.”

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Architecture Eye Candy Finding a place for both family and art was no feat for contracting company Olympic Construction Incorporated.

“We created seamless backdrops that could support the outstanding contemporary art, and in other areas we built unique, fun bedrooms for the children,” president Voytek Swietek says.

However, the antiquity of the home did create some challenges.

“The home is around 200 years old, and some floor beams had been previously damaged in a fire. Proper support was crucial to safely proceed and follow through with the project,” he says.

“This project required our skills for specialty high-end interiors, detail finishing, and millwork.”

Those skills came into use when the new doors arrived on the project and were too heavy to install. “Being able to come up with a weightsaving solution, and being able to actually build this, was one of my favorite design aspects of the projects,” he says.

The installations are visible from the moment the front door opens and the owners are greeted by a colorful Lambie work painted on the entry stairs. “We crafted the stairs knowingly, aware of the specific painting technique he uses,” Solomonoff says. “We made the stair attuned to the art, able to both hold in tension and complement the artwork.” To foreground the painting, the team designed minimalist railings that recede into the wall and recessed side lighting that highlights the painted stair treads and risers.

(CONTINUED)

Fine art wasn't the only design influence. Popular culture found a place too, in the master bedroom.

“Because of the rich, baroque frame of the owner’s mirror, I recommended a tufted headboard,” she says. “The inspiration came from Betty and Don Draper’s bed in the TV show Mad Men.” a

In other areas, the site-specific art was used to solve design challenges. The ground floor, for example, is located on a noisy city street, making it difficult to design a quiet, family-friendly room.

The answer came in the form of an installation by contemporary artist Rirkrit Tiravanija that features a nearly floor-to-ceiling cube with stainless steel doors that slide open to reveal a special chamber.

Top photo by Jonathan Garnett, solomonoff.com; other photos by David Joseph, davidjosephphotography.com

October 2013

Design Thinking

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Artist Rirkrit Tiravanija’s stainless steel art installation features a cube with sliding doors that reveal a special chamber.

Outside, a swing makes for an impromptu play area.

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IN THE DETAILS Exploring the key elements of uncommon spaces

Built-ins display the owners’ extensive book collection and are a nod to the wife’s career as an art and design writer and editor.

Design Thinking

October 2013

October 2013

Design Thinking

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“Small bathrooms can be awkward,” says Pasquiou, who added funky blackand-white wallpaper in the powder room. “I like to make a statement or create a sense of surprise.”

Pasquiou kept the existing kitchen because she felt its minimalistic nature, sleek lines, and white color palette open up the space.

“Sometimes it’s important to keep one area of the home a bit more quiet,” says Pasquiou. The stools add a contrasting pop of color.

Artful Interiors A creative couple’s passion for art, literature, and design inspires their home

“I

like a blank canvas to work with, so I can really personalize a space— that’s my nature,” says interior designer Valerie Pasquiou of Valerie Pasquiou Interiors + Design. “I try to create a story around the client, the building, the space.”

Pasquiou’s artistic approach to design found its complement in

a creative couple who wanted their 2,700-square-foot Soho loft to reflect a passion for design, art, and literature.

Their extensive art and book collection serve as the backdrop for Pasquiou’s design, which blends contemporary style, like the sleek kitchen, with color, texture, and pattern for a poetic balance. — Lesley Stanley

Photos courtesy of Valerie Pasquiou Interiors + Design, vpinteriors.com

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Design Thinking

October 2013

IN THE DETAILS

Pasquiou paired clear, transparent chairs with the homeowners’ previously owned Paul Evans chrome table in the dining area to maximize light in the nearby living room.

Pasquiou designed the steel and walnut coffee table and reupholstered the chairs, which date back to the 1930s, in cowhide.

October 2013

Design Thinking

The rich, warm cream color palette and natural accents in the living room create a comfortable family-friendly spot that’s still elegant.

Dividers add wall space while also breaking up the open area.

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IN THE DETAILS

Bortoluzzi and Giorgio Brambilla of Liteq Design created this interactive light installation at the fifth-floor entrance. Each of the mirrored boxes contains a sensor-activated LED light that is triggered by people’s movements.

Photos by Sergio Ghetti, sergioghetti.com

October 2013

October 2013

Lighten Up Playful lighting and artistic accents brighten a home

“L

ight is a very important part of creating the feelings, the atmosphere of interior spaces,” Labo Design Studio’s Raffaella Bortoluzzi says.

Fittingly, the light fixtures in this four-bedroom, sixbathroom New York City town house designed by Bortoluzzi make the space feel lighthearted. Greeting guests at the fifth-floor entrance is an interactive

“We made sure to realign each room’s ceiling so that they would have the same height throughout,” Bortoluzzi says. “I wanted to make the architectural spaces very clean so that the furniture and lighting would stand out.”

light sculpture that responds to their movements with waves of light. Another fun fixture—a suspended bundle of linear fluorescents—adds quirk to the floor’s dining area.

Complementing the whimsical lights are Bortoluzzi’s unusual materials and artistic arrangements, including staggered hanging wooden boxes used to hold appliances and storage on the fifth-floor kitchen.

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IN THE DETAILS

Designated as an entertainment space, the fifth floor is defined by quirky touches. A light fixture made of bundled fluorescent lamps hangs over a dining table.

Bortoluzzi added perforated Cor-ten panels on the property’s two outdoor terraces.

Design elements like the glossy metal shelves, used here in a bedroom, appear throughout the house, including on windows sills and walls. “These recurrent elements anchor the playful feeling created by the furniture,” Bortoluzzi says.

Photos by Sergio Ghetti, sergioghetti.com

The wall space was effectively utilized in both of the home’s kitchens. Here, white, mounted cookware is a playful reference to kitchen culture.

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Notes From the Bureau News and Musings from the world of architecture and design

Beach Chic Sleek furnishings, fine fabrics, and contemporary art make a seaside retreat look rich, not kitsch

T

he phrase “beach house” conjures up an interior that reflects the sand, waves, and clear summer skies. But when your vacation backyard is the posh Hamptons, and your clients are art aficionados, it’s time to rethink the pastel hues and shell accents that define many summer digs. Fanny Haim of Fanny Haim & Associates echoes this sentiment: “We wanted to create a sophisticated retreat that was welcoming, yet void of the usual clichés typically associated with this location.”

with more relaxed elements, such as a deep ebonized wood table that Haim specifically selected for its casual and unpretentious lines.

Instead, Haim subtly alluded to the sea and sand with materials that range from weathered woods to deep, chocolate-stained walnut and linen, silk, and velvet fabrics in dusty blue, ivory, and cream. Luxurious pieces like the dining room’s gold-leaf light fixture and ivory mohair chairs were paired

The homeowners’ artwork also adds a personal touch to the sleek space. “The fireplace material is clad in black slate on the inside to give the illusion of a horizontal firebox, and the artwork above provides a rhythm that contrasts with the severity of that long black slit,” Haim says. – Jill McDonnell

Sleek and sophisticated was the mantra for this Hamptons beach house, which trades nautical clichés for contemporary art.

Photos courtesy of Fanny Haim & Associates, fannyhaim.com

October 2013

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“RedStreak is a proper English style draft cider.

With a hazy lemon hue, scent of fresh and ripe apples, just a touch of oak, and a crisp tart finish.

Locally crafted from Midwest apples, RedStreak Cider is your next drink” — Ciderist Gregory Hall

virtuecider.com

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Design Thinking

October 2013

Notes From the Bureau

High-Tech Tile Three new technologies are redefining the look and performance of flooring

D

id you know that porcelain tile can bend, won’t freeze or crack, and can last up to 50 years? Neither did we.

Tile expert Pam Gilbert of Üson Design, a Minneapolis-based distributor of fine flooring products, filled us in on a new generation of products that are changing how we think about tile—from the ground up.

Hi-definition HD isn’t just for TV anymore. Flooring manufacturers like Provenza and Emilceramic Group are using the digital printing technology that was pioneered in ink-jet printers to recreate the pattern of natural stone, wood, and concrete on porcelain tile. “This advancement allows for much better resolution and pattern variation, creating a porcelain tile that is virtually indistinguishable from natural stone,” Gilbert says. “Plus, porcelain is usually less expensive than natural stone. It’s much easier to take care of since it does not require special cleaning and maintenance.”

1

Fred Basch Proud to be working for

Gruzen Samton • IBI Group mail@fredbasch.com

Super-thick

Ultra-thin

Another alternative 2 to stone, extra-thick porcelain tile, like Mirage’s EVO2 product, is designed to replace stone, brick, and concrete in outdoor applications.

At 20mm thick, the tile is impervious to freezing and can be used for raised-floor projects, giving it an advantage over more traditional paving materials, says Gilbert: “As people learn about the benefits of using porcelain outdoors, it will continue to grow in popularity.”

This new technology offers the convenience of peel-and-stick tile in a more sophisticated package. Flexible, bendable, and totally customizable in size, ultra-thin porcelain is as thin as 3mm, comes in sheets as large as 40 by 118 inches, and can be used inside and outside. Best of all, “it can easily go over existing material like tile, brick, and linoleum, which can speed up projects,” Gilbert says.

Photos courtesy of Üson Design, usondesign.com

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Ocotober 2013

Design Thinking

DESIGN BUREAU

Before & After

AFTER In keeping with the NYPD’s goals for the space and the city’s historic preservation codes, Basch’s design maintains the historic character of the building while updating it for modern use. The stone façade was carefully removed, restored, and reinstalled, while the cast iron columns that were previously enclosed in the brick masonry were revealed. The structure’s slate roof, copper roof elements, historic barn-loft doors, hayloft hooks, and decorative Minton tiles were likewise restored.

before

Pretty Precinct The restoration of the Central Park Police Precinct leads to pleasing results

B

eautiful may not be the first word people associate with horse stables or public buildings. But, says architect Fred Basch, it was an essential component to the restoration of the New York City Central Park Police Precinct, a structure that has served as both in the course of its long history. Built in 1870, the building first served as a horse stable before being converted into a police precinct in the 1930s.

After more than 140 years of use, the building showed signs of extensive deterioration, and it wasn’t suited for modern-day police work. “Early on in the development of the project we realized that it would not be enough just to emphasis that new elements should read as new and restored elements should be seamlessly incorporated into the historic fabric,” Basch says. “We needed to create some new components that spoke to their historic predecessors.”

Basch also added a lightweight, bulletproof glass-and-copper canopy over the existing courtyard to provide additional usable space.

“The courtyard once again serves as the organizing principal for the complex. All stationhouse functions now center on the new lobby and main desk, which occupy the newly enclosed courtyard space,” Basch says.

The new space is functional, and, of course, beautiful, says Basch: “My view is that if you are going to build something that will serve the public for 80 years it should be built with durable materials, look great, serve the occupants and keep them safe, and welcome those who visit.” – Lexi Crovatto

Photos by Mark Scheyer Photography, architecturalphotography.net

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Notes From the Bureau

Exotic Oasis A pair of globe-trotters’ travels inspire the design of a worldly retreat

C Architectural Design & Development Commercial Interiors

FF& E Procurement

www.g2designstudios.com 773.809.5019

olorful people deserve colorful spaces—that was interior designer Claudia Garcia’s approach to crafting a home for two adventurous world travelers. The owner of Claudia Interiors, Garcia took her cues from some of the couple’s favorite locales to add global flavor to their Salt Lake City home.

The homeowners’ love of Africa inspired Garcia to design a master bathroom oasis that pays homage to the continent.

Scenes of the savanna are depicted on mosaic tile that forms the backsplash for

Interior designer Claudia Garcia took cues from the homeowners’ love of travel, outfitting their home with globalinspired accents.

the tub and glass-enclosed shower. Rich wood accents, including an olive wood ceiling and Indian rosewood vanity, enhance the room’s exotic look.

In another nod to the couple’s travels, Garcia illuminated the family room with large, hand-forged iron chandeliers from France. To provide an extra layer of comfort when the couple’s feet are momentarily planted, she covered every inch of the home, including the ceilings, with wood, stone, fabrics, or wall coverings.

“The resulting effect was amazing—it created warmth and a feeling of serenity,” she says. – Jill McDonnell

Photos by Springgate Architectural Photography, springgatephotography.com

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October 2013

Notes From the Bureau

A Fresh Concept Five key ingredients give one New York City salad chain a crisp, new look

I

mitation may be the sincerest form of flattery for some, but not for New York salad chain Chop’t Creative Salad Company. When its competitors began to copy the chain’s signature corrugated plastic, wheat board trim, and bold color palette interiors, it turned to architectural design studio EFGH to reimagine the design concept. “We wanted to bring in an elevated color palette, as well as more integrated thinking in terms of furniture and signage,” EFGH principal Frank Gesualdi says. “Richer materials, better lighting, and more subtle colors were top on our list of design interventions.” Here are five of the eatery’s new enviable design elements.

– Jordan Mainzer

Durable automotive paint makes the salad bar chop-proof.

“All the design components have gone through a rigorous proof-of-concept, and the materials tested for durability, ” says EFGH principal Hayley Eber.

2

“The large menus and serving line work together to create a nice flow,” says general contractor Michael Katz of Cooper Works.

“It was tricky to implement, but ended up hiding all of the wiring.” Cooper Works has built out the restaurant’s concepts since its first location opened in 2000. “We have seen Chop’t grow and change.

EFGH has brought it to a new level.”

5

The design is green inside and out. “We recently deployed an advanced acoustic wall treatment composed of upcycled shredded blue jeans to diminish unwanted noise and create a more enjoyable environment,” project architect Spencer Lapp says.

3

The wall peel combines seating, signage, and branding in one. “We had Chopt’s logo milled into the oak wall surface, locating it near the storefront where it is most visible to passersby,” principal Frank Gesualdi says.

1

Photos by Alan Tansey, alantansey.com

EFGH used lighting to strategically illuminate the food preparation and ingredient colors. “We reduced the overall lighting and created an architectural framing device around the service line,” Lapp says.

4

Architectural Hardware & Plumbing Fixtures

www.hollywoodhardware.com

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Notes From the Bureau

October 2013

By the Numbers

Choose Your Own Home From lofts to bonus rooms, design options abound at a California development

A

mericans love options. And what better place to exercise our right to choose than at home? Architects Mohsen Heidari and Mark Retherford, senior principals at William

Hezmalhalch Architects, designed the customizable homes at the Bella Lago at Oakwood Shores development in Manteca, California, with choice in mind.

Here, we break it down, digit by digit.

3

160 Acreage of the development’s main lake that inspired the design of the interior and exterior spaces. “There was a large emphasis on the lake views,” explains Heidari.

“The floor plans are designed so that upon the entry, one is immediately presented with a view of the lake, and after walking through the home, expansive living areas with high ceilings and window arrangements are revealed.”

Architectural styles that homeowners can choose from.

“We wanted to recreate the feel of a lakeside Italian village, so the exteriors were designed with references to rural Italian, Italian villas, and Tuscan architectural styles,” WHA senior principal Mohsen Heidari says.

17

Total interior floor plan options owners can select to customize their home.

“Having studied the market trends, we developed multiple room options for each plan that can fit many different lifestyles,” Heidari says of the custom options that include a guest suite and loft. “It was important to appeal to the needs of a maximum number of buyers, so there are more flex options in these plans than in other neighborhoods.”

4

Downstairs bedrooms in one of the most popular floor plan options. “The main floor designed with four bedrooms and three baths is popular with a wide range of buyer profiles. This predominately one-story home provides the flexibility to expand for multigenerational living with up to two added bedrooms and bathrooms or bonus space located above the garage,” Heidari says.

Photos by Eric Figge, ericfigge.com

Ocotober 2013

Design Thinking

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Suburban Snapshot

Less was more when it came to renovating this 1950s home originally designed

by MacKie and Kamrath. Architect Reagan Miller took the home back to its Usonian-style roots, removing decades of worth of unnecessary “improvements.”

The Wright Way A Houston architecture firm transforms a mid-century home into a Usonian utopia

T

his 1950s-era home in River Oaks, Texas, was originally designed by renowned Houston architects MacKie and Kamrath, gifted interpreters of Frank Lloyd Wright’s Usonian vision. Six decades after the home was built, Miller Dahlstrand De Jean Architects crafted a plan to give the residence some much-needed restoration. “Not only did the house need general repair, it also needed decades’ worth of paint and ‘improvements’ removed to return the finishes back to their original

“We worked in a style of modernism that had reached its peak more than 60 years ago but yet remains absolutely vital today.”

– Reagan miller

state,” says Reagan Miller of Miller Dahlstrand De Jean Architects. “The current owners and I wanted to preserve and sympathetically rehabilitate this historically important house while meeting modern needs,” he says.

Both structural and cosmetic changes were made, including a new two-story wing, kitchen, and family room on the ground floor, and a reconfiguration of two original bedrooms into a bedroom suite and study. The original foyer, living room, and dining room were preserved with minor modifications.

In addition to creating a functional family home, the renovation was a personal achievement for Miller, who wrote his master’s thesis on MacKie and Kamrath: “Some of the most rewarding aspects of the project were working with enlightened clients whose goal was the preservation of a historic house, working in a style of modernism that had reached its peak more than 60 years ago but yet remains absolutely vital and inspirational today, and the opportunity to professionally revisit a project that started 20 years earlier as an academic pursuit.” – Sara Driscoll

Photos by Mark Scheyer Photography, architecturalphotography.net

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Alto-Hartley.

The soup to nuts of commercial kitchens.

Design Thinking

October 2013

Notes From the Bureau At Epic Smokehouse, the semi-open kitchen is part of the dining experience. It was also a space saver.

“The space is very narrow and presented a difficult challenge,” says Chris Huebner, director of design for kitchen equipment installer Alto-Hartley.

“We ended up giving them a semi-open kitchen with a focus on the main cooking appliance, the smoker.”

Eat this: Architect’s Pick Alto-Hartley is a dealer/distributor for nearly all U.S. commercial kitchen equipment—representing more than 500 manufacturers—and highly skilled in installation.

Working with clients, we apply our extensive product knowledge, project management experience, and design/ build/installation expertise to get the job done—and get it done right and on time.

BBQ Gets Branded An architecture, interior design, and branding firm puts its mark on a restaurant concept

Alto-Hartley. The soup to P nuts of commercial kitchens.

rime cuts weren’t the only item on the menu when the owners of Epic Smokehouse decided to open the Arlington, Virginia, restaurant that marries the elegance of an upscale steakWe offer comprehensive in-house house with the Southern comfort of a design services, from concept to barbecue joint. The owners also wanted completion as well as redesign of to serve up the right balance of class and existing spaces. comfort. Using a combination of interior and branding design, Collective ArchiUnbeatable quality, service and tecture, a Washington, D.C.-based studio, pricing. Why not try design/build on cooked up the perfect look. Principal Alex your next restaurant?

Hurtado walks us through the experience of crafting the environment from soup to Our clients include restaurants, corportate Alto-Hartley is a dealer/distributor nuts (or in this case, nose to tail).

for nearly all U.S. commercial kitchen equipment—representing more than 500 manufacturers—and highly skilled in installation. We help clients make the best possible use of their commercial food preparation and storage space to achieve the greatest possible functionality and value from their facilities.

Smoked brisket or hot funnel cake with berries and whipped cream

cafeterias, hotels and educational institutions like Hanks on the Hill, Volt, Teaism, DB: How do the architecture and L’Auberge Chez François, Epic Smokehouse, create an experience?

Pizzeria Paradiso, Range, Family branding Meal, Smithsonian Institution and WorldAlex Bank, Hurtado: Our design evokes the to name a few. owner’s vision to create a space that encompasses the characteristics of a

We offer comprehensive in-house design rural services, from concept to completion as wellsmokehouse while adding a hint of edgy style. This is evidenced in the as redesign of existing spaces.

Working with clients, we apply our extensive wood-wrapped vestibule wall where the product knowledge, project management 703.883.1448 | sales@altohartley.com Unbeatable quality, service and pricing. restaurant’s name is branded into the experience, and design/build/installation 24 Hour Service | Free Consultations expertise to get the job done—and get it wood planks and backlit with flickerWhy not let us quote your new restaurant? donealtohartley.com right and on time. ing red lights that suggest open flames.

The dominant use of wood and fire-like 1313 Dolley Madison Blvd. 24 Hour Service elements helps recreate an actual rural Suite 400 Free Consultations smokehouse as an architectural element.

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DB: What was the inspiration for the environment?

AH: The architecture and the brand development was elaborated from the same vision of American nostalgia and the passion for this rustic, textured, and warm palette derived from the rural smokehouse. Just keeping in mind these simple elements kept the architecture and brand development on the same track. Whether it was typography, color palette, paper, or illustrations, we always made sure that it had a close relationship to what was happening in the space.

DB: How did this concept shape the architecture and interior design?

AH: We wanted to create a warm, comfortable space with clean lines and a timeless look that encompasses tufted seating, screen-printed vintage tattoos on concrete bar tops, and reclaimed wood. The exposed ceiling and angled mirrors help to create the sense of openness while being constrained to a fairly narrow floor plate. In the main dining area, leather wrapped walls frame the view to the open kitchen; this connection allows diners to experience the energy of the kitchen while enjoying their meal. a

October 2013

Design Thinking

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The Suite Spot An architect discusses the art of creating a master oasis While the kitchen may be the heart of the home, the master bedroom is its sanctuary. As part of a phased renovation, architect Adam Montalbano of Moto Designshop recently designed a master suite for a young Philadelphia couple. Here, he shares his approach to creating their dream retreat. – Jill McDonnell

Create an at-home spa To marry function with the spa-like bathrooms currently in vogue, Montalbano enlarged the existing bathroom, put the toilet in a separate area, added a chandelier above the tub, and turned the shower structure into a sculptural element that is easy to maintain and looks great.

“We welded the shower and the shower column together and covered them in Corian, which is typically used for countertops,” Montalbano says.

1

Define ‘zones’ to improve flow Instead of relying on windows or doors to separate areas, Montalbano 3

Bring nature in Montalbano knew that his clients didn’t plan to use all five of the home’s bedrooms, so he combined two smaller rooms to create an impressive master suite.

When the new homeowners raved about their property’s lush greenery and landscaping, Montalbano brought the views inside.

He increased the amount of windows and reflections, adding multiple windows and reflective surfaces in the bathroom and a 16-foot-long wall window in the bedroom.

2

used the direction of the floorboards to create bedroom “zones” that include the entryway, sleeping area, and sitting room. “The hardwood floors then run into the bathroom so the flow is natural,” he says.

For additional continuity, the same custom white oak finish is used for cabinetry and shelving in both spaces.

Photos by Roman Torres, Pixelcraft 2013

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The Architecture Issue

building The future T

he best architecture changes the way we live. Wondering what the future holds, we look to 10 architects’ completed projects and the big ideas behind the groundbreaking plans they’ve got on the boards By Joel Hoglund

Architect

C.F. Møller project

Wooden Skyscraper location

Stockholm, Sweden big

idea

Building an environmentally friendly high-rise with wood

First floor

Second floor

2

6

Third floor

8

Fourth floor

18

16

3

7

13

8

22

7

7

7 1 4 5

5

5

5

9 15

11 14 10

1: Main entrance 2: Café Sobra 3: Reception 4: Wardrobe/wc

14 17

5: Lift (access from undercroft parking) 6: Museum shop 7: Main stairs

8: Special exhibiton 9: Teaching 10: Workshops 11: Deliveries

12: Staff entrance/ escape stairs 13: Exhibition space 2 14: Administration

21

19 12

12

12

20

15: Library 16: Exhibition space 3 17: Exhibition space 4 18: Temporary storage

12

19: Props room 20: Roof terrace 21: Exhibition space 5 22: Plant room

Sogn & Fjordane Art Museum photos by Oddleiv Apneseth

Glass, concrete, and steel. These are the materials that make up the skyscraper forests that many modern cities have become. But Denmarkbased firm C.F. Møller wants to change that with plans for a 34-story building in Stockholm sheathed in wood. A marked departure from the icy cool glass cube the firm recently designed for the Sogn & Fjordane Art Museum in Norway, the Wooden Skyscraper uses its backto-basics building material for more than just cachet.

Wood leaves no waste products, has low weight but a strong load-bearing factor, helps maintain a pleasant indoor climate, and binds CO2 emissions in the air, the firm says.

And, though, the solid wood frame is built around a concrete core (with solar panels on the roof to power the while thing), C.F. Møller says that the 15 percent water content in wood makes it more fire-resistant than both steel and concrete. Long winters in Stockholm will be a little easier with solid wood walls and ceilings in the building’s apartments, giving residents a logcabin-like connection to the natural world all year— and giving everyone else in Stockholm a one-of-a-kind new beacon on the skyline.

The Architecture Issue

Completed Project Resembling a fractured block of ice, the innovative design of the Sogn & Fjordane Art Museum in Norway predates the connection to the natural world that C.F. Møller shows with its Wooden Skyscraper concept (next page)

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The Architecture Issue

Wood is lightweight but bears a strong load, leaves no waste products, maintains a pleasant climate, and binds CO2 in the air.

The Architecture Issue

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on the boards

Wooden Skyscraper images courtesy of C.F. Møller, cfmoller.comi

C.F. Møller’s Wooden Skyscraper concept calls for a 34-story tower built of solid wood around a concrete core. In addition to the unique aesthetic qualities it provides on the façade—with its multiple setbacks allowing for private garden space in upper-level apartments—wood has numerous environmental benefits, according to the firm.

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The Architecture Issue

Top of Parapet

175.550 m

Architect Top of Parapet

MAD Architects

157.850 m

project

Huangshan Mountain Village

big

149.450 157.850

Huangshan, China

175.550

location

idea

Preserving the integrity of a protected natural landscape while opening it to residents and visitors

8.400 m

8.400

3rd Floor

Ground Floor

Ground Floor

18.875

Beijing-based MAD Architects knows curves. The soft, flowing shape of the firm’s Absolute Towers in Mississauga, Canada, breaks from the usual boxy high-rise forms with a shape that’s more natural and organic. In this growing urban area, the towers stand out, but in MAD’s Huangshan Mountain Village, contoured architecture helps the buildings blend in. And that was quite the necessity for this project. A high-density cluster of apartments, hotel rooms, and communal amenities in numerous low-rise buildings, the Village is surrounded by a cherished, UNESCO World Heritage Site landscape. MAD sculpted the buildings in deference to the local topography, blurring the boundaries between the geometries of architecture and nature. The use of local materials and the incorporation of plants and greenery adds to the serene, immersive experience of a land that could otherwise have been tainted by less reverent architects.

Parking -18.875 m Level 6

Completed Project MAD Architects’ recent Absolute Towers displayed the firm’s method of using unique floor plates to shape an undulating profile, an aesthetic the firm also shows in Huangshan Mountain Village (opposite page)

Huangshan Mountain Village images courtesy of MAD Architects, i-mad.com; Absolute Towers photos by Tom Arban

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The Architecture Issue

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on the boards MAD Architects designed a vast village that opens up a protected mountainous area to residents and visitors while respecting the landscape

MAD sculpted the buildings in deference to the local topography, blurring the boundaries between the geometries of architecture and nature.

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Nature and Nurture The environment dictates the design and topography of the Huangshan Mountain Village in China

The Architecture Issue

The Architecture Issue

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Farm-to-City

sidebar Images courtesy of Vincent Callebaut Architectures, vincent.callebaut.org

Building the ‘Ecopolis’ Vincent Callebaut thinks ahead. The award-winning Belgian architect has created plans for 22nd-century auto-sufficient amphibious cities for climate refugees, flying bio-hydrogen algae farms that recycle CO2, and a field of techno-organic towers to recycle the atmosphere in central Hong Kong. But his futuristic concepts are far from far-fetched.

They address in big, daring ways the concern that seems to be chief among today’s architects designing buildings for the future: How do humans and cities comfortably coexist with nature and the environment?

Callebaut has proposed reimagining the megalopolis as the “ecopolis.” “The contemporary urban model is ultra energyconsuming and works on the importation of wealth and natural resources on the one hand, and on the exportation of pollution and waste on the other hand,” says Callebaut.

“This loop of energetic flows can be avoided by repatriating the countryside and the

How do humans and cities comfortably coexist with nature and the environment? farming production modes in the heart of the city through the creation of green lungs, vertical farmscrapers, and by the implantation of wind and solar power stations.” Asian Cairns (above), his new concept for Shenzhen, China, is a series of six multifunctional buildings that combine housing, offices, leisure spaces, vertical agriculture fields, and phytodepuration lagoons to recycle water. The aesthetic—a stack of steel “pebbles” that resembles the markers hikers use to mark trails—is as fascinating as the philosophy behind it.

Like another ahead-ofhis time architect and urban designer, Daniel Burnham, said: “Make no little plans.”

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Architect

Studio Gang Architects project

Solar Carve Tower location

New York, New York big

idea

Using incident angles of the sun’s rays to sculpt building form A great idea is one thing, but the knowhow to execute it is quite another. One of the most innovative architects working today, Jeanne Gang of Studio Gang Architects seems to have mastered both, allying inspiration from the natural world with cutting-edge technology to create buildings that interact with their environment in a beautifully symbiotic way. The rippling waves of Lake Michigan became individually sculpted, GPS-positioned floor plates with tailor-made balcony views in Gang’s rapturously received Aqua Tower in Chicago.

For her New York debut, Solar Carve Tower, Gang has planned a gemlike mid-rise sited in a potentially touchy spot—adjacent to New Yorkers’ beloved elevated park The High Line. But Studio Gang applied its extensive research into solar carving to the project, using geometric relationships between the building and the sun’s path to create the façade, and allowing The High Line to receive maximum sunlight, fresh air, and river views. Talk about a good neighbor.

Completed Project Chicago’s Aqua Tower officially made Jeanne Gang a star

The rippling waves of Lake Michigan became individually sculpted floor plates with tailor-made balcony views in Aqua Tower.

Solar Carve Tower images courtesy of Studio Gang Architects; Aqua Tower photo by Steve Hall © Hedrich Blessing

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on the boards Studio Gang Architects studied the position of the sun for Solar Carve Tower in New York so the mid-rise building wouldn’t disturb light and river breezes on the adjacent High Line elevated park

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Architect

Snøhetta project

Busan Opera House location

Busan, South Korea big

idea

Democratizing architecture by turning a building’s exterior into public park space

Oslo-based architecture firm Snøhetta turns the idea that cultural and architectural landmarks like opera houses should be restricted to the elite on its head.

It’s not a passive but an interactive experience that Snøhetta is championing as the future of architecture. At its groundbreaking Oslo Opera House (winner of numerous prestigious awards, including the E.U.’s Mies van der Rohe Award), Snøhetta set out to make the opera accessible in the widest possible sense by designing a “carpet” of sloping marble surfaces that allow not just black-tie-clad opera patrons but residents and visitors of the city to stroll up the sides of the building and onto its roof. Snøhetta builds on this democratizing form of architecture in its plans for the Busan Opera House. A continuous marbleclad public plaza flows around the curvy glass front and the opposing angles that form its top and sides, leading the people from the sea to the skyward-facing rooftop in one fluid architectural motion.

Completed Project Snøhetta drew international acclaim for its Oslo Opera House (left), which was designed to allow the public to walk up the sloping building. The firm expands on this democratic design in its concept for the Busan Opera House (above and opposite)

Busan Opera House images courtesy of Snøhetta, snoarc.no; Oslo Opera House photo by jens passoth

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on the boards Plans for the opera house in Busan, South Korea, call for a continuous marble-clad public plaza, allowing people to walk up the sides and onto the roof of the structure

It’s not a passive but an interactive experience that Snøhetta is championing as the future of architecture.

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Architect

Ten Arquitectos project

New York Public Library location

New York, New York big

idea

Filtering daylight underground to open up new building space in dense urban areas

They’re not making any more land in Manhattan (well, not since Battery Park City, anyway). So when Ten Arquitectos was tasked with designing a 30,000-squarefoot New York Public Library branch in sardine-can-tight Midtown Manhattan, the challenge would require some innovative thinking. And did we mention the library, located below a new 46-story hotel and residence, couldn’t rise above the ground floor? To maximize the available space— and set a future precedent for building in increasingly dense city centers—Ten Arquitectos developed a concept to transform the dark subterranean levels beneath the planned high-rise into a light-filled library by carving considered spaces that let daylight filter into the deepest corners of the cellar space. “The fact that the building was being built from the ground up allowed the opportunity to manipulate the tower structure and open up the plan of the library below,” says Ten Arquitectos principal Enrique Norten.

“This maximized the connection between the lower levels and the street and created a very specific New York condition: surrounded by people above, below, and on all sides.”

Completed Project

Hotel Americano Located in the heart of a neighborhood known for its gallery scene by day and its pulsating club scene by night, Hotel Americano needed a façade that would speak to both of its surroundings’ functions. To create a buffer between the guest rooms and the all-night activity of the bars and clubs below—and to instantly put an iconic face on the boutique hotel—Ten Arquitectos worked with Cambridge Architectural to design a steel mesh screen connected to the building by catwalks.

Founded 102 years ago as a wire mesh manufacturer and supplier of woven metal to various industries, Cambridge Architectural is known for its transformative exterior façades. “The mesh façade not only creates a dramatic aesthetic, it provides shade, which reduces the cooling loads to the building and deflects glare,” says Cambridge Architectural marketing director Heather Collins.

“The interplay with the hotel lights and the movement of the elevator at night is stunning.”

“The millwork for Hotel Americano was an interesting challenge because the material selection was very specific,” says Harry Gaveras, owner of Propylaea Millwork. “The final selection, Larchwood, has a very organic and rustic grain pattern to it. My favorite design details of the hotel relative to the millwork are the headboards in the bedrooms. As for the overall hotel design—the chain metal curtain wall in the front of the building. It responds great to the history of the area as a historically industrial location.”

New York Public Library images courtesy of Ten Arquitectos, ten-arquitectos.com; Hotel Americano photos courtesy of Grupo Habita, grupohabita.mx

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on the boards

“The opportunity to open up the library plan created a very specific New York condition: surrounded by people above, below, and on all sides.”

– Enrique Norton

Ten Arquitectos manipulated the structure of the planned tower above the library to allow daylight to filter in deep below the surface, opening up square footage below street level that would otherwise go unused

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The Architecture Issue

Architect

Foster + Partners project

Spaceport America location

New Mexico big

idea

Pioneering commercial space travel in the world’s first space terminal for tourists

Technology and progress force some architects to envision buildings that have no precedent. A small dot in a vast expanse of empty desert that rolls out on all sides in rural New Mexico, Spaceport America is the world’s first space terminal for tourists. One of the most respected and sought-after architects in the world, Norman Foster and his firm Foster + Partners were the perfect choice to dream a truly space-age building into existence.

Foster always seemed to have one foot in the future: The spiraling form of his London City Hall, already more than a decade old, evoked fanciful images of futuristic flying saucers docked in the shadow of stately Tower Bridge. The Spaceport—including a spacecraft hangar, astronaut training areas and lounges, and space suit dressing rooms—is designed to amplify the thrill of space tourism in a sophisticated, never kitschy, way. The lowslung main structure bears a resemblance to a spacecraft itself, and it was designed to make a minimal impact on its earthly environment.

Completed Project Foster + Partners’ swirling London City Hall building evoked images of futuristic flying saucers more than a decade before its Spaceport America took that space-age look to a whole new level

Technology and progress force some architects to envision buildings that have no precedent.

Spaceport America photo (following page) by Nigel Young/Foster + Partners, fosterandpartners.com; City Hall photos by Nigel Young

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on the boards Ambitious sketches of Spaceport America resembled something out of science fiction when Foster + Partners first released them

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Space Age Though the first astrotourists have yet to walk through its doors, Foster + Partners’ completed Spaceport America is an unprecedented feat of architecture in the middle of the New Mexico desert

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Architect

JAHN project

Pentominium location

Seoul, South Korea big

idea

Four-story gardens throughout the building provide residents with sky-high park space

Part of the biggest urban planning development in South Korea, which is set to produce wildly imaginative skyscrapers from a roster of international architects well into the 2020s, Helmut Jahn’s Pentominium changes the way we think about high-rise living.

Out with the stuffiness, the confined spaces, the lack of privacy, and the feeling that the nearest green space is miles away. At various heights in each of the slender towers, Jahn carved structural bays out of the sides to create four-story tree-filled “sky parks” that put other buildings’ chintzy balconies to shame. Like the revered architect’s recent Veer Towers in Las Vegas, which were built with sun screen blades to provide shading and reduce energy consumption, Pentominium features a smart façade: An exterior screen of vertical and horizontal bars alternates to allow more privacy in bedrooms and bathrooms, reduce the cooling load of the building, and create a defining visual appearance for the structure.

Completed Project At JAHN’s recent Veer Towers project, sun screen blades provide shading from the Las Vegas sun and reduce energy consumption, a feature Helmut Jahn would enhance in his concept for the Pentominium Tower

Pentominium at the Yongsan International Business District images courtesy of JAHN, jahn-us.com; Veer Towers photo by Rainer Viertlboeck

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Out with the stuffiness, the confined spaces, the lack of privacy, and the feeling that the nearest green space is miles away.

on the boards Like Veer Towers’ sun screen blades, Pentominium’s façade reduces the cooling load of the building and creates greater privacy between the two towers in residents’ bedrooms and bathrooms

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garden in the sky Jahn carved out several four-story pockets in the floor plates to create indoor “sky parks” filled with greenery

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space saver

Images courtesy of Haiko Cornelissen Architecten, haikocornelissen.com

Elevating Museum Design Elevators are usually used for transporting people from point A to point B as quickly as possible within a building, but what if they were responsible for showing off the entire contents of the building? When Dutch architect Haiko Cornelissen set out to design a fashion museum set in hyperdense Tokyo, he didn’t have the luxury of creating a sprawling aesthetic statement on a huge plot of land.

So he looked to two distinctly Japanese, oddly disparate sources of inspiration for design inspiration: automated vertical parking using the Hitachi Multi-car Elevator System, and Kaiten (or “conveyor belt”) sushi displays. His “small and tall” Rotating Museum Tower plan calls for large elevators to loop through the slender building carrying the exhibitions, cycling chronologically up through the fashions of the 1920s-1960s, then back down through the 1970s to the present.

Other components of the exhibition are built right into the building façade, making them visible from both the

outside and inside.

Another elevator shoots straight from the entrance level to a fashion-show runway, terrace, and bar on the top three floors. “Seen from the elevators, a vertical experience is created similar to the horizontal window shopping in [popular distrtict] Omotesando,” says Cornelissen.

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Architect

Skidmore, Owings & Merrill project

Greenland Group Suzhou Center

on the boards SOM designed the Greenland Group Suzhou Center with a 30-story operable window and supertall atrium to intake fresh air from higher floors

location

Wujiang, China big

idea

A 30-story operable window and supertall atrium through the building center harness high-altitude fresh air

Architects of some of the tallest buildings in the world, Chicagobased firm Skidmore, Owings & Merrill (SOM) has been quite literally pushing the boundaries for decades. Its ideas may sound like fantasies—a 2,700-foot building rising out of the desert?—but SOM has the chops to make them a reality, as with Dubai’s Burj Khalifa. Even when it’s not cracking the world’s-tallest barrier (again and again), SOM instills a pioneering vision for the future into its concepts. Consider the Greenland Group Suzhou Center in China, a 78-story skyscraper that uses mind-blowing innovations to increase the comfort level of its occupants. Sound like an overstatement?

Oriented to the prevailing wind direction, the Suzhou Center has a 30-story operable window and a supertall atrium driven through the center of the building to harness its fresh air primarily from the upper reaches of the tower rather than the more polluted street level so occupants can breathe easy.

Completed Project The design and engineering wizardry SOM used to realize Dubai’s Burj Khalifa—at 2,722 feet tall, currently the tallest building in the world—is on proud display in its plans for the new Greenland Group Suzhou Center

Greenland Group Suzhou Center images © SOM; opposite page © SOM / MIR; Burj Khalifa photo courtesy of SOM / Hedrich Blessing © Nick Merrick

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Hot Shots After the buildings are built, people around the world need to see them—and that’s where architecture photographers come in. We get to know six of the best in this increasingly critical biz.

By Joel Hoglund

The Architecture Issue

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An image of Steven Holl Architects’ Sliced Porosity Block in Chengdu, China, by London-based photographers Hufton + Crow

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The Architecture Issue

Allan Crow, Hufton + Crow London, U.K.

huftonandcrow.com

DB: If you had to be stuck inside of one famous piece of architecture for the rest of your life, what would it be?

Allan Crow: Anfield, the home of Liverpool football club. Nick [Hufton] is a Manchester United fan so he would differ, I’m sure.

DB: Film or digital?

AC: Digital without a doubt. We used to shoot on 5x4 Sinar cameras. Purists may love this format but I always thought it was slow and cumbersome. Each image would take an hour to set up, and by the time you were ready, whatever had caught your eye in the first place had inevitably moved away, and then you were left to try and recreate a scene with people rocking backwards and forwards to get a bit of blur.

This is part of the reason why architectural photography used to be focused on cold architectural scenes devoid of life. We love shooting architecture on DSLRs. There is a freedom to move quickly and actually capture people using the space, whether it’s a skateboarder or cyclist that passes by. People always enhance an image because it provides a narrative and the viewer can start to have an emotional connection with the image.

DB: If you were designing buildings instead of photographing them, what would they look like?

AC: I haven’t got the patience to design buildings. I studied landscape architecture at university and one of the reasons I didn’t pursue it was the thought of waiting five to 10 years to realize a vision.

I like the immediateness of photography.

Hufton + Crow’s photograph of Zaha Hadid Architects’ MAXXI Gallery in Rome

“People always enhance an image because it provides a narrative, and the viewer can start to have an emotional connection with the image.”

Zaha Hadid Architects’ Galaxy Soho building in Beijing

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“I enjoy a sense of humor in a building.”

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Eddy Joaquim San Francisco, California

eddyjoaquim.com

DB: What piece of architecture would you like to be stuck inside?

Eddy Joaquim: The Swiss Music Box by Peter Zumthor. I had the good fortune of seeing this temporary pavilion built for the 2000 Hanover World Expo. I imagine I could take photos of this space forever and never get the same shot.

DB: Smartphone cameras—good or evil?

EJ: Good. I fully embrace the democratization of photography. It has raised the level of photography and I believe the public will ultimately appreciate higher quality work once they understand that good photography is about a vision, and not gear-based.

DB: What’s the most beautiful thing you’ve ever photographed?

EJ: The Burning Man festival in the midst of the sandstorms that occasionally engulf the whole event. It’s pretty surreal.

DB: If you designed buildings, what would they look like?

EJ: As it turns out I do design them: I’m a practicing architect in San Francisco. I generally gravitate towards stark, minimal designs that explore materials, textures, and lighting. I enjoy a sense of humor in a building, something that has quirks and leads a user to be subtly beguiled.

A Luis Barragán building in Mexico City photographed

by Eddy Joaquim

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The Trollstigen Visitor Center in Norway

by Reiulf Ramstad Architects, photographed by diephotodesigner.de

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Dirk Dähmlow & Ken Schluchtmann Berlin, Germany

diephotodesigner.de

DB: What piece of architecture would you like to be stuck inside?

Ken Schluchtmann: The Visitor Center at the Trollstigen Plateau in Norway by Reiulf Ramstad Arkitekter. This is the piece of architecture that most corresponds to nature that I have ever seen.

Due to the scenery, the fast changing weather, and the incredible light it will never be boring looking out of the window.

DB: Film or digital?

Dirk Dähmlow: Only digital. We started working with film 15 years ago but now the equipment is so good that you don’t need it anymore. You don’t need any chemicals and can control the result directly after making the picture.

This is very important for us because we often have to travel long ways to reach our locations and mostly we have no second chances.

DB: Smartphone cameras—good or evil?

KS: Evil because they suggest people can make art only by using filters when often they’re only producing rubbish.

DB: If you designed buildings, what would they look like?

DD: Definitely not like boring boxes. Spaces with big windows to let the light in, and balconies to give the inhabitants a chance to spend as much time outside as possible.

“we have no second chances.”

From top: Blue Scope’s pavilion for the BMW 7 Series near Munich; inside the Hotel Puerta America in Madrid on a floor designed by Plasma Studio

Dirk Dähmlow portrait by roger melis; Ken Schluchtmann portrait by sava hlavacek; Scott Frances portrait by Andrew Frasz

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Scott Frances New York, New York

scottfrances.com

DB: What piece of architecture would you like to be stuck inside?

Scott Frances: Mies van der Rohe’s Farnsworth House. It is likely the most influential piece of architecture ever. The entire urban landscape of the world—steel beams and glass curtain walls— changed forever.

“I love shooting with my cell phone.

Its limitations and spontaneity have fueled my creative imagination.”

From top: Glass/Wood House in New Canaan, Connecticut, by Kengo Kuma and Associates; Dan Flavin installation at The Menil Collection in Houston; Bridle Road House in Cape Town, South Africa, by Antonio Zaninovic Architecture with Steven Harris Architects

DB: Film or digital?

SF: I shot on film until 2005. Then I bought the Canon 1DS Mark 3, and I never shot film again. I come from a background of drawing and painting, so digital, and thus Photoshop, are the perfect mediums with which to express my vision. I shoot multiple exposures of a scene and blend them together in Photoshop to render an image that is completely lit with the light available— this provides a real sense of the atmosphere, volume, taste, smell, and sound of the space.

DB: Smartphone cameras—good or evil?

SF: I love shooting with my cell phone. Its limitations and spontaneity have fueled my creative imagination.

DB: What’s the first thing you remember taking a picture of?

SF: John Lennon. He visited my high school and I was the yearbook photographer so I got the chance to do a quick sitting with him. Unfortunately I lost track of the negatives, but I haven’t given up on looking for them.

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Adam Mørk portrait by STAMERS KONTOR

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Adam Mørk Copenhagen, Denmark

adammork.dk

DB: What piece of architecture would you like to be stuck inside?

Adam Mørk: Charles and Ray Eames’ own house.

DB: Film or digital?

AM: Now it’s digital, but my Swiss-made Alpa cameras are as close as possible to my old 4x5 film cameras. Digital has a faster workflow, and it’s possible to experiment easier, but if you’re not careful, it can be very unpleasant in the end result.

Film is not always correct, but always beautiful.

DB: Smartphone cameras—good or evil?

AM: It depends on the eye that is using it, and which Instagram filter they use.

I tend to dislike those filters, and I’m feeling a bit old now that I’m saying it.

DB: If you designed buildings, what would they look like?

AM: I’m actually an architect and did design competitions before starting to photograph them. I was a minimalist with a Nordic sense of materials.

My architectural heart is split between Mies van der Rohe and Alvar Aalto.

DB: What’s the first thing you remember taking a picture of?

AM: I’m a bit embarrassed to admit this. It was not a dog or a friend, but a building. I had borrowed a camera as an architecture student for my first study trip to Berlin, and my first image was of Neue Nationalgalerie by Mies. Quite a subject for a first image.

Adam Mørk’s detail shot of Markthäuser in Mainz, Germany, by Studio Fuksas

The Architecture Issue

The Muziekgebouw in Amsterdam by architecture firm 3xn

“Film is not always correct, but always beautiful.”

The Unilever-Haus by Behnisch Architekten in Hamburg, Germany

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Columns

October 2013

architects & artisans

Hugh Hardy’s Exuberant Brand of Architecture A new book shines light on his restoration of Radio City Music Hall and 19 other projects

by J. Michael Welton

In a career that spans 50 years, he’s been responsible for some of Gotham’s bestloved buildings. Most in his book are in the city, though some are outside its borders.

But each frames a candid discussion about the collaborations, challenges, and strategies that created them.

Theater of Architecture, $50, Princeton Architectural Press

Saarinen worked from reason and logic, constantly asking one question: “Why?” “You can imagine being in between those two,” he says.

“Saarinen was at the height of his powers, working on Dulles and the CBS Building, and the office was full of great models.”

A conversion—one he labels all but religious—followed. “I realized that I’m an architect and not a set designer,” he says.

T

here’s little wonder that Hugh Hardy’s new book covers such a wildly diverse mix of projects.

The architect studied at Princ- “Jo gave me courage to think about eton in the 1950s, then worked things other than the simplistic with Broadway scenic designer forms of the ’50s,” he told me Jo Mielziner, and immersed him- recently. But where Mielziner self in the design of the Vivian worked intensely from instinct Beaumont Theater at Lincoln to transform small Broadway theaters into dramatic spaces, Center—with Eero Saarinen.

As noted in his preface, they’re all meant for public use except for the first, which is a private residence.

And though they don’t look alike, each was “created with the intention of setting the stage for their inhabitants’ different journeys of discovery.”

Radio City was a personal favorite. “I’m terribly affectionate about the place,” he says. “It had gone so far downhill, and it was so depressing to go into—it was getting darker and darker, so they’d make the lightbulbs brighter, but the light was absorbed by the walls.”

In Theater of Architecture, That project, originally a published by Princeton Ar- 1932 collaboration between chitectural Press, he clearly Edward Durell Stone, Raydemonstrates a sense for mond Hood, and Wallace design that’s modern and Harrison, required new dramatic, too. Among the measurements and drawings projects covered are the when Hardy took it on in 1999.

New Victory and New Amsterdam Theaters on 42nd “To be able to restore it was Street, the Fenimore Art an absolute joy,” he says.

Museum and National Baseball Museum in Cooper- That’s a readily evident stown, as well as the Central theme throughout this arSynagogue and Radio City chitect’s exuberant body of Music Hall in New York. work—and in his book, too. a

J. Michael Welton writes about architecture, art, and design for a number of national and international publications.

He also publishes an online design magazine at architectsandartisans.com. Portions of this article appeared there previously.

Courtesy of DillerScofidio+Renfro

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Month 2013

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October 2013

This issue’s best Albums

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Presented by

ALARMPRESS

Man Man

01/

On Oni Pond (Anti-) 01/ For 10 years, quirkrock quintet Man Man has delivered hooks, grooves, and throaty croons in a style like no other. The group’s fifth studio album, On Oni Pond, is described as a “band reboot,” merging its Tom Waits-ian, trop-pop weirdness with Talking Heads inspirations, old-school soul, and other oddities.

The album opens with the horn- and organdriven boogie of “Pink Wonton,” a transfixing ditty.

From there, the album blossoms with the marimbaand-bass infectiousness of “End Boss,” the stringy exotica of “Head On” (whose melody conjures Ritchie Cordell’s “I Think We’re Alone Now”), and the synthesized dub of “King Shiv.” “Loot My Body,” a heavy pop number, transforms into a tropical psych-jazz jam; “Deep Cover” is a ukulele-and-brass ballad; and “Pyramids” splices a dark-rock solo into an otherwise upbeat pop offering.

Continuing a streak of each album being even better than its predecessor, On Oni Pond is a wonderful “reinvention”—even if it’s still classic Man Man. [SM]

Fleshgod Apocalypse

Red Fang

Trentemøller

Labyrinth (Nuclear Blast)

Whales and Leeches (Relapse)

Lost (In My Room)

02/ Though less tenured than Mediterranean n eigh bor s Se p t i c f l es h , Ita ly ’s F l es h g od Apocalypse has been a quickly ascending name in symphonic, operatic death metal. Labyrinth is the band’s third full-length, and it’s another masterful effort—demonstrating endless technical talent whether via double-bass insanity, guitarshredding madness, or piano-playing psychosis.

Yet despite the jam-packed riffs and beats, Fleshgod always demonstrates a knack for songcraft, balancing sonic brutality with symphonic strings and brass, marching snares, and piano runs, and alternating death growls with chants and operatic falsettos. The result is utterly epic. [SM]

03/ Portland metal outfit Red Fang doesn’t need any gimmicks—it has pure, unbridled energy on its side. Leaning away from the moderate and sludgy tempos that led its past few releases, Whales and Leeches habitually boosts into turbo mode without sacrificing the crushing riffs and heavy earworms.

On tracks like “Voices of the Dead,” the interplay between raw, jagged guitar lines and potential sing-along moments is refreshing. Merging the no-frills aspects of old-fashioned guitar rock into a poly-metal package, Red Fang’s latest is bound to get the blood boiling. [BG]

04/ On his last album, Danish electronic artist Anders Trentemøller transitioned from the dance world into a more organic, moody blend of analog and digital. Lost takes him one step further, weaving in and out of ambient electronica with another host of guest singers and collaborators.

The album’s highlights are its darkest, most shadowy corners: the bruising industrial thump of “Still on Fire,” the hollow percussion of “Morphine,” and the razor-sharp keyboard conniptions of “Constantinople.” And the guest spots—including Low, Kazu Makino of Blonde Redhead, and Sune Rose Wagner of the Raveonettes—each utilize their respective talents. [BG]

02/

03/

04/

05/

06/

07/

Chelsea Wolfe

Windhand

Old Baby

Pain Is Beauty (Sargent House)

Soma (Relapse)

Love Hangover (Karate Body)

05/ Don’t make the mistake of hearing Chelsea Wolfe’s Pain Is Beauty without a headphone session. The range of sounds and the boost in sonic theatrics are breathtaking—“The Warden,” “Destruction Makes the World Burn Brighter,” and “Sick” offer up Eastern-sounding hammered dulcimers, vocal cooing over dirty and jangly guitar tones, and a dose of Berlin-era Bowie, all within the span of just three tracks.

Wolfe’s new album takes the intimate and creepy ponderings of previous release Apokalypsis and drastically expands and explores the space within each track. Previously, the songs were a collection of confessions told by a flickering campfire; now each track blazes and roars like a cliff-side bonfire. [BG]

06/ An absolute monolith of music, doom-metal outfit Windhand’s Relapse debut, Soma, hits 75 minutes in just six tracks. It’s not just the sheer size of the thing, either: Yhe bass is pushed to the front of the mix, and Dorthia Cottrell’s vocals are half-buried and cloaked in reverb, resulting in a satisfyingly thick sludge.

It’s easy to lose focus while listening to Soma (an attribute that the best stoner-metal albums tend to share), but there’s plenty of deep, Sabbath-esque riffs that pair with hot-blooded rock-and-roll solos over those distant vocals.

If you do lose that focus, however, you’ll be in Zen-metal bliss as 30-minute album closer “Boleskine” recedes into crackling vinyl and howling winds. [BG]

07/ Old Baby guitarist Evan Patterson seems to have learned a thing or two from his time with Young Widows, whose heaving rhythms and reverberated tones have made their way into Love Hangover.

The difference? There are plenty (in addition to having members of Slint, Shipping News, and Phantom Family Halo), but the most notable is the psych-rock swagger in lead single “Into the Earth” as well as throughout the rest of the record. There’s also the vocals of Jonathan Glen Wood, whose folksy baritone has a soulful tinge that contrasts the darker, noisier passages. These elements alone make for an album that sounds great either at a low buzz on cheap speakers or blasted through a hi-fi system. [BG]

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 alarmpress.com for more.

[BG] Brandon Goel [SM] Scott Morrow. Photos courtesy of the artists.

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DESIGN BUREAU

October 2013

FOR HIRE DESIGN TALENT FRESH ON THE MARKET

For Hire: Fei Chen FOR HIRE Designlikes Talent of Jean Nouvel, She’s already been cutting her teeth with the Fresh On the Market now this recent architecture grad is looking for new challenges

FOR HIRE

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

FOR HIRE

DESIGN TALENT FRESH ON THE MARKET

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

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DESIGN TALENT FRESH ON THE MARKET

Design Talent Fresh On the Market

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

FOR HIRE: Laura Allcorn

DESIGN TALENT FRESH Describe your architectureal aesthetic.

ON THE MARKET

DESIGN TALENT FRESH ON THE MARKET

I like architecture that embraces cinematographic qualities, whose depth, color, light, shadow, and temperature allFRESH work together to deliver a scene that is sometimes still DESIGN TALENT DESIGN TALENT FRESH ON THE MARKET ON THE MARKET is situations and sometimes ephemeral. What is designed and emotions rather than formal arrangements.

FORFORHIRE HIRE

Who are some of your influences?

The photography of Wim Wenders, the paintings of Matisse, Gerhard Richter, Anselm Kiefer, and architects Renzo Piano, Morphosis, Jean Nouvel, and Toyo Ito. Describe what you would build if cost were not a factor.

I am fascinated by structures that express heaviness (such as the concrete in chapel of Notre Dame du Haut

by Le Corbusier), lightness (like Fondation Cartier by Jean Nouvel), or heaviness and lightness at the same time (like the Neue Nationalgalerie by Mies van der Rohe).

What’s your ideal job?

I wish to work in an innovative group where people are not just doing what they are good at but continuously challenging themselves and not being framed by recognized styles.

Why should somebody hire you?

I am open-minded towards design and I like to touch every possible facet of a project; at the same time I am very diligent and I can relentlessly work on the same thing to improve it. I am a very good team player: My past colleagues also said that I am a fun person to work with!

Some of fei’s work, Clockwise from top left: Diagram and physical model of a

theoretical street prototype; bathing center outdoor bath; model made of museum board; 3-D section of a performing arts center

Fei Likes: Matisse, the color Prussian blue, nice clothes, the movie Band of Outsiders, swimming pools, searching for interesting images on the Internet and magazines, water towers, big trees, producing architectural drawings, making models

Fei Dislikes: Messy rooms, gossips, worms, badly organized folders and desktops

RESUME SNAPSHOT: Fei Chen EDUCATION University of Pennsylvania, 2009-2013 Master of Architecture with Landscape Studies Cert.

Work Experience Atelier Jean Nouvel Architecture intern, 2012

Peddle Thorp Architects, Shanghai Architecture intern, 2010

University of Toronto, 2005-2009 Bachelor’s in architectural studies/design and economics

Contemporary Architecture Practice Architecture intern, 2011

Toronto Design Exchange Curator assistant, 2009

Wanna hire Fei? Check her out at: archinect.com/fei.chen

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www.sonnemanawayoflight.com U.S. and Foreign Patents Pending.

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