Canadian Interiors May June 2011 by Annex Business Media

May/June 2011

Show some ID 3 brand-savvy spaces From Paris: Maison & Objet Daoust Lestage’s Montreal vision

Including IDC’s Dimensions

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May/June 2011

Journal of Record of the Interior Designers of Canada

COVER — 22 LinX, a student meeting place at Humber College, created by Bortolotto Design. Photo by Tom Arban

CONTeNTS FEATURES

Branded X” MARKS THe SPOT — 22 How Bortolotto Design made LinX – a meeting place for undergrads at Toronto’s Humber College – “X”-traordinarily memorable. By Leslie C. Smith

IN THE NOW! — 33 Taking it all in at Maison & Objet’s now! design à vivre. By Michael Totzke DOUBLE VISION — 39 On Montreal’s Place des festivals, two slim volumes by Daoust Lestage – each containing a restaurant – blur the distinction between inside and out. By Rhys Phillips DEPARTMENTS

NICe ’N eASy — 27 For the latest HedKandi hair salon in Calgary, ORDA develops a design that goes with the flow of the stylists. By Gail Jansen

INSIDE — 12

WHAT’S UP — 14 WHO’S WHO — 44

JuMP RIGHT IN — 30 Jump.ca aims to draw the “non-techie” into the sometimes intimidating world of wireless devices. The light and lively design of the company’s latest location in Regina – by Vancouver-based SSDG Interiors – does just that. By Gail Jansen

LAST WORD — 48 Bubbly personality Reactiv Pictures’ distinctive logo – a bubbling test tube – informs Lux Design’s effervescent reimagining of its Toronto headquarters. By Katharine Vansittart

Following page 18

May/June 2011 VOL.48 NO.3

Publisher

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

Janet Collins, David Lasker, Rhys Phillips, Leslie C. Smith Contributing Writers

Gail Jansen, Katharine Vansittart Art Director

Lisa Zambri Advertising Sales

416-510-6766 Circulation Manager

Beata Olechnowicz 416-442-5600, ext. 3543 Reader Services

Liz Callaghan Production

Jessica Jubb 416-510-5194 Senior Publisher

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12 Concorde Place, Suite 800 Toronto, ON M3C 4J2 Telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year. Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher. Subscription rates Canada $37.95 per year; plastic wrapped $40.95 per year (plus taxes) U.S.A. $70.95 US per year, Overseas $96.95 US per year. Back issues Back copies are available for $10 for delivery in Canada, $15 US for delivery in U.S.A. and $20 overseas. Please send payment to Canadian Interiors, 12 Concorde Place, Suite 800, Toronto, ON M3C 4J2 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com Newsstands For information on Canadian Interiors on newsstands in Canada, call 905-619-6565 Canadian Interiors is indexed in the Canadian Magazine Index by Micromedia ProQuest Company, Toronto (www.micromedia.com) and National Archive Publishing Company, Ann Arbor, Michigan (www.napubco.com).

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Inside

Identify yourself “There’s no big mystery about branding,” writes CI associate editor Leslie C. Smith in an email, ”though it may seem that way to some.” (Count me among the “some,” which is why I turned to Leslie – my confrère, friend and frequent sounding board, to clarify the concept for me; I know what it is, but have trouble defining it.) “Your brand is simply your company’s personality: who you are, where you are, what you wear, what you do for a living, and how you look at life itself. Think of it as a kind of corporate eHarmony profile.” Got it. Thanks, Leslie. In this issue, we feature three brand-savvy spaces, the first of which – I’m pleased to report – Leslie herself investigated (”‘X‘ marks the spot,” page 22). She shows us how Toronto-based Bortolotto Design, in transforming a decrepit former workshop into a lively meeting place for Humber College students, built an exciting brand around it – with the letter “X” playing a starring role. The other two spaces were investigated by Saskatchewan writer Gail Jansen, a new contributor to this magazine. (Welcome, Gail.) First up is the latest HedKandi hair salon in Calgary, designed by ORDA (“Nice ‘n easy,” page 27). As befits a business “known as much for its creative style as for its creative stylists,” as Gail explains, the salon is streamlined and sophisticated, with artwork adding that extra zing. Next up is the newest Regina retail space of Jump.ca – which specializes in wireless devices – designed by Vancouver’s SSDG Interiors (“Jump right in,” page 30). The company’s branding strategy is to lighten the “techie” feel of its offerings in order to attract those intimidated by the often impenetrable world of technology – and the design follows suit, both visually and physically drawing customers in. A few weeks ago, I decided it was time to “rebrand” myself, so to speak, by replacing the illustration that graced this column with a portrait. And so I put myself in the capable hands of another CI associate editor, David Lasker, who produces our Who’s Who section. Thanks, David, for making the process – mortifying to me in the past – painless and even enjoyable. I’m feeling brand-new. c I Michael Totzke mtotzke@canadianinteriors.com

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12 CANADIAN INTERIORS May/June 2011

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What’s Up

MAY/JUNE New at NeoCon The third week in June, all roads lead to the magnificent, historic Merchandise Mart, spanning two entire city blocks on the bank of the Chicago River, where the Loop meets River North. The big

draw, of course, is NeoCon, the National Exposition of Contract Furnishings, now in its 43rd year. North America’s largest design exposition and conference for commercial interiors, NeoCon provides 40,000-plus architecture and design professionals with over 140 CEU-accredited seminars and association forums, along with top-notch keynote speakers. Clockwise from left The Merchandise Mart, home to NeoCon; Urban Marble resilient vinyl flooring, from Amtico; Karastan Contract’s Moroccan broadloom; Color by Numbers wall-tile program, from Crossville; Effervesce and NeoGeo, the two styles in Unika Vaev’s Chromatica textile collection.

14 CANADIAN INTERIORS MaY/June 2011

But the main attraction is the awesome array of products and resources – for corporate, hospitality, healthcare, retail, government, institutional and residential interiors – from more than 700 showrooms and exhibitors. The following four products are making their debut at NeoCon 2011. From Amtico comes Urban Marble, low-VOC, resilient vinyl flooring made with ceramic finish, urethane coating and beveled edges. It’s available in a variety of plank, square and rectangular formats, including an updated random plank that creates a cool, clean canvas for modern furnishings. Crossville in introducing Color by Numbers, a wall-tile program featuring 16 neutral and saturated colours created

to work in tandem with other elements in a design scheme. Celebrating its 25th anniversary, Crossville has also joined with Benjamin Moore to offer paints selected with Color by Numbers in mind. Karastan Contract, a brand of The Mohawk Group, captures the exotic allure of the Mediterranean with Moroccan, a new broadloom collection. Moroccan’s three patterns – Morocco III, Temera and Meknes, available in a palette of 18 colours – bring Old World luxury to contemporary interiors. Unika Vaev, the ICF Group’s textile division, is launching Chromatica, a dramatic collection focussed on colour. It includes two styles. Effervesce, featuring a reflective yarn, sparkles like glass tile mosaic; it comes in 12 colourways, all named after “twinkly” drinks (such as grape soda and cherry cola). NeoGeo is a new take on “geometric”; 10 colours make up the palette, with different levels of optical illusion. NeoCon 2011 runs at Chicago’s Merchandise Mart from June 13 to 15.

DIRTT’s Breathe is a simple system for incorporating plants into the company’s modular walls.

The ABET Wood collection of high pressure laminates combines the look and feel of wood veneer with technically enhanced durability. Real richness, real texture, real veneer…

Plants to the rescue Calgary-based DIRTT Environmental Solutions has long wanted to add natural elements to its award-winning modular walls. Aside from their aesthetic qualities, plants remove harmful environmental toxins found in building interiors, which have a direct impact on our well being, resulting in illness and lower rates of productivity in the workplace. Most buildings condition air through an HVAC system to render it fit for human use. but that process requires energy, further contributing to the production of greenhouse gases and the cost of building operations.

Plant landscapes can lighten the load of the HVAC system by removing many toxins, resulting in up to 10 per cent less energy use in buildings. DIRTT (“Doing it Right This Time”) has finally achieved its goal with the launch of Breathe, a simple system for incorporating plants into the company’s walls. Breathe mounts to the tile layer of a wall; it can be retrofitted on existing DIRTT walls or mounted to any flat, vertical building surface, from concrete to gypsum. It is scalable and easily expanded from one panel to a monolithic wall of plants. Designers can incorporate Breathe living walls, or interior plantscapes, to bring nature indoors and detoxify interior spaces. This past April, DIRTT implemented Breathe in the latest incarnation of its Chicago Green Learning Center – just across the street from the Merchandise Mart, host to the upcoming NeoCon exposition (see opposite page).

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Alfresco with Steve&James Toronto-based Steve&James has introduced its 2011 outdoor furniture collection. Who are Steve and James, you ask? Steve

www.europtimum.com

is Steve Pellow, who has 20-plus years experience working in all areas of metal fabrication, from fasteners and electric components to furniture; James is James Casey, who has been designing products for residential and contract markets for over eight years. In the spring of 2010 – after many years of meetings for drinks, shop talk and the occasional bad joke – the two founded Steve&James, realizing that “James could design things and Steve could get them made.” Says James, “We didn’t have any designs, factories or potential customers; we just wanted to work on a project together. We set ourselves some hilariously ambitious

goals, but most importantly, we pledged never to sacrifice quality to pad our margins, and the whole thing had to be fun.” It has been fun, and things have happened fast. “We had our official launch last September at the Casual Market in Chicago, which led to a warehouse and distribution deal with a company in L.A.,” says James. “We’ve now delivered product to retailers in Taiwan, France, the u.S. and Canada, and it looks like we’ll be spreading into South and Central America shortly. Next year, europe.” Five of the six products in the 2011 collection are named after members of the Steve&James team: Amanda, a bistro chair; Dean, a chair

available in dining and lounge sets; Tony, a woven chair that comes with or without arms; Vicky, a sofa lounge set; and Zoe, a collection of bistro chairs, tables and bar stools. The exception is Dorothy, a line that includes a lounge set, chaise longue and dining set. “Dorothy, she’s my grandma,” James explains. ”She’s the best, so she gets a collection in her name.” For more information about the 2011 Steve&James collection, visit wearesteveandjames.com.

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Above Dean, a chair available in dining and lounge sets. Opposite top Amanda, a bistro chair. Opposite centre Tony, a woven chair that comes with or without arms. Opposite bottom Dorothy, a line including a chaise longue, lounge set and dining set.

Our mistake In our January/February issue, in our feature “A light touch” (page 25), we misspelled the name of Merike Reigo, principal, with Stephen Bauer, of Reigo & Bauer. Our apologies to Merike, who now goes by the name Merike Bauer.

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contents/sommaire departments features False Economy

Think cutting your fees during an economic downturn is a smart business move? Think again. Vous croyez que réduire les tarifs lors de turbulences économiques est une bonne idée en affaires? Détrompez-vous.

New Curriculum, New Requirements 12 Important changes are on the horizon for the interior design profession in Canada. Des changements importants pour la profession de designer d’intérieur au Canada sont à prévoir

On a professional note… Sur une note professionnelle…

4 5

On your behalf… En votre nom…

10 11

In conversation with… En conversation avec…

16 17

Industry members/Membres de l’industrie

dimensions team

idc staff

idc board of management

Publisher: Susan Wiggins, Executive Director, IDC swiggins@idcanada.org

Susan Wiggins, Executive Director Irma Kemp, Executive Assistant Sue Gravelle, Director, Professional Development Sarah Brown, Communications Coordinator Julia Salerno, Communications Coordinator Jenn Taggart, Manager, Marketing Debora Abreu, Marketing Coordinator Marc Sintes, Marketing Coordinator

(BC) David Hanson, President (AB) Donna Assaly, President Elect (BC) Jenny Mueller-Garbutt, Past President (MB) Stephen Lamoureux, VP Finance (ON) David Gibbons, Secretary/Director At Large (AB) Adele Bonetti, Director (BC) Ada Bonini, Director (SK) Aandra Currie Shearer, Director (ON) Clinton Hummel, Director (NB) Monique Leger, Director (NS) Carolyn Wood, Director (MB) Michelle Du, Director At Large (NB) Jessica Gozdzierski, Director, Intern/Provisional (ON) Ron Hughes, Director, Industry (AB) Janice Smith, Director, Education (QC) Denis Chouinard, Provisional Director (ON) Trevor Kruse, IIDEX/NeoCon Canada Liaison

Editor: Penny Tomlin penny.tomlin@gmail.com Editorial Advisory Board (MB) Lise Boucher (SK) David Chu

(BC) Kate Holmes (ON) Ron Hughes (ON) Johane Lefrançois-Deignan (NS) Carolyn Maguire

canadian interiors team Publisher: Martin Spreer, Publisher, Canadian Interiors mspreer@canadianinteriors.com

Interior Designers of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 e dimensions@idcanada.org w idcanada.org

Deputy Editor: Peter Sobchak, Canadian Interiors Art Director: Lisa Zambri, Canadian Interiors French translation: Pierre-Éric Villeneuve

www.idcanada.org

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On a professional note… In the past few months we’ve felt both joy and frustration over the future of our profession, the result of some good and not so good news. The good news has encouraged us, while the other has strengthened our resolve and rallied us to fulfill our mandate to advocate on behalf of the interior design profession. In mid-February, we attended the International Federation of Interior Architects/Designers (IFI) Global Symposium to explore the knowledge, value, relevance, responsibility and identity of interior design. Two days of discussion among 100 thought-leaders from 20 countries resulted in a unanimous declaration that affects the fundamental understanding and shaping of our practice, its education and research. This declaration could actually have an impact on the public’s understanding of our profession, were it to be adopted worldwide. For us, it was a historic moment. It felt good. But our euphoria was not to last. Two weeks later, we learned that a lobby group in the U.S. known as the Interior Design Protection Council (IDPC), was seeking donations from some of our members to help fund their efforts “to keep interior design free.” According to the group’s email solicitation, “A contribution to IDPC is a contribution to the movement for economic liberty— the fight to restore the right to earn an honest living.” IDPC’s mandate is to oppose any efforts for Titles or Practice Acts in the U.S. They believe, “ASID simply wants to protect themselves from competition, by passing protectionist laws that only benefit themselves.” A delve into their web site reveals a plethora of false information regarding our profession and the related organizations that we work with, such as NCIDQ. In contrast to this news was an announcement a few days later by IIDA that an appeals court in Florida had found the interior design licence requirement to be constitutional. In his ruling, the judge stated, “The individual licensing requirement advances the state’s legitimate interest in promoting the health and safety of occupants of buildings.” This is indeed a huge victory for the profession and we applaud all those who were involved in its successful outcome. We need to redouble our efforts to ensure the public understands the profession of interior design. By the time you read this column, IDC’s board will have met and developed a three-year strategic plan with this goal in mind. Imagine 18 board members starting the conversation with “what if…?” followed by in-depth discussions and a concrete action plan for achieving positive outcomes for our profession. n

D a v i d Hanson P re s i dent/ Président

Susan Wiggins Executive Director/ Directrice

IFI DFIE Interiors Declaration establishes the essential foundations and their advancement for Interior Architecture/Design worldwide. The ideas contained in the Declaration provide clear goals for and affect the fundamental understanding and shaping of our practice, its education and research, and for the outcomes required of our built environment in support of humanity, society and culture. You can read the full declaration at http://ifiworld.org/presidents_update/#Homepage.

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www.idcanada.org

Sur une note professionnelle… Dans les mois qui viennent de s’écouler, nous avons éprouvé autant de joies que de frustrations en ce qui concerne le futur de notre profession, en raison des bonnes et des mauvaises nouvelles que nous avons eues. Les bonnes nouvelles nous ont encouragés; les moins bonnes ont renforcé nos intentions et nous ont permis de se retrouver pour remplir notre mandat de promotion de la profession du design d’intérieur. À la mi-février, nous avons participé au Symposium global de l’IFI ( International Federation of Interior Designers and Architects) dans le but d’explorer le savoir, la valeur, la pertinence, la responsabilité et l’identité du design d’intérieur. Deux jours intenses de discussions avec une centaine de leaders en provenance de 20 pays qui ont culminé dans une déclaration unanime. Une déclaration qui affecte la compréhension fondamentale et la formation de notre pratique, son éducation et la recherche. Elle pourrait même avoir un impact sur la compréhension de notre profession de la part du public, si elle était acceptée dans le monde entier. Pour nous, ce fut un moment historique, une pure sensation de bonheur. Cette euphorie n’allait hélas pas durer. Deux semaines plus tard, nous apprenions qu’un groupe de lobbyistes américains, connu sous l’enseigne de l’IDPC (Interior Design Protection Council ), cherchait à obtenir des dons auprès de certains de nos membres afin d’aider le financement de ses efforts pour « maintenir le design d’intérieur libre. » Selon le message de sollicitation du groupe, envoyé par courriel à plusieurs personnes, « une contribution à l’IDPC est une contribution au mouvement de liberté économique; une lutte pour restaurer ce droit de gagner honnêtement sa vie». Le mandat de l’IDPC est de s’opposer à tous les titres et actes de pratique aux États-Unis. Il croit que « l’ASID souhaite simplement se protéger contre la compétition, en passant des lois protectionnistes qui ne bénéficient qu’à eux-mêmes». Une visite du site Internet de ce groupe de lobbyistes révèle une somme d’informations fausses concernant notre profession et les organismes avec lesquels nous travaillons, comme le NCIDQ (National Council for Interior Design Qualifications). À l’opposé de cette nouvelle, l’IIDA nous a informés il y a quelques jours qu’une cour d’appel de Floride avait jugé que les exigences d’une licence en design d’intérieur étaient constitutionnelles. Lors de son jugement, le juge a déclaré : « L’exigence d’une licence individuelle avance l’intérêt légitime de l’État dans la promotion de la santé et de la sécurité des occupants des bâtiments. » Cela est une victoire importante pour la profession. Nous félicitons ceux et celles impliqués dans cette lutte et dans sa réussite. Nous devons redoubler nos efforts pour s’assurer que le public comprenne la profession du design d’intérieur. Au moment où vous lirez cet article, le conseil d’administration des DIC se sera réuni dans le but de développer un plan stratégique de trois ans avec cet objectif en tête. Imaginez 18 membres du conseil qui débutent la conversation avec « Et si? », suivi de discussions profondes et d’un plan d’action pour obtenir des résultats positifs pour notre profession. n D a v i d H a nson P re s i d e n t/ Président

Susan Wiggins Executive Director/ Directrice

La déclaration de l’IFI DFIE établit les fondations essentielles et ses avancées pour le design d’intérieur et d’architecture à travers le monde. Les idées présentées dans la déclaration fournissent des objectifs clairs. Elles conditionnent la compréhension fondamentale et la formation de notre pratique, l’éducation et la recherche, ainsi que les résultats nécessaires pour notre environnement bâti dans le soutien de l’humanité, de la société et de la culture. Vous pouvez lire la déclaration au complet, sur Internet, à l’adresse suivante : http://ifiworld.org/presidents_update/#Homepage. www.idcanada.org

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False Econo Think cutting your fees during an economic downturn is a smart business move? Think again. Vous croyez que réduire les tarifs lors de turbulences économiques est une bonne idée en affaires? Détrompez-vous. By Leslie C. Smith

ith any luck, we’ve turned the corner and the Great Recession is fast receding in our rear-view mirror. But before waving a final goodbye, let’s take stock of lessons learned—especially as they apply to the idea that a competitive marketplace demands cut-throat rate reductions. “In the local market, everybody’s really hungry and cutting fees like crazy,” said David Thom in an article published in January’s issue of bcbusinessonline. The renowned architect and managing director of IBI Group in Vancouver deemed this “a foolish move.” He suggests, for example, if an interior designer were to lower his or her rate by 10 per cent, the client might end up saving as little as half of one per cent of the project’s total cost. Would such a tiny saving represent any real value to a client? That doesn’t mean, however, that even major firms such as IBI won’t scout around for the most cost-efficient way of doing business or are unwilling to seek out cost-effective measures to counterbalance tighter times. “It’s not a case of ‘our standard rate is X, take it or leave

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vec un peu de chance, la grande récession que nous venons de traverser disparaîtra progressivement de votre champ de vision. Toutefois, avant de lui faire vos derniers adieux, revoyons de plus près les leçons apprises, surtout lorsqu’elles s’appliquent à cette notion répandue que les demandes d’un marché compétitif impliquent des réductions de tarifs à couper le soufﬂe. Dans un article publié dans l’édition du mois de janvier de bcbusinessonline, David Thom affirme que « sur le marché local, tout le monde a faim et on coupe les tarifs comme des fous. » L’architecte reconnu et directeur de IBI Group, à Vancouver, voit cette attitude comme une « action insensée. » Il suggère, par exemple, que si un designer d’intérieur doit baisser ses prix de 10 %, le client épargnera moins de 0, 5 % de la totalité des coûts pour le projet. Une épargne aussi négligeable représente-t-elle une valeur certaine pour un client? Par ailleurs, cela ne veut pas dire que des firmes importantes comme IBI ne chercheront pas à trouver les manières les plus économiques de faire des affaires, ou qu’elles ne seront pas enclines à envisager des mesures plus radicales www.idcanada.org

nomy it.’ Business isn’t like that,” says Willem Berends, senior project manager at IBI Group’s Toronto office. “We have to be ﬂexible, look at the job, and set our fees accordingly.” Associate Milena Milicevic interjects the familiar lament of creative service providers everywhere, saying that clients often “see us as a commodity…just another piece of the puzzle rather than bringing value to the process. If you’re a commodity, people shop around for the best price.” Education, on both the client and creative side, appears key to avoiding this particular pitfall. “About four years ago,” senior associate Erik Hepner says, “ARIDO (Association of Registered Interior Designers of Ontario) produced a typical scope-of-services checklist of about 100 different tasks making up a typical project, with the goal of helping clients define a project for an RFP. It’s a great document but it just isn’t used that much.” This, he feels, is a pity, because bids are based on the stated complexity of a project. Ill-defined specifications and a hazy understanding of all that’s involved may result in firms of radically dissimilar capabilities and experience quoting on the same project. And lack of a focused bidding package can lead some designers to optimistically understate their fee structure, a move guaranteed to end in client frustration, as extra costs crop up in the course of the project. Then there is the optics to consider. Does reducing your fee make you look competitive or merely cut-rate? A phone survey of some of Canada’s best-known design firms agrees the latter outcome is more likely. Lyn Van Tassel, Associate at TOSS Solutions, Saint John, says “We believe in the value of our service. In our experience clients are more focused on results for an appropriate fee rather than a low fee.” Neal Sims, director of finance at Vancouver’s Smart Design Group, says it helps in tough times to both diversify and have a niche in which you’ve built a strong reputation. As a general rule, “cost-cutters come across as too desperate, and they put themselves in a position to underperform. Underperformance can be more damaging to your business than missing out on a few contracts.” You are also doing yourself no favours if your goal is repeat business, says Kara MacGregor, principal at MAC Interior Design, Halifax. “You’ve penned yourself in a corner and it becomes really challenging. The next time you do a job with that client, you’re going to have to find www.idcanada.org

pour contrebalancer les temps plus difficiles. « Il n’est pas question de dire --- Nos standards sont les suivants, c’est à prendre ou à laisser !» Willem Berends, directeur de projets dans les bureaux torontois de la firme IBI Group, dit que « les affaires ne sont pas comme cela. Nous devons être flexibles, regarder le travail et ajuster nos tarifs en conséquence. » Son associée Milena Milicevic est aussi critique devant les plaintes habituelles de ceux qui offrent les services les plus créatifs, ici comme ailleurs, et disent que les clients « nous voient comme une commodité, comme une autre partie du casse-tête plutôt que comme une entité qui donne de la valeur au processus. Lorsque qu’il s’agit d’une commodité, les gens magasinent pour le meilleur prix. » L’éducation, du côté des créateurs et des clients, semble essentielle pour éviter une telle impasse. Il y a deux ans, un autre associé senior, Erik Hepner, a déclaré : « ARIDO (Association of Registered Interior Designers of Ontario) a produit une liste des types de services composée d’environ une centaine de tâches différentes, dans le but d’aider les clients à bien définir leurs projets pour une DDP. Il s’agit d’un document extraordinaire qui n’est pas beaucoup utilisé. » Hepner trouve ce genre de chose déplorable puisque les soumissions s’inspirent de la complexité à la base d’un projet. Des spécifications mal définies et une compréhension floue de ce que les projets impliquent peuvent donner comme résultat que des compagnies ayant des capacités et des expériences diverses et opposées feront une soumission pour le même projet. De surcroît, un manque de rigueur dans les dossiers de soumission peut mener certains designers à sous-estimer leurs dispositions tarifaires. Ce genre d’attitude provoque le plus souvent des conflits et les clients en ressortent frustrés, surtout lorsque des coûts supplémentaires s’imposent durant la réalisation du projet. Et un autre facteur doit être considéré. Est-ce que la réduction de vos tarifs vous rend plus compétitif ou simplement un agent éxécutant? Un sondage par téléphone auprès des firmes de design les plus connues au Canada nous informe que ce dernier est le plus probable. Lyn Van Tassel, une associée de la firme TOSS Solutions, à Saint John, affirme : « Nous croyons à la valeur de notre service. Selon notre expérience, les clients sont plus intéressés par les résultats associés à des tarifs appropriés qu’à des tarifs économiques. » Neal Sims, directeur des finances chez la firme Smart Design Group de Vancouver, pense que « cela aide, dans les périodes difficiles, de diversifier et d’avoir une créneau pour se faire une forte réputation. De manière générale, les gens qui coupent leurs tarifs ont l’air désespérés. Ils se placent souvent dans une position de performance minimum. La faible performance peut nuire à votre entreprise plus que d’être obligé de renoncer à quelques contrats. » volume 2, 2011

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a way to bring more value to the project if you want a higher fee.” With respect to commoditization, Joe Pettipas, senior vice president at HOK, Calgary, comments, “Professional services are not like erasers. Strategic thinking, knowledge, creativity—we bring a lot of value to the table on each project. Whereas once you figure out how to make an eraser, you can make a billion of them, all the same.” On the question of cutting rates in difficult times, Pettipas says, “Our approach has always been to ensure that we get paid appropriate to the value the client is seeking. Have we dropped our fees? No. That’s a false economy. You pay peanuts, you get monkeys. I’d rather have two appropriately paid-for projects than 10 I’m losing money on. You don’t make it up in volume.” Colleagues who drop their prices to compete must be clear with the client about the lesser product they’re supplying. Otherwise, “that eventually catches up with you. No matter how good a spin-doctor you are, if you can’t provide what the client is expecting, you do yourself, your client, and your industry a disservice.” A somewhat unexpected, last word on the subject comes from Atlanta-based Dave Burstein, vice president for the architecture/engineering support firm PSMJ Resources. “In January, we surveyed firms that had raised fees during the recession. We found that 86 per cent of them had no observable loss of business. Of the 14 per cent that did, none observed more than a 10 per cent reduction in revenues. What this really says is fees in the A&E and interior design industry are much more inelastic than most people think. Pricing doesn’t have that much of an impact on sales.” So, is cutting fees during tough economic times a smart move? The collective wisdom says no. And while the question might seem somewhat academic now, given the way the industry is rebounding across Canada, it would be wise to keep this in mind the next time we’re faced with a bear market. n

“Have we dropped our fees? No. That’s a false economy,” says Joe Pettipas. «Avons-nous baissé nos prix? Non. Cela est une économie de bouts de chandelles»,

«Vous ne vous faites aucune faveur si votre but est de faire les mêmes affaires à répétition, dit Kara MacGregor, présidente de la firme MAC Interior Design, à Halifax. Vous vous êtes placés dans un carcan et cela devient un défi. La prochaine fois que vous accepterez un contrat avec un client, vous devrez trouver une manière de donner plus de valeur au projet si vous désirez une rémunération plus élevée.» En ce qui concerne la réification, Joe Pettipas, vice-président chez HOK, à Calgary, insiste sur le fait que « les services professionnels ne sont pas des gommes à effacer. Qu’il s’agisse de la réﬂexion stratégique, du savoir ou de la créativité, nous apportons beaucoup de valeur à chacun des projets, tandis qu’une fois que vous êtes parvenu à faire une gomme à effacer, vous pouvez en faire des millions, toutes identiques.» Sur la question de la réduction des tarifs lors des périodes difficiles, Pettipas est clair : « Notre approche a toujours été de nous assurer assurer d’être payé proportionnellement à la valeur recherchée par le client. Avons-nous baissé nos tarifs ? Non. Cela est une économie de bouts de chandelles. Le produit final correspond à ce que vous payez. Je préfère avoir deux projets rondement financés qu’une dizaine de contrats où je perds de l’argent. La quantité ne fait pas le poids. » Les collègues qui baissent leurs tarifs pour devenir compétitifs doivent être clairs avec le client au sujet des produits de moins bonne qualité qu’ils utilisent. Autrement dit, « ce genre d’attitude vous rattrape rapidement. Cela ne fait aucune différence que vous soyez un bon magicien, si vous ne livrez pas ce que le client espère, vous nuisez à votre client, à votre industrie et à vous-même. » Les derniers mots, et les plus surprenants, sur le sujet sont bien ceux de Dave Burstein, vice-président de la firme de soutien en architecture et en ingénierie PSMJ Resources, basée à Atlanta. « En janvier, nous avons fait des sondages auprès de firmes qui ont augmenté leurs tarifs durant la récession. Nous avons découvert que 86 % de celles-ci n’avaient eu aucune perte dans leurs chiffres d’affaires. Parmi les 14% des firmes qui disent avoir eu des pertes, aucune n’a eu plus de 10% de réduction de revenus. Cela veut dire qu’en réalité, les tarifs dans les industries de l’architecture, de l’ingénierie et du design d’intérieur sont plus figés que la plupart des gens pourraient le croire. Les prix n’ont pas beaucoup d’impact sur les ventes. » Alors, est–ce que la réduction des tarifs lors de crises économiques est une option à envisager? La sagesse collective croit que non. Et même si cette question peut nous paraître « académique », étant donné la manière dont l’industrie refait surface à travers le pays, il serait avisé de nous en souvenir la prochaine fois que nous ferons face à un marché en baisse. n

dit Joe Pettipas.

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www.idcanada.org

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Mitchell Freedland, Ocean Front Residence 2009 IDIBC Best in Show

ARIDO submission deadline / Date limite de soumission ARIDO : 06.10.2011

idibc.org/members/awards

arido.ca/awards

IDA Submission deadline / IDA Date limite de soumission : 08.15.2011

idalberta.ca

On your behalf… When was the last time you were asked to complete a survey? Perhaps it was when you logged in to your banking website, or opened an email from that online dating site you subscribe to. Perhaps you answered your phone one day and had a polling agency ask your opinion about the state of politics in the country. Maybe the pollster was seeking a simple “Yes” or “No” response to a single question; maybe you were required to give more detailed responses to a series of questions, providing a snapshot of your experience as a citizen, consumer, or member of a select group. We’ve all undoubtedly been called upon to complete a survey. And depending on several factors, including the time we have and the subject of the survey, we’ve likely complied with the request. Some surveys obviously impact our lives more significantly than others. A survey that provides statistical information about our profession can be very useful. A salary survey, for example, can help a business owner estimate the costs of running her business, or it can show a designer who is seeking employment what the market will pay for her skills. Similarly, demographic surveys provide important statistical information about project numbers and dollar values that can help governments and industry clients with decision making. From time to time we survey you, our members, to help identify your interests and needs, and to enable us to move forward in our role as advocate for the interior design profession in Canada. A member survey recently conducted by Studio Pinpoint was very informative. You can see the results via video on IDC’s website at www.idcanada.org. A salary survey of interior designers, architects and landscape architects, conducted by Research Dimensions in December 2010, is now available for purchase. Please contact Research Dimensions’ Toronto office at 416-486-6161 or email info@researchdimensions.com for information on how to obtain your copy. We thank those who participated in these and other industry surveys, and encourage everyone to do so in the future. Your participation in surveys about the interior design profession is critically important. It’s the only way we can obtain reliable data about the profession in Canada that will benefit you and your colleagues. Please take the time to respond whenever one comes knocking. n

In the near future, Business Information Group, publisher of this magazine, will be conducting a demographic survey of interior designers in Canada. Your input is important and valued.

Advocacy is one of the leading mandates of IDC. Our goal is to ensure that interior design practitioners are understood, utilized appropriately, and not restricted in any way from carrying on business activities. You can continue to monitor recent activities through the Association website at www.idcanada.org. Need us to act on your behalf? Let us know. We’re here to help.

Please take the time to complete this survey.

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www.idcanada.org

En votre nom… Vous souvenez-vous de la dernière fois où l’on vous a demandé de répondre à un sondage? Est-ce lorsque vous avez regardé le site Internet de votre institution financière ou lorsque vous avez ouvert les courriels d’un site de rencontres que vous fréquentez occasionnellement? Peut-être l’autre jour, lorsque vous avez répondu au téléphone et qu’une agence de sondage intéressée par le scrutin a sollicité votre opinion sur la situation politique au pays? Peut-être que le sondeur cherchait seulement la simple réponse «oui» ou «non», ou peut-être deviez-vous fournir des réponses plus détaillées à une série de questions cherchant à dresser un portrait de votre expérience de citoyen, de consommateur ou de membre d’un groupe particulier d’élite? Nous avons tous répondu à un sondage à un moment donné. Selon les facteurs, le temps disponible et le type de sondage, nous avons fait l’exercice sans broncher. Certains sondages ont un impact plus significatif sur notre vie que d’autres. Un sondage qui fournit de l’information statistique au sujet de notre profession peut aider, par exemple, une propriétaire d’entreprise à évaluer les coûts de ses opérations. Il peut aussi renseigner une designer qui cherche de l’emploi sur les salaires associés à son expertise. Dans la même veine, les sondages démographiques fournissent de l’information importante au sujet du nombre de projets et de la valeur monétaire qui peut aider les gouvernements et les clients de l’industrie à prendre des décisions. Nous faisons à l’occasion des sondages auprès de vous, nos membres, pour mieux connaître vos intérêts et vos besoins et pour nous permettre d’avancer dans notre rôle de promotion de la profession du design d’intérieur au Canada. Un sondage récemment complété par Studio Pinpoint s’est avéré très informatif. Vous pouvez voir les résultats via une vidéo sur le site Internet des DIC à www.idcanada.org. Un sondage à propos des salaires des designers d’intérieur, des architectes et des architectes paysagistes, conçu par Research Dimensions, en décembre 2010, est maintenant en vente. Veuillez contacter le bureau de Research Dimensions, à Toronto, en composant le 416 486-6161 ou en écrivant un courriel à info@researchdimensions.com pour savoir comment obtenir votre copie. Nous tenons à remercier ceux et celles qui ont participé à ces sondages ou à d’autres sondages de l’industrie. Nous vous encourageons à le faire dans le futur. Votre participation au sondage sur la profession du design d’intérieur est très importante. C’est la seule manière de colliger l’information la plus valable au sujet de la profession au Canada. Cette information sera avantageuse pour vous et vos collègues. Veuillez prendre le temps de répondre lorsqu’on frappe à votre porte. n

Dans un futur rapproché, l’entreprise Business Information Group, qui publie ce magazine, fera un sondage démographique auprès des designers d’intérieur du Canada. Votre contribution est importante et sera appréciée. Veuillez prendre le temps de bien compléter ce sondage.

www.idcanada.org

La promotion est l’un des mandats primordiaux des DIC. Notre but est de nous assurer que les praticiens du design d’intérieur sont compris, employés adéquatement et sans restriction dans leurs activités d’affaires. Vous pouvez consulter nos réalisations les plus récentes grâce au site Internet de l’association à www.idcanada.org. Besoin de nous pour faire de la promotion en votre nom? Faites-le-nous savoir. Nous sommes là pour vous aider.

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New

Curriculum, Requirements Important changes are on the horizon for the interior design profession in Canada Des changements importants pour la profession de designer d’intérieur au Canada sont à prévoir B y Pe n n y To m l i n

he interior design community in Canada has been working for some time to standardize qualifications for its professionals across the country. A combination of internal and external factors has provided the impetus for this, which primarily involves a change to educational requirements. The desire within the profession in Canada to speak with one voice, and the resulting restructuring of IDC, was undoubtedly a contributing factor in the move toward standardization. Two other factors have contributed significantly as well, namely changing requirements of the Council for Interior Design Accreditation (CIDA) and a 2009 amendment to Canada’s Agreement on Internal Trade (AIT). The AIT is intended to make it easier for people, investments and services to move across Canada. The federal, provincial and territorial governments signed the original document in 1995. The same parties signed an amended agreement in 2009. Chapter 7 of the amended AIT speaks to labour mobility and states that any qualified worker in an occupation in one province or territory must be granted access to similar employment opportunities in any other Canadian jurisdiction. Barriers to labour mobility have traditionally existed within the interior design profession and others, as individual provinces set their own licensing requirements. The AIT requires professional regulatory bodies to reach agreement that allows transfer of qualifications across all jurisdictions. As the work of many interior designers becomes more national in scope, or as more individuals seek to move between provinces, the importance of this agreement is self-evident. In addition to meeting the requirements of the AIT, the profession must meet changing requirements of CIDA. When the council declared that, effective 2010, a baccalaureate was to be the minimum requirement for all accredited programs, the provincial regulatory bodies in Canada and IDC came together to determine the path to compliance. The result of both factors was an interprovincial agreement on education, experience and examination requirements. The agreement stipulates that a baccalaureate degree (four years) will be the minimum requirement for interior design graduates effective in 2015, and that effective in 2017, the degree must be accredited by the CIDA. Andrew Furman, assistant professor at the School of Interior Design at Ryerson University, sees the changing educational requirements as “a natural evolution of the profession.” He says, “All professions begin with craftsmen

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a communauté du design d’intérieur au Canada travaille depuis longtemps à la standardisation des qualifications applicables pour ses professionnels à travers le pays. Une combinaison de facteurs internes et externes a fourni les conditions idéales pour ce faire. En premier lieu, la standardisation implique un changement des exigences en matière d’éducation. Ensuite, le désir de parler d’une seule voix à l’intérieur de la profession au pays et la restructuration des DIC ont certainement été des facteurs déterminants vers cette standardisation. Deux autres facteurs ont aussi joué des rôles considérables, soit les changements des exigences requises par la CIDA (Council for Interior Design Accreditation) et la modification de l’Accord sur le commerce intérieur (ACI). L’ACI a l’intention de rendre les choses plus faciles pour les gens, d’une part, les investissements et les services, d’autre part, dans leurs déplacements à travers le pays. Les gouvernements provinciaux, locaux et territoriaux ont signé le document original en 1995. Les mêmes parties impliquées ont entériné les modifications en 2009. Le chapitre 7 de l’Accord du commerce intérieur, tel que modifié, donne des précisions sur la mobilité du travail et stipule que tous les travailleurs qualifiés et employés dans une province ou un territoire doivent obtenir la même accessibilité d’emploi et les mêmes opportunités dans l’ensemble des juridictions canadiennes. Les frontières à cette mobilité du travail ont traditionnellement existé dans la profession du design d’intérieur et dans d’autres professions, puisque chacune des provinces a mis sur pied ses exigences légales. L’ACI demande aux diverses entités professionnelles réglementaires de s’entendre afin de pouvoir transférer les qualifications dans toutes les juridictions. Considérant que le travail de plusieurs designers d’intérieur est d’envergure nationale et que de plus en plus d’individus souhaitent se déplacer d’une province à l’autre, l’importance de cet accord est une évidence. En plus de devoir satisfaire les exigences de l’ACI, la profession doit se soumettre aux modifications des exigences du CIDA. Lorsque le conseil a déclaré qu’à partir de 2010, le baccalauréat devrait constituer l’exigence minimum requise pour tous les programmes accrédités, les entités réglementaires provinciales au Canada et les DIC se sont réunis pour déterminer la marche à suivre pour s’y conformer. Le résultat de ces deux facteurs fut un accord interprovincial sur l’éducation, sur les expériences et les exigences en ce qui concerne les examens. L’accord stipule www.idcanada.org

and evolve as the scope of services expands.” He sees the increased qualification requirements as the natural result of a growing profession. Ryerson has offered a bachelor’s degree in interior design since the early 1970s. The program is CIDA accredited. Fanshawe College in London, Ontario, currently offers a three-year advanced diploma program in interior design. Helen Pearce, the program’s chair, says the college is working toward a degree program that they hope to implement beginning in September 2012. That would enable the program to become CIDA accredited in time to meet the 2017 deadline. “Once we receive approval from the ministry (of education) we can announce the new program. We will then develop bridging courses between the existing and new curriculum, to enable graduates of our previous diploma program to acquire a bachelor’s degree.” British Columbia currently has one CIDA accredited program at Kwantlen Polytechnic University in Vancouver and another one is on the path, according to Kwantlen’s former chair, Sooz Klinkhamer. She agrees the AIT provided the initial impetus to standardize the minimum qualifications for the profession across the

qu’un baccalauréat de quatre ans sera l’exigence minimale requise pour les gradués en design d’intérieur à partir de l’année 2015, et qu’en 2017, ce même diplôme sera accrédité par le CIDA. Andrew Furman, professeur à la School of Interior Design de l’Université Ryerson, voit la transformation des exigences de la formation «comme une évolution naturelle de la profession. Toutes les professions commencent avec des artisans et évoluent lorsque l’envergure des services augmente. » Il voit l’augmentation des exigences de la qualification comme le résultat naturel de la croissance de la profession. L’Université Ryerson offre un diplôme de baccalauréat en design d’intérieur depuis le début des années 70. Le programme a aussi l’accréditation du CIDA. Fanshawe College, à London, en Ontario, offre présentement un diplôme avancé de trois ans en design d’intérieur. Helen Pearce, directrice du programme, dit que le collège travaille à mettre sur pied un nouveau programme, qu’il espère ouvrir aux étudiants dès septembre 2012. Cela permettrait au programme d’obtenir l’accréditation du CIDA à temps pour la date limite de 2017. «Une fois que nous aurons

PATH TO BECOMING AN INTERIOR DESIGN PROFESSIONAL Applies to all graduates after January 1, 2017 EDUCATION Baccalaureate from a CIDA-accredited program.

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QUALIFIED WORK EXPERIENCE 3,520 hours of supervised work experience.

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NCIDQ EXAMS Write and pass all NCIDQ exams.

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NCIDQ EXAMS Write and pass all NCIDQ exams.

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PROFESSIONAL CERTIFICATION FULL member of provincial regulatory authority, with exclusive right to title.

Applies to all graduates prior to December 31, 2016

(Will be accepted by Provincial Regulatory Authorities until December 31, 2021) EDUCATION Baccalaureate in an interior design program of no less than 120-semester or 180-quarter credits, with half of these credits interior design coursework.

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QUALIFIED WORK EXPERIENCE 3,520 hours of supervised work experience.

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PROFESSIONAL CERTIFICATION FULL member of provincial regulatory authority, with exclusive right to title.

DÉMARCHE POUR DEVENIR UN PROFESSIONNEL DU DESIGN D’INTÉRIEUR Applicable pour tous les diplômés après le 1er janvier 2017 FORMATION Baccalauréat dans un programme design accrédité CIDA.

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EXPÉRIENCES DE TRAVAIL QUALIFIÉES 3520 heures d’expériences de travail supervisées.

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EXAMENS DU NCIDQ Réussite des examens du NCIDQ.

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EXAMENS DU NCIDQ Réussite des examens du NCIDQ.

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CERTIFICATION PROFESSIONNELLE Membre de plein droit d’une autorité provinciale en règle avec le droit exclusif au titre.

Applicable pour tous les diplômés avant le 31 décembre 2016 (Entérinée par les autorités provinciales en règle jusqu’au 31 décembre 2021) FORMATION Baccalauréat dans un programme de design d’intérieur d’au moins 120 crédits de séminaires ou 180 quarts de crédits, dont la moitié de ces crédits correspondent à des travaux suivis dans des cours de design d’intérieur.

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EXPÉRIENCES DE TRAVAIL QUALIFIÉES 3520 heures d’expériences de travail supervisées.

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CERTIFICATION PROFESSIONNELLE Membre de plein droit d’une autorité provinciale en règle avec le droit exclusif au titre.

The changing educational requirements are "a natural evolution of the profession," says Andrew Furman. La transformation des exigences de la formations sont « une évolution naturelle de la profession », dit Andrew Furman.

country. And, she says, “NCIDQ’s (National Council for Interior Design Qualifications) board has always been very proactive in monitoring practice standards. The changes they put in the exam as a result of their regular analyses of the interior design profession feed curriculum development in schools.” Schools in Québec face a unique situation with respect to compliance and standardization. Until recently, Dawson College in Montréal was the only CIDA accredited school in the province. The college lost its CIDA accreditation in 2010 because it is not able to provide students with a baccalaureate degree. Faculty member Susanne Koltai says the program continues to follow CIDA’s stringent guidelines and the quality of the curriculum remains at par with the council’s requirements. Dawson is the only English-speaking school of nine CEGEPs (provincial post-secondary colleges) offering interior design programs in Québec. Unlike other post-secondary institutions in Canada, most students enter CEGEPs with a Grade 11 equivalent education. They can graduate with a General Education diploma after two years and continue their studies in three-year university degree programs, or graduate with a diploma from a three-year careers program, of which interior design is one. “The three-year programs are geared to prepare students to enter the workforce upon graduation,” Koltai says. “The question now is how we can meet CIDA’s requirement within the context of the CEGEP system.” IDC, on behalf of the CEGEPs, has approached the Minister of Education in Quebec to start the dialogue. While there are obvious challenges along the road to standardization, all agree on the importance of the goal and are working hard to achieve it. The profession in Canada will no doubt benefit from having consistent, high standards in place across the country, just as other professions do. The ultimate goal is to ensure graduates of accredited programs, who represent the future of the profession, have equal career opportunities anywhere in Canada, regardless of where they completed their studies. n

obtenu l’approbation du ministère de l’éducation nous pourrons annoncer le nouveau programme. Nous pourrons aussi créer des ponts entre le programme existant et le nouveau curriculum, ce qui permettra aux étudiants ayant obtenu le diplôme du programme précédent d’acquérir un diplôme de baccalauréat.» La Colombie-Britannique offre aussi un programme accrédité par le CIDA à la polytechnique Kwantlen, à Vancouver, et un autre programme est en élaboration, selon Sooz Klinkhamer, l’ancienne directrice de la polytechnique. Elle précise que l’ACI a donné l’élan nécessaire à la standardisation minimale des qualifications de la profession à travers le pays. De plus, elle souligne que « le conseil du NCIDQ (National Council for Interior Design Qualifications) a toujours été très vigilant dans la gestion des standards de la pratique. Les changements qu’ils ont introduits dans l’examen, suite aux résultats obtenus lors des analyses habituelles de la profession du design d’intérieur, stimulent le développement des curriculums dans les institutions. » Les écoles au Québec font face à une situation similaire en ce qui concerne la conformité et la standardisation. Jusqu’à récemment, le collège Dawson, à Montréal, était la seule institution accréditée dans la province. Le collège a perdu son accréditation en 2010 parce qu’il n’était pas capable de fournir un programme de baccalauréat aux étudiants. Susanne Koltai, membre du département dans cette institution, indique que le programme continue de se soumettre aux exigences du CIDA et affirme que la qualité du curriculum respecte celle du conseil. Le collège Dawson est la seule école de langue anglaise, parmi les neuf cégeps (collèges provinciaux de niveau postsecondaire) qui offrent des programmes de design d’intérieur au Québec. La plupart des élèves entrent au cégep avec l’équivalent d’une onzième année, ce qui diffère des institutions de même niveau au Canada. Ils peuvent ainsi graduer avec un diplôme général après deux ans et poursuivre leurs études dans un programme de trois ans au niveau universitaire. Ils peuvent aussi obtenir un diplôme associé à un type de carrière, de trois ans également, comme c’est le cas pour le diplôme en design d’intérieur. Ces programmes de trois ans sont conçus pour préparer les étudiants à entrer sur le marché du travail, une fois qu’ils ont gradué, ajoute Koltai. « La question est désormais: comment pouvons-nous satisfaire les exigences du CIDA à l’intérieur même du système du cégep?» Même s’il est évident qu’il y a des défis à surmonter dans ce parcours vers la standardisation, tous sont d’accord quant à l’importance des objectifs et travaillent ensemble pour les atteindre. La profession au Canada profitera sans doute de l’acquisition de normes constantes et élevées partout au pays, comme c’est le cas pour d’autres professions. Le but ultime est de s’assurer que les diplômés des programmes accrédités, qui représentent le futur de la profession, aient les mêmes opportunités de carrière partout au pays, sans tenir compte de l’endroit où ils ont complété leurs études. Les DIC ont amorcé un dialogue avec le ministère de l’éducation du Québec, au nom des nombreux cégeps. n

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in conversation with… An 18-year veteran joins the ranks of accredited interior designers B y Pe n n y To m l i n

Jozef Pilasanovic’s career in design began more than 18 years ago in his father’s architectural studio, ARP, in Belgrade, Serbia. He had been studying in the Faculty of Architecture at the University of Belgrade when the civil war in his country ended his studies and chance to graduate. “The war affected me tremendously and presented many obstacles to completing my studies. I watched as my world fell apart. By the late 1990s, it was obvious the situation in Serbia was not going to improve. In March 1999 when NATO bombed Serbia, my wife, Jasmina, and I ﬂed to Budapest, Hungary, where my father had moved. We were supposed to have been on our honeymoon in Rome. Once in Budapest, we took a deep breath and decided to try to make a new life as far away as possible. Canada was welcoming, so we came to Toronto in October 2000.” Jozef had worked at the architectural firm, BAU-24, while in Budapest. His first job in Toronto was with the design firm Cecconi Simone, where he worked for three years. He then worked at Munge/Leung before moving to his current position at HOK in 2006. With plenty of know-how behind him, Jozef decided it was time to tackle the NCIDQ exam in the fall of 2009. He prepared intensively for about two weeks. “Some people take much more time,” he says, “but I was relying on my experience. I read the practice book for the first two sections. I didn’t specially prepare for the practicum because, honestly, if I’m not able to draw up the basics of a small project, I shouldn’t be working as an interior designer in the first place!”

i would encourage young people to learn through experience… experience will enhance their

Jozef passed the practicum and one of the first two sections on his first try. In April 2010 he rewrote the exam and passed. Fortunately, Jozef didn’t have to sacrifice too much time with his wife and nine-year-old son, Luka, in order to become accredited in his field. “There were a few nights when I was up late studying, and I had to forego some family vacation days, but it was worth it.” Was he ever discouraged on his path to becoming a qualified interior designer? “No, never,” he says. In addition to the support of his family, HOK provided material support by covering the cost of the exam and providing him with study resources and time off to study. “I definitely benefited from the support I received from my employer.” What advice does Jozef have for interns who are preparing to write the NCIDQ exam? “I would encourage young people to learn through experience. Many well-educated but inexperienced designers are lost when it comes to working on real life situations and projects. Experience will enhance their knowledge. Take the time to hone your expertise, so that you can provide clients with design services ethically and in full complexity and scope, as accreditation demands.” n

knowledge. Name: Jozef Pilasanovic Age: 42 Years of passing NCIDQ: 2010 Favourite design tool: Thick black pen, tracing paper Least favourite tool: Printers/Plotters

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en conversation avec… Un vétéran avec 18 ans de métier devient un designer d’intérieur accrédité Pa r Pe n n y To m l i n

La carrière en design de Jozef Pilasanovic a commencé il y a plus de 18 ans dans le studio d’architecture de son père, à Belgrade, en Serbie. Il était étudiant dans le département d’architecture de l’Université de Belgrade, lorsque la guerre civile dans son pays l’obligea à interrompre ses études et l’empêcha de graduer. « La guerre m’a beaucoup affecté. Elle a occasionné plusieurs obstacles à mes études. J’ai vu mon monde se défaire. Vers la fin des années 1990, il était clair que la situation en Serbie n’allait pas s’améliorer. En mars 1999, lorsque l’OTAN a bombardé la Serbie, ma femme Jasmina et moi sommes partis pour Budapest, en Hongrie, où mon père vivait. Nous étions supposés nous rendre à Rome pour notre lune de miel. Une fois rendus à Budapest, nous avons décidé de faire le saut et de recommencer notre vie ailleurs, le plus loin possible. Le Canada était ouvert et nous sommes arrivés à Toronto au mois d’octobre 2000.» Il a travaillé à la firme d’architecture BAU-24, à Budapest. À Toronto, son premier emploi fut pour la compagnie Cecconi Simone, où il a travaillé pendant trois ans. Il a ensuite travaillé pour la firme Munge/Leung, avant de trouver son emploi actuel chez HOK, en 2006. Avec ces nombreuses expériences, Jozef a décidé de compléter les examens du NCIDQ à l’automne 2009. La préparation fut intense, sur une période de deux semaines. «Certaines personnes prennent plus de temps que cela, dit-il. Mais je faisais confiance à mon expérience. J’ai lu attentivement les deux premières sections du livre consacré à la pratique; je ne me suis pas beaucoup préparé pour les examens pratiques. Pour dire vrai, si je ne suis pas capable de faire les dessins d’un petit projet, cela veut dire que je ne dois pas travailler en tant que designer d’intérieur!» Jozef a réussi les examens pratiques et l’une des deux premières sections au premier tour des examens. En avril 2010, il a complété les deux sections des examens et a réussi le tout. Heureusement pour lui, il n’a pas eu besoin de sacrifier beaucoup de temps, du temps passé avec sa femme et leur fils de neuf ans, Luka, pour obtenir l’accréditation dans son domaine. «Il y a eu quelques soirées où j’ai étudié tard dans la nuit. J’ai dû également reporter mes vacances prévues, mais tout cela en a valu la peine.» A-t-il vécu un découragement dans cette ambition de devenir un designer d’intérieur qualifié? « Jamais », dit-il. En plus d’avoir l’appui de sa famille, la firme HOK lui a donné le soutien matériel nécessaire en payant les frais obligatoires de l’examen, en plus de lui donner du temps et des ressources pour étudier. «J’ai définitivement profité de ce soutien offert par mon employeur.» Quels conseils Jozef donne-t-il aux jeunes stagiaires qui veulent passer les examens du NCIDQ ? «J’encourage les jeunes à apprendre grâce à l’expérience. Plusieurs designers très éduqués et ayant peu d’expérience sont perdus lorsque vient le temps de travailler sur le terrain. L’expérience complétera leurs savoirs. Il faut prendre le temps de parfaire son expertise pour mieux offrir aux clients un service de design qui mise sur l’éthique, dans sa complexité et dans son ampleur, comme l’exige l’accréditation.» n

J’encouragerais les jeunes à apprendre grâce à l’expérience... l’expérience améliorera leurs savoirs.

Nom : Jozef Pilasanovic Âge : 42 ans Année de réussite des examens du NCIDQ: 2010 Outil de design de prédilection : Un gros crayon au feutre noir et le papier à calquer Outil de design le moins apprécié : Les imprimantes/ﬂasheuses

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industry members* Membres de l’industrie* With thanks to our industry members for their continuing support of IDC. Avec nos remerciements aux membres de l’industrie pour leur soutien continu aux DIC. IDC/IIDEX partners Partenaires des DIC/IIDEX DIRTT Environmental Solutions Ltd. Hsquared Canada InterfaceFLOR Nienkamper Furniture and Accessories Inc. Ruud Lighting Canada/BetaLED Tayco Panelink Ltd.

IDC national members Membres nationaux des DIC 3M Canada - Architectural Markets Hunter Douglas-Div Window Fashions INSCAPE Knoll North American Corp. Steelcase Canada Ltd. Tandus (Monterey, C&A, Crossley) Teknion

IDC regional members Membres régionaux des DIC Cambria Natural Quartz Surfaces Haworth Ltd. Kravet Canada Milliken & Company Shaw Contract Group GLOBAL GROUP

IDC provincial members Membres provinciaux des DIC Allseating Allsteel American Standard Brands Beaulieu Commercial Benjamin Moore & Co. Ltd. Contrast Lighting M.L. Inc. Crown Wallpaper + Fabrics Dauphin North America Four Seasons Hotels and Resorts Kohler Canada Co. Mabe Canada (GE Monogram) MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Odyssey Wallcoverings Paloform Inc. Partition Components Inc.

IDC media partners Partenaires des médias des DIC Canadian Interiors Design Quarterly HOMES Publishing Group MONTECRISTO Magazine NUVO Magazine

IDC local members Membres locaux des DIC 360 Living Inc. 3form AABA Granite & Marble Inc. Abet Corp. Alendel Fabrics Limited Altro Ames Tile & Stone Ltd. AMTICO International Inc.

Anthony Allan Work Environments Applied Electronics Ltd. Arborite, division de/of ITW Canada Archer Construction Group Ltd. Arconas Arrow Furniture Ltd. Art Works Gallery Artopex Astro Design Centre AYA Kitchens and Baths Ltd Banner Carpets Ltd. bf workplace BL Innovative Lighting Blackburn Young Office Solutions Blum Canada Ltd. Bradlee Distributors Inc. Brigholme Interiors Group Brunswick Manufacturing Co. Ltd. Buckwold Western Business Interiors by Staples California Closets Canadian Contract Leathers Inc. Canlyte Inc. Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 CAS Interiors Inc Cascadia Design Products cd/m2 LIGHTWORKS corp. Ceratec CF + D | custom fireplace design CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot Marble & Granite Inc. Click Lighting and Home Coast Flooring by Design Cocoon Furnishings Colin Campbell & Sons Ltd. Command Performance Exclusive Electronic Solutions Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Contemporary Office Interiors Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Crate and Barrel Canada Creative Matters Inc CTI Working Environments Cubo Design Inc. Custom Closet Organizers/Shelving Outlet Custom Home Decor Ltd Daltile Canada Denison Gallery Design Exchange Design Living Centre Divine Hardwood Flooring Ltd. Division9 a Shnier Company Dominion Rug Sales Ltd. D’or Art Consultants Drechsel Business Interiors DSG Custom Glass DWMartin Construction E. Roko Distributors Ltd. / Formica Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc.

Erv Parent Group Ethan Allan European Hardwood Flooring Centre faAB Home Fashions Fendi Casa, Canada Fieldstone Windows and Doors Ltd. Fleurco Products FloForm Countertops Floor Coverings International Flux Lighting Inc. Fontile Corp. Forbo Linoleum Inc. FU.O.CO Urbano Gateway Kitchen Centre Ltd. Geovin Furniture Inc. Grand & Toy Greenferd Construction Inc. Grohe Canada Inc. Hardwoods Specialty Products Herman Miller Canada Inc. Heron Construction & Millwork Ltd. Hettich Canada L.P. High Point Market Authority Holmes & Brakel Humanscale Huntington Lodge Electric Fireplaces ICI/Akzonobel Paints Impact Office Furnishings Limited InfoLink Interior Surfaces Inc. Interna Furniture Design Ltd. Isted Technical Sales J+J Invision JCO & Associates Joel Berman Glass Studios Johnsonite Jones Goodridge Julian Ceramic Tile Inc. Jump I.T. Kitchen & Bath Classics (Wolseley) Kraus/Floors with More La Scala Home Cinema + Integrated Media LAVA Canada Leber Rubes Inc. Leviton MFG of Canada Light Resource LightForm M.R. Evans Trading Co. Ltd. MacCormack & Sons Ltd. Magnum Opus Maharam Mannington Commercial Mapei Inc. Marble Trend Ltd. Marco Products (W Group) Martin Knowles Photo/Media Metro Wallcoverings Inc. Millennium Office Furnishings Miller Thomson LLP Millson Technologies Inc Modallion MOEN INC. Momentum Group Monk Office Interiors M-Tec. Inc. My Greener House

Novanni Stainless Inc. Office Source Inc. OLON Industries Olympia Tile International Inc. Optimal Performance Consultants Orion Hardware Corporation PacBlue Printing Pacific Stone Tile Ltd Pamas Slate & Stone Supplies Inc. Para Paints Paytrak Payroll Services Pentco Industries Inc. PI Fine Art/ Posters International POI Business Interiors Prima Lighting Prolific Marketing Inc. Rae Brothers Ltd. Ram Mechanical Marketing Manitoba RE/max Professionals Inc. , Brokerage Renovations By Gray Robert Allen Fabrics Canada Rodgers Wall Materials Inc. Roman Bath Centre Roya Manufacturing & Supply Canada Inc. Salari Fine Carpet Collections Schoolhouse Products Inc. SCI Interiors Ltd. Silk and Style By Dann Imports - 707585 Ontario Limited Silverwood Flooring Smitten Creative Boutique SOFA, Source of Furniture and Accessories Solutions Workplace Furnishings Sound Solutions 1997 Inc. Spacesaver Corp. Stanley Black & Decker, Inc. Stonequest Inc. Suite22 Interiors Sun Glow Window Covering Products of Canada Ltd. The Ensuite The floor studio inc. The Gallery on the Lake Inc. The Office Shop The Reeves Group Agents Ltd. The Sullivan Source Inc. Threadcount Textile & Design Three H. Furniture Systems Tierra Sol Ceramic Tile TOR The Office Resource Tri-Can Contract Inc. Tripped On Light design inc. Tritex Fabrics Ltd. Turco-Persian Rug Co. Ltd. Tusch Seating Inc. Unique Storage & Organizers Valley Countertops Vandyk Commercial Co. Ltd. Verno International Art Studios Vifloor Canada Ltd. W Studio Decorative Carpets Weavers Rug Gallery Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Your Home Custom A/V Systems * As of April 14, 2011 * À partir du 14 avril 2011

InTeRIoR DeSIGneRS of CAnADA / DeSIGneRS D’InTÉRIeUR DU CAnADA C536–43 Hanna Avenue Toronto on M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 e dimensions@idcanada.org w www.idcanada.org 18

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Branded Even natural daylight doesn’t dispel LinX’s instant atmosphere. The charcoal-grey entrance, with its smattering of little backlit “X”s, gives way to riotous colour blocks of fuchsia punctuated with huge hot-pink “X”s.

XX“X” XXmarks XXXXthe XXspot XXXXXXXXXXXX How Bortolotto Design made LinX – a meeting space for undergrads at Toronto’s Humber College – “X”-traordinarily memorable. —By Leslie C. Smith

22 CANADIAN INTERIORS MAY/JUNE 2011

PHOTOS BY TOM ARBAN

XXXXXXXXXXXXXXXXXXXXXX MAY/JUNE 2011 CANADIAN INTERIORS 23

Artfully placed LCD TVs and a tangerine bar wall enlivened by changeable LEDs help keep the visual action happening well into the night. Reflections of light bounce off the highly polished concrete floor, metal tables and metal-clad support columns.

XXXXXXXXXXXXXXXXXXXXXX Buried in the bland, concrete confines of Humber College, located in Toronto’s not-quite-post-industrial west end, lies a little treasure, a jewel of a space carved out of an unprepossessing former workshop for industrial studies. Outside, the single-storey building wasn’t (still isn’t) that much to look at; inside, it was a 746-square-foot disaster: dark, low-ceilinged, and filled with cobwebbed woodworking and plumbing tools. Tania Bortolotto, Alex Horber and Jerry Lin of Toronto’s Bortolotto Design were tasked with turning this magnificent decrepitude into a welcoming, multi-use meeting place for undergraduates. Oh yes: and to build an exciting new brand around it. All on a budget of just $1.24 million. And 24 CANADIAN INTERIORS MAY/JUNE 2011

no: the ceiling’s cheesy lay-in tiles could not be replaced or raised. “Those were the biggest challenges – the low ceiling and the low budget,” says Tania Bortolotto. “We were left with a horizontal, compressed space. How to design it to maximize at least the appearance of ceiling height?” Very cleverly, as it turned out, with an optical illusion created by overlaying the acoustic tiling with islands of metallic painted MDF panels fitted with recessed halogen lights. A strong colour scheme – fuchsia and tangerine calmed by charcoal grey – helps distract attention away from the ceiling and zero it in on the surrounding walls. There, square pink blocks interspersed

with grey metallic reveals create an idea of verticality, augmented by the angular eye candy of the brand “X” logo liberally applied, light-pink-on-dark, to the walls. Why the “X,” which gets mimicked dozens of times over, in back-lit laser cuts at the entranceway, along the walls, even as wayfinding signage to the washrooms? “The original building indicator was ‘L-X,’” Bortolotto explains. “That’s why those letters are still in upper case in the new LinX name. But the ‘X’ itself became the logo.” LinX: a good name for a place to hook up with others, given its computer pathway connotations, an idea reinforced by the intersecting lines of the “X.” In mathematical terminology, “X” stands for the unknown; in PHOTOS BY BEN RAHN / A-FRAME

XXXXXXXXXXXXXXXXXXXXXX film ratings it implies sexual content. So: modernity, mystery and maybe just a hint of sex, all jumbled into one neat little alphabetical symbol. Not bad. Even the building itself seemed to assist in this branding “X”-ercise: one long side wall already angled out, so the Bortolotto team added another, a convergent angle for the interior wall fronting the kitchen and bar serveries, forming an almost-“X” on the blueprint. Nearly as important as brand colouration, name and logo was the design of the space’s controlled use of direct and indirect lighting. “We added windows along the outside walls, which added character and natural lighting,” says Bortolotto. “But the big, open plan was a functional challenge.

This was to be a transformational space, from day to night, quiet lounge to busy restaurant and bar, and loud, live entertainment at night. We had to effectively program the flow of this transformation through the area’s lighting, as well as its furnishings and acoustics.” Roll-down blinds, therefore, on the windows, and the halogens on dimmer switches. Independent grids overhead that brighten into spotlit pools for the stage and dance floor. Special strobes for special occasions. Additional touches of visual excitement garnered from the reflection of ceiling lights bouncing off the highly polished concrete floor, metal tables and metal-clad support-and-service columns.

And, always, the glow of light from the backlit “X”-logoed signage, the LED chameleon colour changes that highlight the bar’s back bottle display and front surround of sandblasted glass. Everything about LinX, from the lighting to the logo is “built-in and custom,” says Bortolotto, “fully integrated into the space.” As well it should be, in this new era of brand-integrated design. The client obtains real added value in a project like this. And the design team? Before-and-after shots to die for plus, one assumes, a priceless sense of self-satisfaction. c I

MAY/JUNE 2011 CANADIAN INTERIORS 25

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Branded

Nice ’n easy

For the latest HedKandi hair salon in Calgary, ORDA develops a design that goes with the flow of the stylists. —By Gail Jansen

Photography by Ric Kokotovich

MAY/JUNE 2011 CANADIAN INTERIORS 27

The last thing a busy salon needs is to have its stylists and clients constantly vying with one another for space. But Calgary’s HedKandi is known as much for its creative style as it is for its creative stylists – and the owners’ desire to optimize limited space needed to be balanced with their desire for a contemporary style that would complement their trendy new location in downtown’s Hotel Arts. And so they turned to ORDA, a Calgary firm they had worked with on four previous salon designs. The challenge, according to senior 28 CANADIAN INTERIORS MAY/JUNE 2011

designer Doris Martin, was to develop an understanding of the stylist’s flow and interactions with clients. When a typical Saturday could mean upwards of 45 people moving around the 3,000-squarefoot space at any one time, it was important, says Martin, to keep it as open as possible and streamline even the most mundane aspect. Counterintuitive to many designs that look to a lighter feel to create spaciousness, ORDA instead chose to create a balance between light and dark. “I don’t really agree that you have to keep things

light when you have a small space,” says Martin. “I think sometimes that darkness can create intimacy, and by letting other items hold the weight in the space, you can avoid causing the ceiling to feel lower or to feel like the walls are coming in.” The designers created a backdrop that was light and ethereal, while adding an eclectic selection of colourful accessories, furniture and artwork. They created counterbalance and anchored the design with a high-gloss black epoxy finish for the floor and customized dark millwork. Architectural elements also serve to define

Branded

the space and organize the various services within – from the irregularly formed and coloured dropped ceiling in the entryway to the reception desk flowing directly into the workspace. Even the extended-length countertop, where stylists mix colours and prepare solutions, was designed to be atypical by being open to the rest of the salon; while the more typical aspects of the salon, including washing sinks and drying areas, are designed away from outside walls to avoid the boxlike feeling such placement can effect. It’s this desire for openness

that also led ORDA to create a series of low division half-walls that give the illusion they are being “pushed” up through the rubber-looking surface of the floor. These emanations also serve to offer the salon a practical solution for housing their electrics. By offering HedKandi a balanced design, ORDA maximizes both the flow and the style of the salon, without ever making the space feel small. c I

What begins as a reception credenza (above) becomes the stylist colour-mixing area with colour and drying stations on the opposite side; for visual privacy, movable acrylic panels are installed with custom graphic artwork. The wash area at the rear of HedKandi (opposite) is open to the salon proper.

MAY/JUNE 2011 CANADIAN INTERIORS 29

Branded

Jump right in Jump.ca aims to draw the “non-techie” into the sometimes intimidating world of wireless devices. The light and lively design of the company’s latest location in Regina – by Vancouver-based SSDG Interiors – does just that. —By Gail Jansen When Vancouver’s SSDG Interiors Inc. set out to create Jump.ca’s newest retail space in Regina’s Cornwall Centre, the designers looked to how they could best represent the company’s out-of-the-box branding of wireless devices within the confines of a boxlike space. “This was a long narrow space, and we wanted to break that up and make it interesting,” says Beth Thompson, associate on the SSDG team. “Because it’s a company that’s so technology driven, it could have had a very ‘techie’ feel to it that would be very dark and intimidating.” Looking to Jump’s own branding strategy to lighten that “techie” feel, the team at SSDG began by using a glossy white backdrop on the walls; a neutral, grey, easily washable concrete on the floor; and Jump’s own branded green in broad concentric circular graphics interspersed throughout. “Jump has a fresh and young brand, and the company itself is young,” explains Thompson. “Even the name ‘Jump’ is kind of fresh, so in creating the look of the store, we wanted to keep it quite welcoming and simple.” To make the store inviting to even non-techie types, SSDG conceptualized the store’s most striking feature – the Discovery Wall. Set to wrap one whole side of the store, comprising 75 per cent of the wall space, it’s meant to both visually and physically draw customers in. Fabricated 30 CANADIAN INTERIORS MAY/JUNE 2011

by Toronto’s Eventscape, the wall features 100 individually sized acrylic panels, dimensioned through 3-D modelling to create a continuous complex curve, with panel graphics that can be easily reimaged at any time to create a fresh new look, without the need for a complete remodel. Within the store, technology-focused elements engage tech-savvy customers without alienating those who simply want a new phone – from the two Microsoft Surfaces, which directly interface with customer’s wireless devices, to the store’s touch screen monitors, which allow customers to seek out information and even make their own purchases. This level of technology complements the overall futuristic design without overwhelming it. “I think if you create too many disparate elements, it breaks the space up, but one larger element makes it seem simpler and more open. Keeping the product the focus, and keeping everything at eye level, ensured that it wasn’t overwhelming to look at,” says Thompson. “You can make a much more powerful statement, if you look at the space as a whole, and look at it as a three-dimensional environment where you’re not afraid to create shape and form.” c I

Wrapping one whole side of the store, comprising 75 per cent of the wall space, the Discovery Wall visually and physically draws customers in. Fabricated by Toronto’s Eventscape, it features 100 individually sized acrylic panels creating a continuous complex curve.

Photography by Riley Stewart

MAY/JUNE 2011 CANADIAN INTERIORS 31

Above Simon Pattison and his curvaceous, colourful tableware. Right Ronan and Erwan Bouroullec. Below Kaori Aoi and her snazzy set of acrylic game cubes.

In the now! Taking it all in at Maison & Objet’s now! design à vivre. —By Michael Totzke I was hoping to run into Ronan and Erwan Bouroullec at Maison & Objet in Paris this past January, as they had been designated feature designers at M&O’s show-within-a-show, now! design à vivre. The last time I saw the Brittany-born brothers was a few Orgatecs ago in Cologne; we shared espresso at the Vitra booth, and I found them as singularly charming as their work. Alas, our paths never crossed in Paris. I had to settle for a special exhibition of their work (from Algues, the iconic modular plastic screen for Vitra, to Ovale, a delicate new collection of tableware for Alessi) and to discover two new introductions on the show floor: the voluptuous Ploum sofa for Ligne Roset and the vivid Losanges rug for Nanimarquina. Bravo, Bouroullecs. I did have the pleasure of meeting six of the seven designers exhibiting under the banner Japan Design – each coolly composed and elaborately polite in the Japanese manner. There’s a purity to Japanese design that is refreshing amid more baroque offerings, and Japan Design proved to be one of the show’s most popular attractions.

Equally popular was the somewhat cramped area of now! devoted to novice and small-scale designers who couldn’t possibly afford renting one of the show’s big booths. It was here my eye was drawn to a platform full of white and silver and fluorescent-coloured objects – sensuously curved and angled – tucked into a space the size of a postage stamp. They turned out to be the very first range of products by affable young Brit Simon Pattison. “I look to create simple, functional objects for the table that excite the user,” he explained. “I set myself a challenge to create designs that are serious yet play on their relationships with their functionality.” With training in art, design, pottery and silversmithing, Pattison is a talent to watch. In the following pages, you’ll find works by Simon Pattison; three of the Japanese designers (all safe and sound in Tokyo, I’m happy to report, and touchingly stoic about the situation in Japan); and the Bouroullec brothers. You’ll also find other items that caught my eye, from companies in France, Denmark, Italy, Switzerland and Taiwan.

MAY/JUNE 2011 CANADIAN INTERIORS 33

The Bouroullecs 1—NEW PERSIA For Barcelona-based Nanimarquina, Ronan & Erwan Bouroullec have reinterpreted the traditional Persian rug using the ancient kilm technique. Losanges, available in two sizes, is the playful result, combining 13 colours through the geometrical rhombus shape (a great challenge to North Pakistan craftspeople). The Afghan wool is spun by hand, allowing for unique colour tones to be highlighted, which make each rhombus different and each rug one of a kind.

nanimarquina.com

2—RIPE FOR THE PICKING “We pictured it like a ripe, voluptuous piece of fruit.” So say the Bouroullec brothers, whose sponge-like Ploum sofa – available in three- and four-seater versions – is indeed a deliciously refreshing piece of work. The quilted fabric employed comprises a thick layer of stretchy polyester quilting sandwiched between two superimposed woven layers, held in place by points of stitching. With its generous croissant shape and low profile, Ploum “offers an extreme level of comfort while offering the body the chance to adopt a number of possible postures.” ligne-roset.com

34 CANADIAN INTERIORS MAY/JUNE 2011

Personal bests 2

1—CALLING JASPER MORRISON Says the noted British designer, “I thought about the old telephone, lying face down on its cradle, and asked myself if it wouldn’t be better the other way round, so you could see the screen and dial the number without picking it up.” Et voilà: his DP 01, a DECT (Digital Enhanced Cordless Telecommunications) phone for Swiss company Punkt. The handset is designed to be stable on a flat surface, allowing for hands-free communication. DP 01 may be placed horizontally or mounted on a wall. punktgroup.com 2—SIMON SAYS Birmingham, England–based Simon Pattison launched his very first range of projects at Maison & Objet. The vibrant and curvaceous collection of tableware reflects Pattison’s extensive training in all aspects of design – from graphics and brand development to ceramics and silversmithing. “Within my work I look for relationships between materials, processes, colours and finishes, in different mediums including ceramics, metal and wood,” says Pattison. “These vessels are constantly evolving.” simonpattison.com

3—CRYSTAL GAZING QisDesign is part of Quisda, a leading Taiwanese tech firm. Its Crystal Light, an LED lighting fixture, is composed of various “crystals,” which shimmer with silver and sparkle like diamonds. Each of these is connected by a magnet, allowing the user to assemble them into various forms. The user can also change the light mode with a remote control to create different colours and lighting effects. QisDesign.com

MAY/JUNE 2011 CANADIAN INTERIORS 35

1—TO THOSE WHO WAIT The Saari collection from Italian furniture maker Arper was designed for waiting areas in restaurants, hotels and such. Available as a one-, two- or three-seater sofa, or as a bench, Saari is distinguished by its precise, clean lines. It comes in a wide choice of materials and colours, with a four-leg base in steel – painted, chromed or veneered. arper.it

Bright ideas

2—TECHNICOLOR DREAM RUG The cheerful, textural Pinocchio rug from Danish company Hay is made of 100-per-cent pure new wool. Available in three sizes, it comes in three different colour ranges: Multi Colour (shown), Orange and Coral/Black. hay.dk 3—BE SEATED The distinguishing feature of Joko – developed by Studio Bartoli Design for Italian company Kristalia – is its single fused shape, which is soft and organic. Joko’s continuous surface can be upholstered in leather and in fabric in different colours and versions. kristalia.it

36 CANADIAN INTERIORS MAY/JUNE 2011

From Japan

1—RIPPLE EFFECT Tokyo-born Kota Nezu has designed everything from industrial products to automobiles. His Jellyfish prototype is “a stool with built-in LED and a water tank. Your natural movement of sitting on it will produced stunningly beautiful ripples; you will feel as if you were seated on the water.”

ripplestool.com

znug.com

2—SIDE BY SIDE Satoshi Umeno’s Bind is both side table and magazine rack. Says the Tokyo-based designer, “Messy piles of magazines that would otherwise be left scattered on the table can be stored underneath and added to over time for an artistic look. The stylish and functional table fits comfortably beside a bed or couch.” umenodesign.com

3—GAME CHANGER Says young designer Kaori Aoi of jou-jouer, her set of acrylic cubes, “These days, we live in a society of mass production and consumption. This toy was created for people who live, not only for today, but also for the future. This toy helps to develop the imagination and creativity of people.” innocent-blue-aoi.com

MAY/JUNE 2011 CANADIAN INTERIORS 37

Don’t miss the launch of Hospitality Canada @ IIDeX 2011 exposiTion

September 22 – 23, 2011 conference

September 22 – 24, 2011 DIRect eNeRgY ceNtRe, toRoNto

We Speak The Language of Design Join the Conversation To download recommended Qr reader, please visiT www.beetagg.com

Double vision On Montreal’s Place des festivals, two slim volumes by Daoust Lestage – each containing a restaurant – blur the distinction between inside and out. —By Rhys Phillips

The two glass-and-aluminum volumes, end to end, bring to mind elongated transcontinental railway dining cars, temporarily parked between a museum and its grand plaza. Photography by Marc Cramer

MaY/June 2011 CANADIAN INTERIORS 39

Two views the Brasserie T! Who’sofWho interior reveal extensive glazing: artful slices extending up and across the roof, along with expansive sliding doors facing west onto the Place des festivals.

Montreal today, like no other North American city, exudes a European sensibility. There is an imbedded ethos that a city is an integrated social-ecosystem in which hard boundaries – between communities or “quartiers,” between the inside and the outside, between the public and private realms – are to be avoided. From the 1960s into the ’80s, however, this was deeply threatened by systematic efforts to level inner-city communities and by the construction of the Ville-Marie Expressway, a brutal gash that bifurcated the urban 40 CANADIAN INTERIORS May/June 2011

fabric. Perhaps ironically, an extended economic downturn curtailed this senseless process and over the last two decades, a quite remarkable reknitting together of the urban core has been taking place. The firm of Daoust Lestage has played no small part in this process. A unique combination of architects, urban designers, landscape architects, industrial designers and graphic artists, under the leadership of architects Renée Daoust and Réal Lestage, the firm designs buildings whose interiors have a yoga-like simplicity of

detail but are delightfully transparent, full of light and seek an aggressive engagement of the urban landscape. Indeed, that exterior landscape is often of its own making, most famously at the Centre CDP Capital, the centerpiece in the Daoust Lestage–designed Quartier international de Montréal district. Spanning the Ville-Marie Expressway, the two-block long “horizontal skyscraper” is bracketed at each end by its sumptuous Place JeanPaul-Riopelle, featuring Riopelle’s dramatic fire-and-water fountain and the revitalized

Who’s Who

Square Victoria. “We are so preoccupied by the genius loci of where we build,” Renée Daoust told me recently. “A building must clearly relate to its environment. In the city this means we like our interiors to visually project their users into a high quality surrounding urban environment.” The firm’s latest contribution to Montreal’s evolution is Place des festivals; part of the city’s growing Quartier des spectacles, it stretches two blocks along the west side of Place des Arts and can accommodate up to 25,000 spectators for

such events as the Montreal Jazz Festival. Dominated by four towering, bent light standards, the plaza is split between a hard “mineral carpet” and softer terrace of grass and trees. The former, however, is almost completely interspersed with interactive fountains from which computer choreographed water dances. At night, the water is lit from underneath in red and white. The Place’s eastern boundary is rue Jeanne-Mance along the Musée d’art contemporian. This street has been

significantly narrowed to widen the gallery-side sidewalk to 46 feet. Along this relatively narrow tract, Daoust Lesage has inserted, end to end, two slim volumes – vitrines habitués – that appear almost like elongated transnational railway dining cars temporarily parked between a museum-cum-gare and its grand plaza. Both contain restaurants, chef Norman Laprise’s Brasserie T! on the south and Carlos Ferreira’s F Bar to the north. The sleek aluminum skin of these tubes is sliced open vertically by clear glazing that MaY/June 2011 CANADIAN INTERIORS 41

Who’s Who

The confined spaces of both Brasserie T! (this page) and F Bar (opposite) mandate sleek, simply adorned surfaces. The real animator of these interiors spaces is the exterior.

extends up and completely across the roofs. Under a sizable beam, both restaurants also have a large expanse of glass sliding doors that face west onto the Place. The beam supports a brilliant red terrace canopy, its colour, states Daoust, recalling the area’s checkered history as a red-light district. Like in Paris, heaters are integrated into the frame to allow outside dining in the shoulder seasons. The entrances on the restaurants’ south ends are walls of glass designed, says Daoust, to dematerialize the facades. An 42 CANADIAN INTERIORS May/June 2011

articulated roof canopy, its underside painted orange for Brasserie T! and blue for F Bar, confirms the point of entry. Once inside, a bar stretches partly along the eastern museum-side wall and this element creates a niche dining area next to the door, a sort of small fish bowl that projects unsuspecting client visually into the outside. The steel frame of the 13-foot-wide tubes is completely concealed so that only a sleek skin of aluminum and glass is visible. An exterior, raised arch glides over

each of the volumes, deftly concealing ventilation vents for the below-ground kitchens. Both restaurants are primarily lit by lights either recessed in or extruded from a single “beam” that stretches along the two spaces. The interior white surfaces remain minimalist, but reveals designed to accommodate the dimensions of the aluminum panels subtly articulate the concealed structure. The wash of light across the white surfaces and within the deep cuts of the windows creates its own play of light and shadow. To create warmer

Who’s Who

hues, Brazilian Ipe wood, the same dark rich flooring found in the CDP atrium, was used. The narrow dimensions of the elongated space ensure all the tables are closely associated with windows. The individuality of each restaurant is established primarily by the furniture used and the design of the bars. In Brasserie T! designer JP Viau uses contemporary wood-topped tables and composite chairs of neutral shades. In contrast, the gridded shelving behind the bar and the divider separating off access to the below-ground

service area are a cheeky mix of royal purple, orange and black. (White on orange is used by graphic designer Taxi for the restaurant’s signage.) Yves Montpetit uses a more traditional palette in F Bar, employing trompe-l’œil of traditional Portuguese tiles on the bar to reflect Ferreira’s origins. The confined spaces of the two restaurants mandate sleek, simply adorned surfaces and limited interventions. But the real animator of these interior spaces is the exterior. By day, the Place des festivals, alive with people co-mingling with the

dancing waters, provides a continuous show for diners, while overhead the visible sky changes colour and form as the weather changes. At night, the choreographed water becomes a spectacle of shape-shifting colour while diners in the restaurants emerge as highly visible “actors” to those on the square. Like at the nearby theatres, the age-old pantomime of seeing and being seen plays out across a spectacular, multilayered stage. c I

MaY/June 2011 CANADIAN INTERIORS 43

Who’s Who 1

CTI at Haworth CTI Working Environments, the Mississauga-based Haworth dealer, invited design firms to compete by creating a poster featuring an image of Very, Haworth’s latest task chair – then commemorated it with a party for the design community at Haworth’s University Avenue showroom, where guests voted for the winners.

1—CTI colleagues Helen Gillard, A&D liaison; Warren Somers, president; and Sharon Russell-Snowden, VP sales; with Haworth’s Sara Parker, senior business development manager. 2—Lisa Nickel, project designer, Modo Creative; Cannon Design’s Anne McCance, associate, interior designer, and Erica Merry, interior designer. 3—Relaxing on Very chairs: Dave Turner, director sales, business development, CTI; Yoel Berznoger and Jody Goodenough, senior A&D managers at Haworth; and Brooke Cole, designer, Straticom.

Voices of spring

—By David Lasker

Brigholme 50th In 1961, Mr. Ed made his TV debut and Brian C. Holmes was incorporated in Toronto. A halfcentury later, the Markham-based Haworth furniture dealer threw a birthday party at Toronto’s Royal Conservatory. 1—Keith Macdonald and Monique Jahn, interior designers at NORR; Judy Goodenough, senior A&D manager, Haworth, looking stylish in retro-geometro; David della Torre, associate and project manager at interior design firm Modo Creative; and interior designer Meghan McBride, associate, B+H Architects. 2—Brigholme brass Joe Williams, president; Dayna Bradley, director, business development; and Jeff Minor, VP operations and COO.

44 CANADIAN INTERIORS May/June 2011

Domison’s Toronto launch In 2001, the Trung siblings – sister Thien Ta and brother My Ta – founded Periphere, a Montreal-based furniture design and manufacturing company. Then they opened a showroom and retail store, Domison, first in Montreal and, last month, in Toronto’s east-end design district. 1—Shauna Levy, VP, MMPI Canada, and Interior Design Show director; husband Anne (pronounced “Ahn”) Vos of lighting supplier MOOOI USA; and their six-year old daughter, Jaya Vos. 2—Jennifer Kreyssig, Interior Design Show account manager; Domison co-owner Thien Ta Trung; and Alfred Engerer of Geister Blitz Art Glass Works. 3—Domison stores designer, Alexandre Blazys, half of the Montreal-based design team blazysgérard; and co-owner My Ta Trung.

all-claD 40Th To celebrate its 40th anniversary, All-Clad, the legendary u.S. stainless-steel cookware maker, asked chef Michael Stadtländer to create dishes using ingredients from his eigensinn Farm in Singhampton, Ont., rated one of Canada’s top three restaurants by The New York Times. The swanky Sub-Zero/Wolf showroom on King West in Toronto offered the perfect kitchen and party space; proceeds from the silent auction benefited the Canadian Chef’s Congress eager Beaver Culinary Scholarship.

1 2

1—Sonya Latreille, product manager, All-Clad; from high-end kitchen-appliance dealer Maroline Distributing, Gerry DiLeo, VP builder sales, and Anna Manca, director of business development and strategic alliances. 2—Leonard erad, executive sous chef, and Kevin Prendergast, executive chef, Toronto Hilton; Samuel Glass, chef and professor, Centennial College School of Hospitality, Tourism and Culture; and Marc Turgeon, president and CeO of All-Clad owner Groupe SeB Canada. 3—Mike Dixon, VP Canadian Chef’s Congress, and Michael Stadtländer decorate the cake as Jamie Kennedy, another celebrity chef, watches from the background.

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Amtico International

Hettich Canada L.P

The quality and design of Amtico is second to none, feel empowered to create, express and define your vision. Utilized individually or combined together, you have the potential to create a wonderfully unique environment.

Hettich is a leading manufacturer of furniture fittings, decorative handles and knobs, lighting systems and much more. Hettich provides you with reliable hardware solutions and superior quality service you can depend. Our Project Business department offers you an exclusive dialogue platform where you can realize your visions and objectives effectively.

Amtico Infinity Spark 404 267-1900

www.amtico.com

800 663-1390 www.hettich.ca

Benjamin Moore & Co. Ltd

InterfaceFLOR

Green Promise Paints Are Guaranteed to Contain Low or Zero VOCs. The paint industry is filled with definitions of “green paint.” The Green Promise designation is Benjamin Moore’s assurance that its environmentally friendly paints, stains, and other coatings meet - and even exceed - the strictest industry standards and regulations while maintaining the premium level of performance you expect from Benjamin Moore.

The Series™ Collection is a soft spoken sophistication in four styles, 16 colours, simple textures and tailored patterns. Designed to work in a system, 1000 Series™, 2000 Series™ and 3000 Series™, perfect for open office areas to executive offices and boardrooms. It’s drop dead gorgeous, sustainable and built to last. 866 398-3191 www.interfaceflor.ca

800 304-0304 www.benjaminmoore.ca/thenewstandard

Bentley Prince Street Introduces Illuminated Linen® - a design capturing the feel of vintage 1940’s fabric. With a non-directional pattern, Illuminated Linen brings unexpected texture and color to visually represent the cottony essence of cool linen. It will bring peace and tranquility to corporate, hospitality, government and retail settings. This exceptional product is piece-dyed for custom color flexibility and available in broadloom and 3 carpet tile sizes (18x36 in, 24x24 in and 36x36 in) for modular creativity.

International Furniture Market The most anticipated event on the Asian furniture trade show circuit. The furniture community is already buzzing about IFM which is set to debut in Malaysia from 6 to 10 September 2011. More than an ordinary furniture show, the event will be a spectacular showcase of the latest trends and premium product offerings. Fulfilling the market demand for a complementary event to other mega shows in the region. Everyone who comes to IFM can expect to have a good, enjoyable and productive time.

800 423-4709 www.bentleyprincestreet.com

+11-603-8024-7736 www.ifm.net.my

Grohe Faucets

modularArts®

The Eurosmart Cosmopolitan line is the latest in a new wave of contemporary designs by Grohe that offers trusted performance, an innovative mounting system that reduces installation time by 40% and purity of design all at an attractive price that merit consideration for your next project. 888 644-7643 www.grohe.ca

professional directory 46 CANADIAN INTERIORS May/June 2011

NEW! InterlockingRock® BuildingBloks™ Modular wall blocks work with standard steel studs to create rock-solid, full-round sculptural walls of any size. Our proprietary InterlockingRock® feature precisely aligns all sides for super fast installation. And as with all our products, you can breathe easy - blocks are composed of cast rock with a lightweight soy-based core, for healthy, fire-safe walls. 206 788-4210 www.modularArts.com

Full Year (8 Issues) $200 per • Single $350 To book your space in the Professional Directory please contact Martin Spreer at mspreer@canadianinteriors.com 416-510-6766

nora systems, Inc. norament® 925 serra is a high-performance floor covering inspired by the dramatic textures and colors of nature´s landscape, developed with input from architects and designers. The 3.5-millimeter product is suitable for high-traffic areas, offering durability and comfort underfoot. Like all nora flooring, norament 925 serra does not contain PVC. It is also GREENGUARD Indoor Air Quality Certified® and contributes to healthier indoor air. 800 332-NORA

www.nora.com/us

SOFA - Source of Furniture & Accessories An essential resource for Design Professionals. SOFA, Source of Furniture and Accessories, offers 200,000 sq ft of ever changing inventory. Select the latest products from manufacturers of home furnishings and accessories. SOFA showrooms bring you the best in accessories, antiques, art, casegoods, fabrics, fixtures, floor coverings, framing, furniture, lighting, rugs, upholstery, wall coverings and window treatments. www.visitsofa.com

Advertisers Index Abet Laminati www.abetlaminati.com 15

Grohe www.grohe.ca 6

ACO Systems Ltd. www.quartzbyaco.com 10

Hettich www.hettich.com/ca 11

Arteca www.artecaflooring.com D15

IIDEX NeoCon www.iidexneocon.com 38

Artopex www.artopex.com 7

Interface www.interfaceglobal.com 4&5

Benjamin Moore www.benjaminmoore.com 8

ISA International www.havaseat.com 32

Bentley Prince Street www.bentleyprincestreet.com 3

Maison & Objet www.maison-objet.com 49

CAS www.casinteriors.com D9

Modular Arts www.modulararts.com 21

Coast Appliances www.coastappliances.com 26

Nora www.nora.com/us D2

Crate and Barrel www.crateandbarrel.ca 17

POI www.poi.ca 12

Design Exchange www.dx.org 13

Sofa - International Centre www.visitsofa.com OBC

Designer’s Choice www.designerschoice.ca 10

Spark Modern Fires www.sparkmodern.com 13

European Hardwood Flooring - Legnotech www.europeanflooring.ca 2

Svend Nielsen www.svendnielsen.com 18

Europtimum www.europtimum.com 16

The International Furniture Market (IFM) www.ifm.net.my 20

Gayle Marshall Chestnut Park Real Estate gaylemarshall@chestnutpark.com D9

W Studio www.wstudio.ca 19

Greenferd www.greenferd.com 12

To book your ad space in Canadian Interiors please contact Martin Spreer at 416-510-6766

Svend Nielsen

Custom Furniture, Millwork and Public Seating Svend Nielsen Ltd. is an established Designer / Manufacturer of the finest custom furniture and millwork. Drawing upon more than 60 years experience, we take great pride in crafting products that satisfy the most discerning eye. As a company we have a proven strength in working with designers and architects. 416 749-0131 www.svendnielsen.com

W Studio The finest hand woven contemporary and traditional carpets made from natural wool, silk and cotton fibers. Tibetan, contemporary, traditional, persian, oriental and aubusson styles. Visit us at: Designers Walk Bldg 5, 160 Pears Avenue, Suite 310, Toronto, Ontario 888 228-2467 www.wstudio.ca

www.canadianinteriors.com

May/JUne 2011 CANADIAN INTERIORS 47

Last Word Reactiv Pictures’ 3-D aluminum logo is lit and animated via digital projector over the entrance door. Vinyl inlay bubbles on the floor lead to a CNC-cut partition that lets visitors peek through giant 3-D suds into the kitchen.

Bubbly personality Reactiv Pictures’ distinctive logo – a bubbling test tube – informs Lux Design’s effervescent reimaging of its Toronto headquarters. —By Katharine Vansittart

OºOoo

NoOoºoºO, it’s not a pharmacy. Nor an aquarium. Director Alon Isocianu and production manager Anna Junger, partners in Toronto-based Reactiv Pictures, simply wanted their fledgling full-service video production company’s name, logo and blue/green branding to make a distinct impression. A bubbling test tube may not scream “Video production!” the way, say, a camera lens or film reel graphic would. But it does say “Experimental, alchemical, transformational, shazam-anything-can-happen-here-folks.” And, like they say in show business, you don’t get a second chance to make a first impression. SoOºoOoo, it's not a drugstore or underwater whatever, but Reactiv does lead a double life. First and foremost, Reactiv Pictures, represented by blue, is a commercial post-production facility catering to other companies, such as advertising agencies, for whom it provides such services as video editing, broadcast

48 CANADIAN INTERIORS MAY/JUNE 2011

design and animation. Green represents Reactiv Post, a music-video production house, already well known for its creative camera work, engaging narrative and special FX for such acts as Candy Coated Killahz, Done with Dolls and Finger Eleven, all hits on the MuchMusic countdown. This office space was mostly designed with Reactiv Post in mind, as most music video production happens while filming on location. Lux Design, a young Toronto firm, was hired to perform some kind of magic on a banal 1,000-square-foot concrete and drywall cube in a basic refurbished downtown Toronto red brick, beginning with a startling entrance that featured the firm’s branding. “Because we work with ad agencies it was important to show an appreciation for brand awareness,” notes Isocianu. POºoooOºf! Reactiv’s logo front and centre. The designers got a big bang for the tight budget by mixing inexpensive

OºOoo

effects and materials – light, paint, aluminum and vinyl – to achieve multisensory theatrics. The 3-D aluminum logo is lit and animated via digital projector perched over the entrance door. Follow the vinyl inlay bubbles on the floor and painted stripes along the walls to a CNC-cut partition that lets visitors peek through giant 3-D suds into the kitchen. Keep following the floor bubbles to Reactiv’s screening rooms: two cozy, chic spaces designed to function formally by day and serve as lounges for entertaining off hours. These upscale rec rooms are wired to the max with jumbo screens and computers, connected to the main brain tucked away in tiny offices at the end of the hall. Just follow the OoOºoos. c I

OºOoo Photos by Cameron Smith

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30 eMInenT deSIgn hOuSeS undeR One ROOF. ThAT’S SOFABuLOuS. SOFA is 30+ furniture and accessory leaders in 200,000 sq ft of renovated showroom space. dedicated to helping dealers and design professionals grow their businesses, SOFA is your inspiration hotspot.

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