Canadian Interiors November December 2011 by Annex Business Media

November/December 2011

Clear winner Jeff Goodman’s glass art B.C.’s dramatic new school Reports from Paris and Toronto

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Official publication of the Interior Designers of Canada

31 COVER — 25 Hand-blown glass installation, One Bedford condo lobby, in Toronto, by Jeff Goodman Studio. Photo by David Whittaker

CONTENTS FEATURES

DEPARTMENTS

BLOWN AWAY — 25 Jeff Goodman’s signature blend of athletics and aesthetics has earned him a premier position in Canada’s art glass scene. By Leslie C. Smith

INSIDE — 11

ON WITH THE SHOW — 31 The performing arts thrive and bloom at Simon Fraser University’s gritty but glam Goldcorp Centre for the Arts. By Rhys Phillips CARTE BLANCHE DAYDREAMS — 37 Perhaps it was the reprieve of Indian summer, but spirits were dancing and whimsy was in the air as objet de désir leapt from the aisles at Maison & Objet in Paris this past September. By Peter Sobchak

WHAT’S UP — 12 SHOW BIZ — 19 Welcomed to IIDEX Highlights of the 2011 exhibition. By Karolina Olechnowicz

WHO’S WHO — 40 LAST WORD — 44 From within During the Nebuta Festival in Aomori, Japan, fabled heroes, demons and animals come to life as large-scale, illuminated paper lanterns. Vancouver-based Molo Design creates a cultural centre to house these creatures of myth. By Michael Totzke

Following page 22

NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 7

November/December 2011 VOL.48 NO.7

Publisher

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

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

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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

Truly inspired A conversation. A factory. A festival. What these three disparate things have in common is this: each served as an inspiration for three other things – a glass installation, a centre for the performing arts and a museum/cultural centre – featured in this issue. First up, “a conversation,” which inspired Hearsay, a blown-glass installation by Jeff Goodman that graces the C5 Restaurant/Lounge in Toronto’s Royal Ontario Musuem (see Leslie C. Smith’s profile of the Toronto-based glass artisan, “Blown away,” on page 25; Hearsay is shown on page 28). In his search for a theme for the piece, Goodman hit upon a common thread in the restaurant experience: conversations that take place at tables and at the bar. “We wanted to develop an abstracted version of the intimacy of communication: leaning up to the person next to you and sharing a story, confiding in a friend or a new acquaintance,” says Goodman. “We attempted to create a body language through the fluidity of glass and installed each piece in accordance with the curve of the piece next to it.” Inpspired by conversation, Hearsay is C5’s resident conversation starter. As for “a factory,” it was Simon Fraser University who – hiring Prosenium Architecture + Interiors and CEI Architecture to create a new performing arts centre inside a new complex by Henriquez Partners Architects – requested an industrial feel (see “On with the show,” page 31). As writer Rhys Phillips explains, the Prosenium/CEI’s interior “reflects a fine balance between being a functional yet comfortable ‘factory of learning’ for a 24/7 student body, while providing enough ‘gritty excellence’ to excite the public.” “A festival” refers to the Nebuta Festival in Aomori, Japan, which inspired a museum/cultural centre – designed by Vancouverbased Molo Design – devoted to the festival itself (see my account, “From within,” on page 44). During this festival, heroes, demons and animals from history and myth come to life as large-scale paper lanterns (nebuta), illuminated from within. Vancouver-based Molo Design wrapped the building in twisted ribbons of steel that allow openings for light, views and people to move through – creating a glowing perimeter space (engawa) that acts as a threshold between everyday life and the world of myth and imagination. There you have it: three inspirations, three inspiring results. c I Michael Totzke mtotzke@canadianinteriors.com

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NOV./DEC ARIDO’s best The night before IIDEX, late in September, the Association of Registered Designers of Ontario announced the winners of its prestigious annual awards program, during a gala dinner at Toronto’s Liberty Grand. The ARIDO Awards recognize excellence, innovation and creativity in the province’s interior design industry. Total awards this year numbered 28: Project of the Year; 11 Awards of Excellence; 14 Awards of Merit; and two Awards of Merit + Awards of Merit: Sustainable Design. The big winner of the evening was Toronto-based firm Yabu Pushelberg for work on Printemps Haussmann, the iconic department store in Paris. Principals George Yabu and Glenn Pushelberg pushed the boundaries of what a department store can be, creating “rooms” – carefully crafted to evoke a residential ambience – with walls made of metal frames for transparency. The impressive volume of the atrium creates an opening that visually connects the three floors from the core of the building. “ARIDO takes pride in the international scope of Canadian design,“ says ARIDO president Elisa Petersen. “Printemps Haussman is a retail project like no other, pairing classic grandeur with modern simplicity.” Winners of multiple awards (including at least one Award of Excellence) number four: Burdifilek, with three Awards of Excellence; Quadrangle Architects Limited, with two Awards of Excellence; II BY IV

Design Associates, with one Award of Excellence and two Awards of Merit; and Bennett Design Associates, with one Award of Excellence and one Award of Merit + Award of Merit: Sustainable. Winners of the remaining Awards of Excellence number three: B+H Architects, Stephen R. Pie Architect Inc., and Helene Makowka Design Associates. “The association heartily congratulates all award recipients,” says Petersen. “The commitment to design excellence strengthens ARIDO’s position as the guardian of the highest standards for interior design in both the public and private realms.” To view the full list of winners, visit arido.ca and click on Awards. To see photos taken at the special gala celebration, see Who’s Who on page 41. Top Thomspon Residences Sales Centre, by Burdifilk (Award of Excellence). Centre Corus Quay, by Quadrangle Architects Limited (Award of Excellence). Right Ontario SPCA Facility + Branding, by Bennett Design Associates (Award of Excellence). Opposite top Printemps Haussmann, by Yabu Pushelberg (Project of the Year). Opposite bottom The Chairman’s Suites, by II BY IV Design Associates (Award of Excellence).

12 CANADIAN INTERIORS November/December 2011

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Fresh from Mushaboom “Mushaboom Design endeavours to create colourful designs and patterns inspired by the world around us and incorporate them into wall coverings and textiles that blend seamlessly into a wide range of interiors.” Such is the motto of the innovative studio in Mushaboom, the rural community on Nova Scotia’s Eastern Shore (immortalized in song by Nova Scotia–born musician Feist). Founded by creative director Barry Roode, a textile designer and artist with over 18 years experience in the textile industry, Mushaboom Design focusses on the digital printing of designs for the contract market (commercial buildings, hospitality, corporate, retail, healthcare, etc.). “Newly advanced technologies,

such as digital printing, have dismantled the old paradigm of mass production and enabled mass customization,” says Roode. “This allows us to work true to our honest artistic interests and work closely with clients on individual needs, rather than focus on large-volume work needed to justify production costs of traditional manufacturing methods.” Mushaboom’s two main collections – both rich and resplendent – are Taylor Head and Victoria. The Taylor Head collection takes its name from the park of the same name bordering the studio’s community. Says Roode, “Taylor Head pays homage to the natural beauty of the park, capturing the joy of a morning hike along its twists and turns.” Quick reference photos taken while hiking were then explored in drawing, ultimately evolving into developmental drawings for

14 CANADIAN INTERIORS November/December 2011

the final eight patterns and four textures. Strong line work with colours complementary to the 12 base colours of the artwork is the key defining characteristic of this group. The Victoria collection was inspired by the Halifax Public Gardens, on of the finest examples of traditional Victorian gardens in North America. “I wanted to express the rich variety of experience that can be found in the park,” says Roode. “A stroll through the public gardens is soothing and exciting at the same time. All the senses become engaged and entranced by the rich colours, variety of shapes, textures and fragrances.” Hand-drawn and -painted artwork has been transformed into digital files with hundreds of colours that are easily adapted to any palette. Sustainability is an inherent part of Mushaboom

Design’s business model: products are durable; recycled and recyclable materials are chosen where possible; the studio has reduced sampling, shipping and water consumption, and avoids chemicals and processes harmful to human health. For the first time ever, Mushaboom Design is taking part in the upcoming Interior Design Show, held at the Metro Toronto Convention Centre (Jan. 26–29). Look for Barry Roode and company at Studio North, the IDS showwithin-a-show introduced 10 years ago to support Canada’s vibrant and independent design scene. For more information, visit mushaboomdesing.com.

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Welcomed to IIDEX Highlights of the 2011 exhibition. —By Karolina Olechnowicz

Table top 2011 Products Innovation Award Winner, Silver The Metronome Table by figforty for Nienkämper was designed on a very stable and structural platform. The focus is on the leg components, which provide the greatest stability by use of angles; when pushing on the table there is very little motion. The centre of the table opens up to expose a brightly coloured trough, within which hides all power connectivity. The legs are clear anodized aluminum with polished aluminum details at the top and bottom, or fully polished aluminum. Tabletops are available in wood veneer, laminate or glass. The collection ranges from small meeting tables and individual desks to large-scale boardroom tables. nienkamper.com

Held this past September, IIDEX/NeoCon Canada welcomed visitors in style, thanks to hotel-facade signage inspired by the launch of Hospitality Canada, IIDEX’s new show-within-a-show. An estimated 15,000 people crossed the threshold to attend the country’s most comprehensive expo and conference for the design, construction and management of the built environment. Back again due to popular demand, THINK:Material showcased more than 50 metals, natural fibres, textiles and other goodies; while design firm II BY IV highlighted favourite items from the studio’s library of materials. Thinkmaterial.ca, an online compilation of exhibited materials, was introduced this year. Landscape design was brought to the forefront with an all-new Landscape Pavilion, featuring the top exhibitors and suppliers with the greenest thumbs. The pavilion proved to be the source of emerging trends on integrating interior and exterior spaces, and featured an expanded selection of landscape seminars. Hockey season came early, thanks to IIDEX’s first-ever office-chair hockey tournament. Originally conceived by Herman Miller, this is a tournament in which teams – wheeling around on ergonomic chairs – compete against each other in a hockey game for charity.

Onlookers cheered on the teams and contributed with donations, popping their business cards into a draw to win one of the office chairs (provided by Allsteel, Krug, Herman Miller and Steelcase, among others) for themselves. With Allsteel the ultimate winner, the tournament raised more than $30,000 for Ronald McDonald House Toronto. Of course the main attraction at IIDEX remains the show floor, featuring the booths of 350 exhibitors. New products abounded, including my five favourites featured on these pages.

NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 19

1 1-Smooth operator 2011 Products Innovation Award Winner, Gold Perillo, designed by Martin Bellendat for Dauphin, is a futuristic lounge chair that seems part origami, part optical illusion: it wraps around itself, flowing seamlessly from backrest to armrests and from seat to floor. Crafted from one continuous sheet of high-gloss thermo plastic, the chair is available with or without an upholstered seat, in several custom colours. With its simple yet sculptural appearance, Perillo makes an elegant addition to a lobby, touchdown area or any space requiring a strong focal point. dauphin.com 2—Think it, write it Creating a whiteboard from any surface has never been easier with IdeaPaint’s IdeaPaint PRO, now widely available in Canada. IdeaPaint PRO is a single-coat, roller-applied paint that turns any smooth surface into a highperformance dry-erase writing surface. It can be applied to

drywall, chalkboard, metal and even glass surfaces, and comes in both standard and custom colours. Any dry-erase markers will work well on this surface and cleaning is done with a standard dry-erase eraser, dry cotton cloth or microfibre towel. ideapaint.com 3—Raise the mast Teknion’s new MAST monitor arms have been designed to not only accommodate any type of monitor but also to anticipate everchanging workplace technology requirements. Using knurled knobs, the user can easily self-adjust the product without tools. The joints are engineered for strength and fluid ease of movement, with a light friction mechanism that ensures the arms stop exactly where required by the user. MAST is built around a stanchion that accommodates up to four monitors on a single-height post, and up to eight monitors by combining dual-height posts side by side. It offers unique advanced wire management that hides vertically flowing wires. teknion.com

4—Growth spurt Distributed by Bluecony, Moll is the desk that grows with your child, thanks to a newly patented, easy-to-use height adjustment. With the touch of a finger, the desktop automatically moves up and down to achieve a desired height, allowing a little one to switch from seated to upright activities. The desktop allows continuous adjustment up to 30 degrees to guarantee the ergonomically correct posture for various activities; a handle beneath releases the angle and returns the desktop gently and safely to its original position. There are five Moll desks to chose from (the Booster, Runner, Sprinter, Runner Compact and Pro Combi), along with accessories ranging from shelving and storage to side tables and lights. bluecony.com

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contents/sommaire departments

features Restoring Our Past Heritage restorations demand a love of historic detail and a high tolerance for red tape. Les restaurations patrimoniales exigent un amour du détail historique et une tolérance élevée pour la bureaucratie.

Teaming Up Collaboration is second nature to interior designers. La collaboration est une seconde nature pour les designers d’intérieur.

On a professional note… Sur une note professionnelle…

4 5

In conversation with… En conversation avec…

10 11

12 On your behalf…

16 17

En votre nom…

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 Jenn Taggart, Director, Business Development Sarah Brown, Communications Coordinator Julia Salerno, Communications Coordinator Debora Abreu, Marketing Coordinator Marc Sintes, Marketing Coordinator Tony Sienes, Manager, Accounting Sophie Fortier, Receptionist/Administrative Assistant

(AB) Donna Assaly, President (ON) David Gibbons, President-elect (BC) David Hanson, Past President (MB) Stephen Lamoureux, VP Finance (BC) Ada Bonini, Secretary (AB) Adele Bonetti, Director (SK) Aandra Currie Shearer, Director (ON) Clinton Hummel, Director (NB) Monique Leger, Director (NS) Dede Hiscock, Director (MB) Michelle Du, Director At Large (BC) Rachel Clarida, Director At Large (ON) Jessica Gozdzierski, Director, Intern/Provisional (ON) Ron Hughes, Director, Industry (ON) Dorothy Stern, Director, Education (QC) Denis Chouinard, Provisional Director (ON) Trevor Kruse, IIDEX/NeoCon Canada Liaison (BC) Jenny Mueller-Garbutt, Chair, Board of Governors

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 mspreer@canadianinteriors.com

Dimensions is the official magazine of IDC (Interior Designers of Canada) © 2010 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 psobchak@canadianinteriors.com Art Director: Lisa Zambri French translation: Pierre-Éric Villeneuve

www.idcanada.org

volume 4, 2011

dimensions

On a professional note… IDC’s new board members were introduced at the Annual Meeting on September 23 in Toronto. Their names and the positions they hold are listed in the masthead of this magazine. We recommend you take a moment to familiarize yourself with them. Included among the names is your new president, Donna Assaly. We are pleased to have this forum to share our thoughts, ideas and plans. We want to tell you about the new board’s first meeting held this past September, where we discussed the year ahead. We concluded, quite simply, that our first priority needs to be to engage more members in the various activities of the Association. Our strategic plan, which we developed earlier this year, includes a long to-do list. Fortunately, we have a dedicated board and staff who are eager to take on the challenge. But we need your help. To this end, the board has established the following ground rule: We will use committees and task forces, as required, to help us get the job done. All agree it is critically important to draw from our general membership to bring a variety of members to the table when we are planning to establish new or refine existing programs, to ensure we get it right. An excellent example of this collaboration is the recent launch of the Provisional/Intern committee, dubbed EPIC. This volunteer committee of young professionals has worked hard over the past six months to launch two new programs for our Provisional/Intern members. The first and perhaps most noteworthy program is the Top 5 Under 5 Awards program. Launched at IIDEX, this annual awards program is intended to celebrate Canada’s up-and-coming talented professionals. See the special feature at the end of this issue for a profile of the 2011 winners. This committee also launched the 2012 EPIC Calendar. The calendar highlights IDC and other professional programming available each month for young professionals, from coast to coast. We recently put out a call for volunteers to serve on several committees that we are currently launching. These include the areas of: awards and honours, communications, education, practice and protection, and policy. Whatever your interest, we have a role for you. If you want to make a difference, to get involved and give back to your profession, we have a role for you. Your input is what makes our programming good; your opinion counts. And your input and feedback are always welcome. At our Annual Meeting in September, we emphasized the importance of members keeping abreast of the Association’s activities through our communications vehicles, namely our monthly newsletter and regular e-blasts. These are the only means we have of reaching you and informing you of the many opportunities that are available. So we encourage you to stay informed and get involved. If you prefer just to stay on the sidelines, that’s fine – the choice is yours. We want you to know you are always welcome to join in and help make a difference in whatever way you can. n

D o n n a Assaly Pre s i dent/ Présidente

S usan Wiggins E xecutive Director/ Di rectr ice générale

Check out IDC’s website: www.idcanada.org Your member resource... 4

dimensions

volume 4, 2011

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Sur une note professionnelle… Nous avons rencontré les nouveaux membres du conseil d’administration des DIC lors de l’assemblée annuelle, qui a eu lieu le vendredi 23 septembre 2011, à Toronto. Les noms et les postes des membres élus sont répertoriés dans le bloc générique de ce magazine. Prenez le temps de vous familiariser avec ces derniers. Parmi la liste des noms, vous trouverez celui de Donna Assaly, votre nouvelle présidente.

DIMENSIO Sur une no

Nous sommes fières de partager nos idées, nos réflexions et nos projets. Nous voulons vous informer de la première rencontre sommaire du nouveau conseil d’administration, qui a eu lieu en septembre dernier, où nous avons discuté de l’année à venir. Nos conclusions sont simples. La priorité doit être la participation et l’engagement d’un plus grand nombre de membres dans les diverses activités de l’association. Le nouveau plan stratégique que nous avons développé en début d’année tiendra compte d’une longue liste de choses à faire. Heureusement pour nous, nous avons un conseil d’administration et des employés enthousiastes qui sont prêts à relever le défi de notre longue liste de chose à accomplir. Ils font toute la différence. En bout de ligne, le conseil a établi cette règle de base fondamentale : nous utiliserons les comités et les ressources, selon les besoins, pour nous aider à faire le travail nécessaire. Tout le monde s’entend pour dire qu’il est important de profiter des adhésions pour stimuler la participation de nos membres lorsque vient le temps de créer des programmes ou d’évaluer la pertinence des programmes existants. Il faut nous assurer que nous faisons les choses correctement. Un exemple parfait de cette collaboration est le récent lancement du comité EPIC, conçu pour les membres provisoires et stagiaires. Ce comité de bénévoles, composé de jeunes professionnels, a travaillé fort dans les six derniers mois pour lancer deux nouveaux programmes destinés aux membres provisoires et stagiaires. Le programme des Top 5 Under 5 Awards est le premier et le plus remarquable. Lancé au salon IIDEX, ce programme de prix annuel souhaite célébrer les talentueux professionnels de l’avenir. Vous pouvez lire au sujet des gagnants dans notre édition spéciale à la fin du magazine. Ce comité a aussi mis sur pied le calendrier EPIC, pour l’année 2012. Ce calendrier vous renseignera sur les programmes disponibles pour les jeunes professionnels de partout au pays, dans le contexte des DIC ou dans celui d’autres organismes. Nous avons récemment lancé un appel général aux membres dans le but de trouver des bénévoles qui voudraient participer aux nombreux comités que nous sommes en train d’élaborer dans les domaines suivants: les prix et les honneurs, les communications, la formation, la pratique, la protection et les règlements. Quel que soit votre intérêt, nous avons une place pour vous. Si vous voulez faire la différence, vous impliquer et donner du temps pour votre profession, nous avons une place pour vous. Votre participation est la garantie de l’excellence de notre programmation. Votre opinion compte. Votre participation et vos commentaires sont toujours les bienvenus. En septembre, lors de notre dernière assemblée annuelle, nous avons discuté de l’importance que les membres soient informés des activités de l’association grâce à nos divers véhicules de communications, comme le bulletin mensuel et les publipostages électroniques réguliers. Ces méthodes sont les seules que nous avons et demeurent les plus efficaces pour vous joindre et vous tenir au courant des diverses opportunités offertes. Voilà pourquoi nous vous encourageons à demeurer informés et à vous impliquer. Si vous préférez seulement vous tenir au courant, c’est votre choix. Nous voulons que vous sachiez que vous pouvez joindre les DIC et nous aider à faire une différence de la manière qui vous conviendra. n

D o n n a A ssaly Pre s i d e n t/ Présidente

Donna Ass Présidente

S usan Wiggins E xecutive Director/ Directr ice générale

Visitez le nouveau site Internet des DIC à www.idcanada.org Une ressource pour les membres... www.idcanada.org

volume 4, 2011

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Restoring OUR PAST

Heritage restorations demand a love of historic detail and a high tolerance for red tape. Les restaurations patrimoniales exigent un amour du détail historique et une tolérance élevée pour la bureaucratie. By Heather MacKay

here are interior designers who wouldn’t touch a heritage building with a ten-foot pole. But for those with a love of historic detail, a strong sense of the past and a high tolerance for red tape, heritage restoration can become a passionate pursuit. Margit Hefele, of Hefele Makowka Design Associates, encountered numerous challenges in developing the James Cooper Mansion, in Toronto. To start with, the 1881 house had to be delicately moved 60 feet to accommodate a new adjoining 32-storey tower housing 270 condominiums. The mansion provides amenities for the condos, including a parlour, boardroom, theatre, party room and fitness centre. Hefele credits meticulous research, collaboration with heritage consultants, and ongoing site management as

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l y a des designers d’intérieur qui ne toucheraient à un édifice patrimonial sous aucun prétexte. Mais pour ceux qui ont le souci du détail historique, une connaissance du passé et une tolérance élevée pour la bureaucratie, la restauration patrimoniale peut devenir une quête passionnée. Margit Hefele, de la firme Hefele Makowka Design Associates, a fait face à plusieurs défis en développant le Manoir James Cooper, à Toronto. En premier lieu, on a dû déplacer de 60 pieds la maison de 1881 pour accommoder une nouvelle tour adjacente abritant 270 condominiums. Le manoir offre des services pour les condominiums, incluant un parloir, une salle de réunion, un théâtre, une salle de réception et un centre de conditionnement physique. www.idcanada.org

essential tools for a successful adaptive-reuse project. “With a heritage building, the interior design concept is not created independently. It’s inspired by history and evolves as the project progresses.” Because much of the interior architecture at the Cooper house was under heritage protection, says Hefele, “opportunities for spatial manipulation were limited.” The designers used light-hued wall coverings and fabrics, mirrored wall accents and low-backed furniture to keep sightlines open. Plasterwork, light fixtures and original flooring were revitalized. Designer Beverly Barrett of New Brunswick’s Beverly Barrett Design Studio has completed several restoration projects, including a major commercial complex on Main Street in Moncton. As chair of the Moncton Heritage Board, she knows the hurdles designers face when they take on historic properties. Not the least of these hurdles are the fire escapes and ramps that are required, but which often detract from the beauty of the exterior and the grandeur of front entrances. If government regulation looks rigid from the outside, consider how it looks from the inside. André Lapointe, president of the Association professionnelle des designers d’intérieur du Québec (APDIQ), has spent nearly a decade working on the Governor General’s official second residence, an 1831 neoclassical building located in Quebec City’s Citadelle. The building has three distinct parts: a private residence, an administrative area, and a public area (the ballroom and dining hall) for tours and receiving guests. Each part has specific requirements and regulations. As Lapointe explains, the government must always demonstrate that it is a paragon of code adherence. And so, despite the generous budgets that often accompany heritage projects, Lapointe admits restoration work is never perfect. “Sometimes, we have to compromise.” As Quebec society has shifted in a secular direction, a large stock of former religious buildings has become available for new purposes in that province. One exceptional example is Château Maplewood, occupying the former motherhouse of the Soeurs des Saints Noms de Jésus et de Marie, in Montreal. Built in the 1920s, the enormous building served as a parochial school before its conversion into luxury condos, slated to open in 2014. “When you do a building of significance, you’re going to have some kind of controversy,” says Andrés Escobar, of Andrés Escobar & Associates, the firm selected to design Maplewood’s interiors. Some critics have questioned the appropriateness of turning a religious house, with access to Mount Royal, into private homes for the wealthy emptynesters of Westmount and Outremont. But Escobar, who has worked extensively on landmark buildings in New York City, sees it differently. “From my point of view, we’ve become a little too provincial.” As Escobar points out, the rules for heritage exteriors are extremely strict. From the outside, the convent looks the same. But inside, generally speaking, there is a little www.idcanada.org

Lorsqu’elle mentionne les outils essentiels pour un projet de réutilisation d’édifice adapté, Hefele pense immédiatement à la recherche méticuleuse, à la collaboration étroite avec des consultants dans le domaine de la restauration patrimoniale et à la gestion du site. Elle souligne : «Dans le cas d’un édifice patrimonial, le concept de design d’intérieur n’est pas créé indépendamment. Il est inspiré de l’histoire et évolue à mesure que le projet progresse.» Hefele ajoute qu’étant donné que l’architecture intérieure du Manoir Cooper était sous la protection patrimoniale, «les opportunités pour une manipulation spatiale étaient limitées. » Les designers ont utilisé des revêtements muraux et des tissus aux teintes légères, aux accents réfléchissants et des meubles à dossiers bas afin de maintenir les angles de visions ouverts. Les travaux de plâtre, les accessoires de luminaires et le plancher original ont été revitalisés. La designer Beverly Barrett, de la firme Beverly Barrett Design Studio, au Nouveau-Brunswick, a complété plusieurs projets de restauration, incluant un complexe commercial important sur la rue principale de Moncton. En tant que présidente du Moncton Heritage Board, elle connaît les défis qui attendent les designers d’intérieur lorsqu’ils s’attaquent à des propriétés historiques. Un de ces défis est l’intégration des rampes et des escaliers de secours obligatoires, des éléments qui font souvent ombrage à la beauté extérieure de l’édifice et à la grandeur des entrées principales. Si la régulation gouvernementale apparaît rigide de l’extérieur, imaginez comment elle l’est de l’intérieur! André Lapointe, président de l’APDIQ (Association professionnelle des designers d’intérieur du Québec), a presque passé une décennie à travailler sur la deuxième résidence officielle du gouverneur général, un immeuble néoclassique situé dans la Citadelle, à Québec. L’édifice a trois parties distinctes : une résidence privée, un espace réservé aux fonctions administratives et un espace pour les fonctions publiques (une salle de bal et un hall pour les repas et les réceptions). Chacun de ces espaces a des exigences et des régulations spécifiques. Comme l’explique Lapointe, le gouvernement doit toujours faire preuve qu’il est exemplaire du point de vue de l’adhésion aux codes prescrits. Ainsi, malgré les budgets souvent généreux qui accompagnent les projets de restauration patrimoniale, Lapointe admet que le travail de restauration n’est jamais parfait et « qu’il faut parfois faire des compromis.» Puisque le Québec s’est amplement laïcisé, un grand nombre d’édifices religieux sont maintenant disponibles pour d’autres usages partout dans la province. Un exemple exceptionnel est la maison-mère des soeurs des Saints Noms de Jésus et de Marie, à Montréal. Construit en 1920, cet immense édifice a servi d’école avant sa conversion en condominiums luxueux, dont l’occupation est prévue pour 2014. volume 4, 2011

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more latitude. The entrance, however, was particularly challenging because the original grand staircase, balustrades, and landing could not be altered. Still, Escobar says he is “very comfortable” working within the constraints of a heritage project. “It’s a little quirkier, but I find it much more interesting.” It’s a feeling shared by André Lapointe. “When you put a designer in front of a lot of rules, restrictions and regulations, I think that’s when they are more productive and more creative,” he says. Sometimes, it’s the combination of eras that sparks creativity. In the case of the Governor General’s residence, contemporary Canadian fine art has to coexist with period furnishings. At the James Cooper Mansion, Hefele says they were “blending two distinct architectural styles.” The mansion’s Second Empire architecture had to mesh with a modern condominium tower. According to Barrett, “restoring an existing building is pretty much the greenest thing you can do.” Yet it seems the greatest reward of heritage restoration is not necessarily quantifiable. “Heritage buildings have stories to tell us. They are rich with histories of people and places.” n

“With a heritage building, the interior design concept is not created independently. It’s inspired by history and evolves as the project progresses.” Margit Hefele, Hefele Makowka Design Associates, Toronto

«Dans le cas d’un édifice patrimonial, le concept de design d’intérieur n’est pas créé indépendamment. Il est inspiré de l’histoire et évolue à mesure que le projet progresse.»

Andrés Escobar, de la firme Andrés Escobar & Associates, choisi pour revoir le design intérieur de Maplewood, affirme : « Lorsqu’on travaille sur un immeuble important, il y a inévitablement de la controverse.» Certains critiques n’ont pas hésité à questionner la pertinence de transformer un espace religieux près du Mont-Royal en résidences privées pour la clientèle fortunée de Westmount et d’Outremont. Mais Escobar, qui a travaillé énormément sur des édifices qui ont marqué l’histoire à New York, voit les choses différemment : «À mon avis, nous sommes devenus un peu trop provinciaux.» Comme Escobar le remarque, les règlements concernant les extérieurs des édifices patrimoniaux sont très stricts. De l’extérieur, le couvent demeure le même. Mais à l’intérieur, de manière générale, il y a plus de possibilités. Cependant, l’entrée représentait un défi parce que le grand escalier original, son palier et ses balustrades ne pouvaient en rien être altérés. Escobar dit toutefois qu’il est très à l’aise lorsqu’il s’agit de travailler avec les restrictions qu’impliquent les projets d’édifices patrimoniaux. Il précise que «cela est plus contraignant, mais aussi beaucoup plus intéressant.» Ce sentiment est partagé par André Lapointe, qui remarque : « C’est lorsque vous placez des designers devant une foule de règlements, de restrictions et de régulations que ceux-ci sont les plus productifs et créatifs.» Parfois, c’est la combinaison des époques qui stimule la créativité. Dans le cas de la résidence du gouverneur général, des œuvres d’art contemporain devaient coexister avec des meubles d’époque. Au Manoir James Cooper, Hefele raconte que les designers devaient «combiner deux styles architecturaux distincts.» L’allure d’un manoir avec une architecture du Second Empire devait se marier à une tour à condominiums moderne. Selon Barrett, «la restauration d’un édifice existant est probablement la chose la plus écologique que vous pouvez faire.» Cependant, il semble que la plus grande récompense qu’apporte la restauration des édifices patrimoniaux n’est pas quantifiable. «Les édifices patrimoniaux sont riches d’histoires à nous raconter. Ils sont riches en histoires de gens et de lieux.» n

Margit Hefele, Hefele Makowka Design Associates, Toronto

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in conversation with…

Peter Oudejans is an avid volunteer with the newly formed provisional/intern committee and the Top 5 Under 5 Awards. B y P e n n y To m l i n

Peter Oudejans’s enthusiasm for his profession is infectious. A relative newcomer to Toronto, Peter has become an avid and valued volunteer with IDC. He sees volunteering as “the right thing to do” and the best way to get the most out of his membership. Peter moved to Toronto in early 2010 from New York, where he had just graduated from the New York School of Interior Design. Originally from St. Clements, a small town in southwestern Ontario, Peter studied clinical psychology at York University in Toronto in the 80s. After graduating, he moved to Amsterdam and then London (UK), where he worked as senior manager at the Royal College of Surgeons of England. He became interested in interior design while living in London, but it was in New York that his passion grew. He joined IDC shortly after arriving in Toronto but his relationship with the Association began in earnest when he responded to an email from Jenn Taggart, IDC’s director of business development, seeking volunteers for a new initiative. “I loved the work I was doing and felt I wanted to become more immersed in Toronto’s design community. This experience has really opened my eyes to what’s happening here, and there’s a lot happening,” says Peter, who now works for Wiklém Design Inc. Peter volunteered to serve on EPIC, a newly formed committee whose goal is to unite young interior design professionals with the industry that supports their profession. He has taken the lead in developing a 2012 EPIC Calendar, which will provide networking opportunities between Industry members and Provisional/Intern members from across Canada. (The acronym EPIC stands for Provisional/Intern Committee. If you’re wondering what the “E” stands for, well it can be any number of things and the committee has decided, at least for the time being, to leave it open to one’s imagination.) Peter’s advice to other Provisional/ Intern members:

“Make the most of the opportunities available to you.

Another important EPIC initiative has been the Top 5 Under 5 Awards that were presented for the first time this year at IIDEX NeoCon Canada. (You can read about the winners in a special feature at the end of this issue.) Provisional and Intern members from across the country were eligible to submit their designs to the judges, provided they adhered to the requirement of supervised work experience. Unfortunately, at the time, Peter did not meet this requirement. Unfazed, he continued to work hard and enthusiastically on the committee. He has since taken steps to link up with an interior designer who is able to give him the supervised work experience he requires. Peter is hopeful he will be able to enter the Top 5 Under 5 competition next year. “My volunteer experience with IDC has been very rewarding,” says Peter. “I’ve met a lot of wonderful people and had some great experiences. It’s a lot of fun. I recommend everyone get involved. It’s a great opportunity to get out and meet people, to be recognized and be part of what’s happening.” n

How much you get out of your membership depends on how much you put into it.”

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name: Peter Oudejans Design School: New York School of Interior Design Year of Graduation: 2010 Favourite Design Tool: AutoCAD / Sketchbook Least Favourite Design Tool: Double Adhesive Tape

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en conversation avec…

Peter Oudejans est un bénévole investi dans le nouveau comité pour les membres stagiaires et provisoires et les Top 5 Under 5 Awards. P a r P e n n y To m l i n

Peter Oudejans a un enthousiasme contagieux pour sa profession. Peter est un nouveau résident de Toronto. Il est devenu un bénévole sans équivalent et très apprécié des DIC. Il voit le travail bénévole comme «la chose importante à faire» et la meilleure façon de profiter au maximum de son adhésion à une association. Peter a quitté la ville de New York pour déménager à Toronto au début de l’année 2010. Il venait d’obtenir son diplôme de la New York School of Interior Design. Peter est originaire de la petite municipalité de St.Clemens, dans le sud-ouest de l’Ontario. Il a fait des études en psychologie clinique à l’Université York, à Toronto. Il a déménagé à Amsterdam suite à sa graduation et ensuite à Londres, en Angleterre, où il a travaillé comme gestionnaire au Royal College of Surgeons of England. Il s’est interressé au design d’intérieur lorsqu’il vivait à Londres, mais c’est à New York que sa passion s’est cristallisée. Peter a joint les rangs des DIC après son arrivée à Toronto, mais ses relations avec l’association ont vraiment débuté lorsqu’il a répondu à un courriel envoyé par Jenn Taggart, la directrice du développement des affaires des DIC, qui cherchait des bénévoles pour une nouvelle initiative. Peter raconte : «J’aimais le travail que je faisais et j’avais l’intention de m’impliquer davantage dans la communauté du design à Toronto. Cette expérience m’a totalement ouvert les yeux sur ce qui se passe ici, et il se passe beaucoup de choses!» Il travaille présentement pour la firme Wiklem Design Inc. Peter a fait du bénévolat pour mieux servir le nouveau comité EPIC, dont le mandat est de mettre les jeunes professionnels du design d’intérieur en contact avec l’industrie qui appuie leur profession. Il s’est engagé à développer le calendrier EPIC pour l’année 2012. Ce calendrier fournira les informations relatives aux opportunités de réseautage entre les membres de l’industrie et les membres provisoires et stagiaires, partout au pays. (L’acronyme EPIC veut dire en anglais: Provisional/ Intern Committee. Si vous vous demandez ce que la lettre «E» signifie, celle-ci peut vouloir dire un ensemble de choses. Le comité a décidé, à tout le moins pour le moment, de laisser son interprétation ouverte à l’imagination de tous et chacun.) Une autre initiative importante du comité EPIC est le concours des Top 5 Under 5 Awards, qui a été présenté pour la première cette année au salon IIDEX NeoCon Canada. (Vous pouvez lire au sujet des gagnants dans notre édition spéciale à la fin du magazine.) Les membres provisoires et stagiaires de partout au pays pouvaient soumettre leur design aux membres du jury, seulement si le travail supervisé exigé était respecté. Peter n’avait malheureusement pas cette exigence minimale requise. Cela ne l’a pas démotivé pour autant. Il a continué à travailler fort, sans jamais perdre son enthousiasme pour le comité. Il a depuis rencontré un designer d’intérieur qui pourra lui fournir la supervision de travail dont il a besoin. Peter est confiant qu’il pourra faire partie des candidats de la compétition des Top 5 Under 5 l’année prochaine. Peter affirme : «Mon expérience de bénévole avec les DIC a été plus que profitable. J’ai rencontré des gens extraordinaires et j’ai vécu des expériences uniques. Tout cela est amusant. Je recommande à tout le monde de s’impliquer. C’est une rare occasion de s’ouvrir au monde et de rencontrer des gens, d’être reconnu et de faire partie de tout ce qui se passe.» n

nom : Peter Oudejans École de design : New York School of Interior Design Année de la graduation : 2010 outils de design de prédilection : AutoCAD / Sketchbook outil de design le moins apprécié : Ruban adhésif double

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Le conseil de Peter aux membres provisoires et stagiaires :

«Proﬁtez au maximum des opportunités qui vous sont offertes. Ce que vous retirez de votre adhésion dépend aussi de votre contribution.»

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Teaming UP Collaboration is second nature to interior designers. La collaboration est une seconde nature pour les designers d’intérieur. B y P e n n y To m l i n

n the last decade or more the workplace has seen some dramatic changes. Technology certainly is a factor in these changes, but there has also been a notable shift in the attitude of many business leaders and their approach to decision making. The ideas of collaboration and teamwork now permeate office towers everywhere. Designers would laugh at the thought that collaboration and teamwork are relatively new ideas in the workplace, since the concept is second nature to them. But then, as you know, 12

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ans la dernière décennie, les milieux de travail ont connu des changements dramatiques. La technologie y a, certes, joué un grand rôle, mais il y a eu aussi un changement remarquable dans l’attitude de plusieurs gens d’affaires et dans leur approche lorsque vient le temps de prendre des décisions. Les modes de collaboration et de travail d’équipe abondent dans les édifices à bureaux à travers le monde. Les designers riraient à l’idée que la collaboration et le travail d’équipe sont des choses relativement nouvelles dans les milieux de travail, car ces www.idcanada.org

designers have always been progressive in their approach to problem solving. “For designers, collaboration is like breathing. It’s what we do. It’s the essence of problem solving,” says Kathy Johnston-Umbach, a senior interior designer with Stantec Architecture and Interior Design Ltd. in Edmonton. “Designers learn very early in their educational career that problem solving is best done in conjunction with partners. You only bring a single point of view to the table as an individual, but when you bounce an idea off others, the idea strengthens and grows as the solution evolves. And, by engaging others, you are able to create a stronger product.” Stantec obviously recognizes this fact and so collaborative project teams are the norm at its offices around the globe. Sizeland Evans Interior Design Inc., a firm operating out of Calgary, also recognizes the fact that collaboration brings better results. Their approach to collaborative teams however may be a bit different than that of most firms. As Patricia Evans, the firm’s principal and owner, explains, rather than establishing teams based on specific projects, her designers are assigned to permanent teams that operate as individual business units. Each team is responsible for bringing in and completing its own work, including all accounting functions. Sizeland Evans has been operating with this team model since 2001. “A big part of the decision to establish permanent teams stemmed from the fact that a number of larger clients, whom we have been working with for years, want consistency in their contact with us; they want designers who know the history of their projects. We’ve also found that since 2007 project deadlines have become increasingly shorter. Having a team that knows the client helps facilitate these projects.” Another important factor in establishing permanent teams, according to Evans, is her firm’s value of “balance” with respect to work and home life. “With 28 full-time designers in our firm, the team structure allows work sharing and provides work-life balance. As a result, people are performing better; they’re more rested and healthier. It’s simply a better way to structure our firm.” Whether your firm has permanent teams, or project-related teams, there are a few common rules that apply when establishing these working relationships that will help ensure their success. Generally speaking, five to seven is an ideal number of team members. Larger teams should be broken into subgroups of about five members to facilitate communication and promote participation of all members. It is important that all team members participate fully and that they all possess certain attributes. First and foremost, team members need to have an open mind. www.idcanada.org

réalités sont une seconde nature pour eux. Encore là, comme vous le savez, les designers ont toujours été d’avantgarde dans leur approche des résolutions de problèmes. Kathy Johnston-Umbach, une designer d’intérieur d’expérience dans la firme Stantec Architecture and Interior Design Ltd, à Edmonton, affirme : «Pour les designers d’intérieur, la collaboration, c’est comme la respiration. C’est ce que nous faisons. C’est l’essence de la résolution de problème. Les designers apprennent très tôt dans leur formation professionnelle que la résolution de problème est plus profitable en partenariat. En tant qu’individu, vous n’apportez qu’un seul point de vue à la discussion, mais lorsque vous testez une de vos idées avec les autres, l’idée avancée prend de l’ampleur et se renforce. Ainsi, en engageant les autres dans le processus, vous êtes en mesure de créer un produit plus convainquant.» La firme Stantec reconnaît sans hésitation ce fait, alors les équipes de projets articulés en collaboration sont la norme dans ses divers bureaux à travers le monde. La firme Sizeland Evans Interior Design Inc., à Calgary, sait aussi reconnaître que la collaboration donne de meilleurs résultats. En revanche, son approche des équipes de collaboration peut différer de celle de la majorité des firmes. Comme le mentionne la présidente et propriétaire de la firme, Patricia Evans, au lieu de déterminer des équipes selon des projets spécifiques, les designers de la firme font partie d’équipes permanentes qui fonctionnent comme des entités d’affaires individuelles. Chacune de ces équipes a la responsabilité de fournir et de compléter son propre travail, incluant les fonctions administratives. Sizeland Evans a fonctionné avec ce modèle d’équipes de collaboration depuis 2001 et précise : «Une grosse partie de la décision de mettre sur pied des équipes provient du fait qu’un grand nombre de clients avec lesquels nous avons travaillé depuis des années souhaitent voir une cohérence dans leurs relations avec nous. Ces clients veulent des designers qui connaissent l’historique de leurs projets. Nous avons aussi remarqué que depuis 2007, les dates limites des projets sont plus restreintes et le fait d’avoir des équipes qui connaissent les clients facilite la réalisation de ces projets.» Selon Evans, l’établissement d’équipes permanentes est un élément important dans sa compagnie. La valeur accordée à «l’équilibre» entre la vie privée et la vie professionnelle est également une priorité. «Avec les 28 employés à temps plein de notre firme, la structure d’équipes permet le partage du travail et fournit un équilibre entre le travail et la vie privée. Cela nous assure que les gens performent mieux car ils sont plus reposés et en santé. C’est la meilleure manière de structurer notre compagnie.» Que votre firme ait des équipes permanentes ou des équipes déterminées selon les projets, il y a quelques règles communes qui s’imposent, lorsque vous instaurez ce genre de relations de travail dans le but d’assurer la réussite de ces projets. De manière générale, une équipe composée de 5 à 7 personnes est la voie à suivre. Les plus grandes équipes volume 4, 2011

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“For designers, collaboration is like breathing. It’s what we do. It’s the essence of problem solving.” Kathy Johnston-Umbach, Stantec Architecture and Interior Design Ltd., Edmonton

«Pour les designers d’intérieur, la collaboration, c’est comme la respiration. C’est ce que nous faisons. C’est l’essence de la résolution de problème.» Kathy Johnston-Umbach, Stantec Architecture and Interior Design Ltd., Edmonton

They need to be accepting of viewpoints that may differ from their own and be open to all possibilities. As Johnston-Umbach says, “openness is where innovation resides.” Team members also need to be active listeners, to make every effort to hear and understand what is being said. And, they must not be afraid to have “courageous conversations” according to Evans, who adds that team members must be trained in and have an understanding of different personality types. This understanding, she believes, is essential and is what makes courageous conversations possible. Both agree that a mix of people at the table will bring different perspectives and result in better solutions. A critical member of that mix is the client. By being engaged in the process from the beginning, the client will be able to articulate more easily how and why a particular solution was arrived at and manage any change that may result from implementing the solution. Johnston-Umbach believes the popularity of the collaborative approach to doing business is a product of many factors facing the business community today, with globalization being a primary one. “Hand in hand with globalization is technology, which allows designers and other professionals to work with partners around the globe.” Another factor she cites in the popularity of collaboration are changing demographics. A maturing workforce needs to share its knowledge and wisdom with those who are just entering it. Whatever the impetus behind it, clearly there are advantages to working in collaborative teams. And, just as clearly, designers have a head start when it comes to knowing how to maximize the potential of the collaborative process. n

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doivent faire des sous-groupes de 5 personnes environ pour faciliter la communication et favoriser la participation de tous les membres impliqués. Il est important que tous les membres de l’équipe participent pleinement et possèdent certains atouts. En premier lieu, les membres de chacune de ces équipes doivent garder l’esprit ouvert. Ils doivent accepter que certaines idées puissent différer des leurs et demeurer ouverts à toutes les possibilités. Comme le souligne Johnston-Umbach, «l’innovation réside dans l’ouverture.» Les membres de ces équipes doivent aussi être à l’écoute, faire des efforts pour comprendre et bien entendre ce que les uns et les autres ont à dire. Selon Evans, ils ne doivent pas avoir peur non plus de ces «conversations chargées de réflexions critiques». C’est pourquoi il importe que les membres de chacune des équipes soient formés et aptes à saisir les différents types de personnalités. Evans croit que cette compréhension est essentielle et rend possible les dialogues plus épineux. Les deux designers sont d’accord sur le fait que des personnes différentes, lors de discussions, offriront des perspectives divergentes et de meilleures solutions. Parmi cet éventail de gens invités à discuter, le client lui-même prend toute son importance. En s’impliquant dans le processus dès le départ, le client sera capable d’articuler plus facilement comment et pourquoi l’équipe en est arrivée à la solution envisagée et gérer tous les changements qui en résulteront. Johnston-Umbach croit que la popularité de l’approche collaborative dans les affaires est l’aboutissement de plusieurs facteurs qui préoccupent de nos jours la communauté des affaires, avec la globalisation en premier lieu. «La technologie va de pair avec la globalisation, ce qui permet aux designers et aux autres professionnels de travailler avec des partenaires de partout à travers le monde.» Un autre élément de cette popularité de la collaboration que Johnston-Umbach juge non négligeable, demeure la démographie changeante. Une force de travail qui atteint sa maturité a besoin de partager ses connaissances et sa sagesse avec les gens qui débutent dans l’industrie. Peu importe les motivations, il y a des avantages certains à travailler avec des équipes collaboratrices. L’évidence est que les designers ont une longueur d’avance lorsqu’ils savent comment optimiser le potentiel du processus de la collaboration. n

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On your behalf… Last summer, we partnered with Canadian Interiors to conduct the Canadian Interior Design Benchmarking and Best Practices Survey. This significant research initiative was undertaken to benefit interior design practices across the country. It is also intended to provide us with valuable information for our work in advocating for the profession. It has been more than 10 years since a study of this scope has been conducted within the industry. The online survey, which was sent to all members of IDC, covered a comprehensive list of topics. These included a complete battery of demographic questions such as age, gender, education, and number of years working in the interior design field. The survey also inquired as to the respondents’ primary area of design specialization, along with details regarding projects initiated and those recently completed. It asked a number of compensation and benefits questions, the answers of which will be of considerable interest to both owners and employees. The final set of survey questions dealt with marketing issues and RFPs. As this magazine was going to press, only preliminary survey results were in and the final report had not yet been completed. Still, a good portrait of our industry had begun to emerge from the more than 500 responses, representing about 17 per cent of our total membership, which had been received from across Canada. At the time, just over 50 per cent of the responses came from owners/principals of design firms or partners/principals of architectural firm that also do interior design work. The remaining 50 per cent of responses were from employees, freelancers, and other design categories. A sample of the preliminary results with respect to recent projects, for example, revealed the following: Multiperson design firms completed an average of 38 projects per firm in 2010. The total square footage of all projects completed by an average firm in 2010 was more than 400,000 square feet. One-person design firms completed an average of 15 projects during the same period. The total square footage of all projects completed in 2010 by the average one-person design firm was just over 55,000 square feet. The final report will provide considerable detail regarding the size and scope of our industry, which will be very useful in our efforts to educate government officials and the public about the importance of the interior design industry. For the first time in more than a decade, we will have current statistical data to back up our claims about our industry’s contribution to the local, provincial and national economies. We will be able to show the importance of our industry to these economies in terms of employment and revenue generated. In addition, individual firms may wish to use the data in their public relations campaigns to emphasize the importance of our industry and the benefits of hiring qualified professionals. 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 our website at www.idcanada.org. Need us to act on your behalf? Let us know. We’re here to help.

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En votre nom… L’été dernier, nous avons fait équipe avec le magazine Canadian Interiors pour élaborer le sondage Canadian Interior Design Benchmarking and Best Practices Survey. Cette importante initiative de recherche a été mise de l’avant pour favoriser les pratiques du design d’intérieur à travers le pays. Il va sans dire que cela allait également nous fournir des ressources inestimables pour accomplir notre travail de promotion et de protection de la profession. Cela fait plus de dix ans qu’une étude d’une telle amplitude a été effectuée dans notre industrie. Le sondage en ligne, qui a été envoyé à tous les membres des DIC, couvrait une liste assez exhaustive de sujets. Ces derniers comprenaient une gamme complète d’informations démographiques, comme l’âge, le sexe, la formation et le nombre d’années de travail dans le domaine du design d’intérieur. Le sondage a aussi recueilli de l’information sur les principaux domaines de spécialisation des répondants, en plus d’obtenir les détails concernant les projets qu’ils viennent de débuter et ceux qu’ils ont récemment réalisés. Le sondage scrutait également la question des compensations et des avantages sociaux. Les réponses obtenues seront d’un intérêt considérable pour les propriétaires de compagnies et pour leurs employés. Les dernières questions s’attardaient quant à elles aux enjeux associés au marketing et aux Demandes de proposition (DP). Au moment où le magazine allait à l’impression, seuls des résultats préliminaires du sondage étaient disponibles et le rapport final n’était pas encore complété. Cela dit, un portrait représentatif de notre industrie commençait à émerger de ces 500 réponses et plus provenant de partout au pays et représentant environ 17 % du total des adhésions. Ajoutons que 50 % des réponses sont celles des présidents et des propriétaires de firmes de design et de certaines firmes d’architecture qui offrent également des services de design d’intérieur. Le 50 % restants sont les réponses des employés, des fournisseurs travailleurs autonomes et des gens impliqués dans d’autres catégories de design. Par exemple, un échantillon tiré des résultats préliminaires révèle la chose suivante : les firmes de design employant plusieurs personnes ont complété en moyenne 38 projets en 2010. En 2010, la superficie totale en pied carré pour tous les projets réalisés en moyenne par une firme de design correspondait à plus de 400 000 pieds carrés. Les firmes de design d’un seul employé ont complété en moyenne 15 projets de design. En 2010, la superficie totale en pied carré pour tous les projets réalisés par une firme de design d’un seul employé correspondait à un peu plus de 55 000 pieds carrés. Le rapport final fournira des détails sur l’envergure des rouages de notre industrie. Ces informations seront inestimables dans nos efforts pour informer les agents du gouvernement et les membres du public sur l’importance de l’industrie du design d’intérieur. Pour la première fois depuis plus d’une décennie, nous aurons des données statistiques contemporaines pour appuyer nos arguments concernant la contribution de notre industrie aux économies locales, provinciales et nationale. Nous pourrons montrer l’importance de notre industrie pour ces diverses économies en matière d’emploi et de revenus. De surcroît, les firmes individuelles pourraient souhaiter utiliser ces données dans leur campagne de relations publiques pour valoriser l’importance de notre industrie et les avantages à engager des professionnels qualifiés. La protection des droits est un des objectifs des DIC. Notre but est de nous assurer que les praticiens du design d’intérieur sont compris, consultés de manière adéquate et libres de pourvoir à leurs obligations et à leurs engagements professionnels. Vous pouvez continuer à suivre les activités les plus récentes grâce au site Internet de l’association en visitant le www.idcanada.org. Vous avez besoin que l’on agisse pour vous? Faites-nous le savoir. Nous sommes là pour vous aider.

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volume 4, 2011

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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 IDC. IDC/IIDEX Partner DIRTT Environmental Solutions Ltd. Henderson Resource Group, Inc. InterfaceFLOR Levey Industries Nienkamper Furniture and Accessories Inc. Ruud Lighting Canada/BetaLED Teknion IDC National Member 3M Canada - Architectural Markets Hunter Douglas-Div Window Fashions INSCAPE Knoll North America Corp. Steelcase Canada Ltd. Tandus Flooring IDC Regional Member Cambria Natural Quartz Surfaces GLOBAL GROUP Haworth Ltd. Kravet Canada Milliken & Company Shaw Contract Group IDC Provincial Member Allseating Allsteel American Standard Brands Beaulieu Commercial Benjamin Moore & Co. Ltd. Contrast Lighting M.L. Inc Crown Wallpaper + Fabrics Dauphin North America First Vision Technology Inc. Four Seasons Hotels and Resorts GE Monogram Groupe Carreaux Céragrès Kohler Canada Co. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Odyssey Wallcoverings Paloform Inc. PC350 Three H. Furniture Systems IDC Media Partner Canadian Interiors Design Quarterly HOMES Publishing Group MONTECRISTO Magazine NUVO Magazine IDC Print Partner PacBlue Printing IDC Local Member 360 Living Inc. 3form AABA Granite & Marble Inc. Abet Corp. Aeon Stone & Tile Inc. 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 Anywhere

Art Works Gallery Artopex Astro Design Centre Atlas Carpet Mills Inc. AYA Kitchens and Baths Ltd Banner Carpets Ltd. Bermax Furniture and Design bf workplace BL Innovative Lighting Blackburn Young Office Solutions Blum Canada Ltd. BoConcept Bradlee Distributors Inc. Brunswick Manufacturing Co. Ltd. Buckwold Western 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 Ceramic Tiles 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. Colonial Countertops 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 Coreplan Construction Inc. Crate and Barrel Canada Creative Matters Inc CTI Working Environments Cubo Design Inc. Custom Closet Organizers/Shelving Outlet Custom Home Decor Ltd Custom Range Hoods Inc. 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 Emily Quinn Ensuite, The Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group Ethan Allan European Flooring 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. Gemstar Group Geovin Furniture Inc. Grand & Toy GRANGE Furniture Inc. Greenferd Construction Inc. Grohe Canada Inc. Hardwoods Specialty Products Heritage Office Furnishings Ltd. Heritage Office Furnishings Victoria Ltd. 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 IDEE17 Impact Office Furnishings Limited Info-Link 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. Kinetic Kitchen & Bath, LLC Kitchen & Bath Classics (Wolseley) Kodan Flooring Korson Furniture Imports Ltd. Kraus/Floors with More Krug La Scala Home Cinema + Integrated Media LAVA Canada Leber Rubes Inc. Leviton MFG of Canada Liesch Office Interiors 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) Marilyn Harding & Associates Martin Knowles Photo/Media Masterpieces Studio 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 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 Powell & Bonnell Home Inc. 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 Advice Sound Solutions 1997 Inc. Spacesaver Corp. Stanley Black & Decker, Inc. Staples (Business Interiors) Stonequest Inc. Suite22 Interiors Sun Glow Window Covering Products of Canada Ltd. Symmetry Lighting The Brick Commercial Design Centre Midnorthern Appliances 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 Threadneedle Ltd. Tierra Sol Ceramic Tile TOR The Office Resource Toronto Office Furniture Inc. 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 Industries Ltd. Vandyk Commercial Co. Ltd. Verno International Art Studios Vifloor Canada Ltd. W Studio Decorative Carpets Waterflo Kitchen & Bath Gallery Weavers Rug Gallery Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Working Images Your Home Custom A/V Systems *As of September 19, 2011 *À partir du 19 septembre 2011

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 www.idcanada.org

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The Next

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idc top 5 under 5

Generation

IDC recognizes five rising stars of interior design Les DIC reconnaissent cinq étoiles montantes du design d’intérieur

La prochaine

Génération

By/Par Sarah Brown

IDC’s first annual Top 5 Under 5 Awards program, presented in partnership with Canadian Interiors, InterfaceFLOR and Knoll, offers a glimpse into the future by putting a spotlight on the next generation of Canadian interior design professionals. Accepting entries from Intern/Provisional Members within the first five years of their professional experience, judges Donna Assaly, Denise Hermanson, Viveca Bissonnette and Carol Jones singled out IDC’s top five up-and-coming interior designers. Their selections were based on glowing recommendations from the entrants’ supervisors as well as their unique solutions to a design concept dilemma -- designing a self-contained living space survival pack for victims of natural disasters. “It is especially true in times of crisis that human nature dictates the necessity for cocooning, bonding and a sense of security” explained Hermanson. “As interior designers we play a key role in the way people view and feel about spaces in our day to day society. The winning projects underline this perfectly.” “These five winners are the ones to watch,” says fellow judge and IDC President Donna Assaly. “Their submissions were innovative, thoughtful and impressively presented. Plus, all entrants came very highly recommended from some of the top professionals in the industry.” Taking centre stage on September 23 at IIDEX/NeoCon Canada, each winner was presented with a specially commissioned sculpture by Canadian artist Tim Forbes as well as a flight center travel voucher worth $1,000.

Siavash Mahdieh

Siavash is a graduate of the International Academy of Design and Technology. “It’s been our pleasure to have him as part of our team,” says Allen Chan, principal with Toronto-based the Design Agency. “Sia, as he likes to be called, is a consistent team member and is always eager to push the process forward.” With his disaster relief design solution, Sia offers victims maximum privacy and storage

Le premier concours annuel Top 5 Under 5 Awards des Designers d’intérieur du Canada (DIC), présenté en partenariat avec Canadian Interiors, InterfaceFLOR et Knoll, jette un regard vers le futur et braque les projecteurs sur la prochaine génération de designers d’intérieur. Les membres du jury, Donna Assaly, Denise Hermanson, Viveca Bissonnette et Carol Jones, ont choisi les cinq designers d’intérieur les plus prometteurs des DIC parmi les candidatures soumises par des membres stagiaires et provisoires ayant cinq ans ou moins d’expérience professionnelle. Leur choix s’est fondé sur les recommandations enthousiastes des superviseurs de ces cinq candidats et sur le caractère exceptionnel des solutions qu’ils ont proposées en réponse au défi de concevoir le design d’un espace d’habitation de secours autonome pour les victimes de catastrophes naturelles. « Il est vrai qu’en temps de crise, les êtres humains ressentent encore plus le besoin d’être bien entourés, d’avoir un chez-soi confortable dans un environnement sécuritaire, explique Hermanson. En tant que designers d’intérieur, nous jouons un rôle clé dans la manière dont les gens perçoivent l’espace social au quotidien. Les projets gagnants illustrent cela parfaitement. » « Ces cinq gagnants sont à surveiller », affirme Donna Assaly, membre du jury et présidente des DIC. « Leurs propositions étaient novatrices, réfléchies et présentées de façon éloquente. De plus, ces candidats ont tous été chaudement recommandés par des professionnels qui comptent parmi les meilleurs de l’industrie. » Les gagnants ont été récompensés lors du salon d’IIDEX/NeoCon Canada, le 23 septembre dernier. Chacun d’entre eux a reçu une sculpture de l’artiste canadien Tim Forbes spécialement conçue pour l’occasion ainsi qu’un bon d’échange pour un voyage d’une valeur de 1000 $.

Siavash Mahdieh

Siavash a obtenu son diplôme à l’International Academy of Design and Technology. « Ce fut un réel plaisir de l’avoir dans notre équipe », affirme

in partnership with

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Bradley Marks est un jeune designer d’intérieur talentueux qui s’est joint à la firme figure3, établie à Toronto, après avoir obtenu son diplôme du programme de design d’intérieur de la Ryerson University. « C’est formidable de voir Bradley se développer en tant que professionnel », dit Allan Guinan, designer d’intérieur en chef chez figure3. « Il est à la fois respecté par ses pairs pour son talent, son éthique du travail et sa personnalité, et admiré par nos clients pour sa maturité, son ouverture d’esprit et sa compréhension de leur besoins d’affaires. Le design d’habitation de secours aux sinistrés de Bradley est remarquable pour son adaptabilité; il offre aux victimes un abri fait d’une toile à voile légère et tendue, qui peut être installée de plusieurs façons et devenir tour à tour un endroit où l’on peut dormir, recevoir des gens, manger ou encore se reposer. « J’ai voulu créer un ensemble qui répondrait aux besoins d’un maximum de gens couples, familles, jeunes ou personnes âgées en permettant tout un éventail d’activités et en offrant des degrés

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Bradley Marks is a talented young interior designer who joined the Toronto-based firm figure3 after graduating from Ryerson University’s interior design program. “It’s exciting to see Bradley grow as a professional,” says Allan Guinan, principal interior designer with figure3. “He is respected by his peers for his talent, work ethic and personality, and admired by our clients for his maturity, responsiveness and understanding of their business needs.” Bradley’s disaster relief design solution is impressive in its adaptability, offering users a shelter made of light, tension sailcloth that can be arranged in a number of ways to accommodate sleeping, lounging, socializing, dining and more. “Whoever the potential user – couples, families or individuals young and old – I wanted to create a kit that would meet the needs of as many people as possible while supporting a range of activities and offering adjustable levels of privacy,” explains Bradley. On being a leader in his profession, Bradley’s goal is “to champion comprehensive design strategies based on research and observation; methods which will ultimately allow me to create spaces that have greater meaning and challenge the status quo.”

Allen Chan, codirecteur de la firme the Design Agency, établie à Toronto. « Sia, comme il aime se faire appeler, est un coéquipier dévoué et toujours prêt à faire avancer les projets. » Avec son design d’habitation de secours aux sinistrés faite de cloisons en carton comprimé, Sia offre aux victimes un maximum d’intimité et d’espace de rangement. Des luminaires DEL rechargeables rendent le tout encore plus fonctionnel. « Le réel défi de ce projet était de répondre aux besoins des usagers tout en tenant compte de la fonction recherchée et du budget. L’aspect pratique et la simplicité sont les éléments déterminants pour la réussite de ce genre de projet », explique Sia. Lorsqu’on lui demande son avis sur ce à quoi devrait ressembler l’avenir du design d’intérieur canadien, il répond : « Il est question d’un changement vers une vie meilleure. Il y a tellement de designers d’intérieur passionnés et prometteurs au Canada aujourd’hui! Nous faisons avancer le design d’avant-garde. »

space by using compressed cardboard partitions. Rechargeable LED light fixtures add functionality. “With this project, the real challenge was meeting the needs of the user while staying focused on function and budget. Practicality and simplicity are what make this type of design succeed,” explains Sia. When asked about what he thinks the future of Canadian interior design might look like, he responded saying “[it] is about change for a better existence. There are so many passionate, up-and-coming, interior designers in Canada today. We’re pushing that design innovation forward.”

idc top 5 under 5

everything coming together:

idc top 5 under 5

2011

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idc top 5 under 5

D fabric sewn to a he sailcloth provide . Battery operated, s once the overhead ave been turned off.

semi-permanent nonve on the underside the gymnasium floor. the sailcloth and mast.

koti

kit of parts

Consists of elements designed to allow users to customize their i.c.o. to satisfy their needs.

Karol Wojdaszka

Heather Waters

Sailcloth – lightweight colourful sailcloth unfolds from within the tower to create a covering for users and provide visual privacy. The cloth can be adjusted at various increments down the length of the mast to provide a customizable level of openness. A drawstring along the bottom hem allows the user(s) to pull the cloth taught through the hooks at night which provides an added degree of security.

Bradley Marks

d’intimité adaptables au besoin », explique Bradley. Cathy Knott of X-Design Inc. recommended Mast – coiled tubing is fed through a pocket in the sailcloth provides a link between the storage column and L’objectif de Bradley en tant que leader dans sa Heather Waters, a recent graduate and of Sheridan anchored hook. Incremental holes in the mast allow the profession est de « promouvoir un ensemble de College’s Interior Design program,sailcloth basedto on her and secured at predetermined be gathered points to provide varying degrees of openness. stratégies de design basées sur la recherche et sincere passion for the profession. “She has a quiet l’observation; des méthodes qui vont [lui] permettre talent and drive to succeed that has proven to be a de créer des espaces plus significatifs et de mettre à refreshing addition to our team,” she explains. Essential Kit – provides basic essentials such as toothbrushes, l’épreuve les pratiques établies ». Heather’s focus ontoothpaste, everyday comforts made her earplugs, towels and soap. All get wrapped disaster relief stand out. within a terry cloth bathdesign towel. “I focused on creating a space where I could Heather Waters the wall over over 6 feet and canperiod be connected with other people. picture myselfisliving an extended of Cathy Knott, de la firme X-Designs Inc., a recomtheI wanted cubesthe aresolution simpletostorage boxes time. allow people to gofor people’s belongings. mandé Heather Waters, nouvellement diplômée du about their lives as normally as possible so creating programme de design d’intérieur du Sheridan small indulgences like soft bedding and personalCollege, en vertu de sa véritable passion pour la ized storage was important,” she explains. profession. « Elle a un talent paisible et un désir de “I believe that barrier-free requirements, tight budgets and environréussir qui se sont révélés très rafraîchissants pour notre équipe », mentally responsible initiatives will foster even more creativity and explique Knott. Le design d’abri de secours de Heather s’est démarqué innovation in our profession,” says Heather, when asked about the par son souci du bien-être au quotidien. future of Canadian interior design. “Interior designers will be required « J’ai voulu créer un espace dans lequel je pouvais m’imaginer to push the envelope further in order to create exceptional environhabiter pendant une certaine période de temps. Je voulais que mon ments within these parameters. “ projet permette aux gens de poursuivre leur vie aussi normalement que possible; dans ce contexte, il était important de s’arrêter sur de petits détails tels un lit confortable ou des espaces de rangement personnaliKarol Wojdaszka sés», souligne Heather. “Karol has been a great asset to DePM’s design team,” explains the « Je crois que les exigences en matière d’aménagements pour accès firm’s managing architect, Antonio De Gregorio. “I’m consistently facile, les budgets restreints et les initiatives respectueuses de impressed by his willingness to take on challenges and his commitment l’environnement vont favoriser d’autant plus la to a project.” Karol’s disaster relief design concept créativité et l’innovation dans notre profession », strives to maintain social links between disaster relève Heather lorsqu’on l’interroge sur le futur du victims with a corrugated cardboard wall system design d’intérieur canadien. « Les designers that provides privacy while encouraging d’intérieur seront amenés à se dépasser afin de créer connectivity. des environnements exceptionnels en tenant compte “The shelters are temporary so sustainability is de ces nouveaux paramètres. » key. I wanted to create something that would be structurally sound while remaining inexpensive to produce and most importantly – be entirely Karol Wojdaszka recyclable,” he explains. « Karol représente un grand atout pour l’équipe de Karol feels his best professional experiences thus designers de DePM », affirme Antonio De Gregofar have been those projects where he has been rio, président de cette firme de design et involved from start to finish. “There is something so d’architecture. « Je suis constamment épaté par son satisfying about starting from scratch and creating a enthousiasme à relever des défis et par son engagespace that responds effectively to the needs of the ment dans la réalisation de projets. » Le design occupants,” he says. d’habitation de secours de Karol s’efforce de maintenir les liens sociaux

Siavash Mahdieh

Rolanda Williams

to an 81 ft2 living space

Rolanda Williams

2011 n

idc top 5 under 5

Rolanda Williams a obtenu un diplôme d’études supérieures en design d’intérieur avec mention au College Sheridan, en 2009, et a été la gagnante du Global Group Bursary for Outstanding Achievement dans ce même programme, en 2008. Dwight D. M. Lander, architecte principal du Brantford Studio, de la firme d’architectes MMMC, croit que la réussite académique de Rolanda reflète l’énergie et l’enthousiasme qu’elle démontre dans sa vie professionnelle. Le design d’abri de secours de Rolanda a été remarqué pour son souci de tenir compte d’une variété de scénarios et de fournir tout un éventail d’objets pratiques, allant des articles de toilette, des vêtements et des systèmes de rangement jusqu’aux objets pour enfants. « Je me suis efforcée de créer un environnement qui saurait s’adapter aux besoins des usagers, explique-t-elle. L’aménagement intérieur peut être organisé en aires d’habitation privées ou semi-privées qui permettent davantage d’intimité et une plus grande adaptabilité. Les endroits pour dormir sont situés loin des corridors publics, tandis que les espaces de séjour semi-privés y sont adjacents. » « Comme designers de l’environnement bâti, nous avons l’opportunité et la responsabilité de créer des espaces sains qui font la promotion des pratiques durables et du nouvel urbanisme, croit Rolanda. Je suis enthousiaste à l’idée de changer la manière dont nous concevons l’environnement bâti tout en tenant compte du concept de durabilité. »

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Rolanda Williams graduated with honours from Sheridan College in 2009 with an advanced Diploma in Interior Design, and is the 2008 winner of the Global Group Bursary for Outstanding Achievement in this program. MMMC Architects’ managing architect for their Brantford Studio, Dwight D. M. Lander, believes that Rolanda’s educational accomplishments attest to the drive and enthusiasm that have continued into her career. Rolanda’s design concept for a disaster relief shelter stood out because it took many possible scenarios into consideration, providing for everything from toiletries, clothing and storage to children’s comforts. “I concentrated on making a space that would be flexible to the needs of occupants,” she explains. “The interior layout can be organized into private and semi-private living areas to allow for greater flexibility and privacy. Sleeping areas are furthest from public corridors while the semi-private ‘living area’ is directly adjacent to the public corridor.” “We as designers of the built environment have the opportunity and responsibility to create healthy spaces that promote sustainable practices and foster the New Urbanism movement,” she believes, going on to say that “With sustainability in mind, I am passionate about changing the way we approach the built environment.”

entre les victimes en utilisant un système de murs faits de carton ondulé qui préservent l’intimité tout en favorisant les contacts. « Même si les abris sont temporaires, leur durabilité représente un élément clé. J’ai voulu créer un produit dont les structures seraient solides, dont les coûts de fabrication seraient peu élevés et, par-dessus tout, qui serait entièrement recyclable », explique Karol. Jusqu’à maintenant, ses meilleures expériences professionnelles sont celles où il s’est impliqué du début à la fin. « C’est très satisfaisant de partir de rien et d’arriver à créer un espace qui répond de manière efficace aux besoins de ses occupants », précise-t-il.

idc top 5 under 5

Heather Waters

Blown away Jeff Goodman’s signature blend of athletics and aesthetics has earned him a premier position in Canada’s art glass scene. —By Leslie C. Smith

Playing with a scratchitti effect on his exceptional series of Scribe vessels, Jeff Goodman transfers film of his expressionistic pen-andpaper scribbles onto each surface and then sandblasts the sifted black glass into a raised cameo effect. NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 25

Goodmanâ&#x20AC;&#x2122;s latest installation, in the new Ritz-Carlton Hotel spa, in Toronto, is his 259-piece Enso chandelier: a clustered wave of simple, slightly warped elliptical shapes in varied calming tones of grey and tan.

“I’m not big on the ‘art’ word. We make vessels.” Every since he was a young boy, Jeff Goodman wanted to be a boat builder. The ambition, spawned from early years growing up on the West Coast in the 1960s and later summers spent there with his brother Craig, working as a salmon-fishing guide on an eight-ton ocean-going vessel, developed into obsession. (Is it just the salt air out there that gets in one’s blood or was his intense boat-building desire due to race memory – some atavistic Viking legacy? His family, originally named Gudmundsun, had after all been part of the New Iceland diaspora that founded the lakefront community of Gimli, Manitoba, back in the late 19th century.) After moving to Toronto in the 1970s, Goodman’s parents bought him his own table saw and at age 15 allowed him to set up a workshop in their basement. Building furniture for a neighbourhood clientele gave him spending money throughout his high-school years and Goodman, eyes ever on the boat-building prize, decided to increase his knowledge of fine woodworking through technical training at Ontario’s Sheridan College. Signing up for his first semester, he was surprised by the require-

ment to study a secondary medium. On the spur of the moment, he chose glass. Or did glass choose him? A philosopher at heart, Goodman could argue that point. Instead, he credits the late Daniel Chrichton, head of Sheridan’s glass program, for inspiring him to switch his major, saying simply: “He had great reverence for the vessel, which he conveyed to his students.” Although Goodman revels in rough surfaces and aggressive competitive activities, glass represents the mirror opposite: smooth, fragile, demanding immense delicacy of touch. What was the attraction? “I love ellipses, they way they curve in space. And I love how virtually every shape is subtly unique.” In part, he cites his admiration for Japanese ceremonial tea bowls, mid-century abstract expressionism and Scandinavian ceramics, aesthetics he attempts to reinterpret through his glass work. Then too, the immediacy of the glass-producing process has its appeal. Each piece is like a gesture drawing to him – a quick sketch rendered with authority. He talks of the automatist way a glass artisan must make split-second decisions,

Top left Goodman’s favourite work to date is the porte cochère at the Hazelton Residence in Toronto’s Yorkville. Carved from thick sand-cast glass, each LED-backlit panel is unique. Top right The artisan in action. Above Like quirky otherworldly sentinals, Goodman’s signature Ovelle vessels – forming a sculpture – stand guard at the One Bedford condo lobby in Toronto.

NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 27

Top left The blown-glass Hearsay installation graces the Royal Ontario Museum’s C5 Restaurant/ Lounge. “The core of the restaurant experience is communicating with those around you,” says Goodman. “We wanted to develop an abstracted version of the intimacy of communication: leaning up to the person next to you and sharing a story.” Top right For a private home, Goodman created a cast-glass fireplace illuminated by interior LED light. Above A one-of-a-kind hand-poured sand-cast glass tile.

28 CANADIAN INTERIORS NOVEMBER/DECEMBER 2011

reacting to the challenge of the instant like an athlete swinging a bat at a ball. A man who loves pushing himself physically, Goodman also enjoys pushing glassblowing to its limits, comparing the anywhere up to an hour spent in the extreme heat and hazardous intensity of his glassmaking process to playing a strenuous game of squash. “When you come out, you’re sweating, exhausted.”

landscape from Montreal to Los Angeles. In his home-base of Toronto, Goodman’s work forms the focal point of the Royal Ontario Museum’s C5 Restaurant/Lounge, the luxurious Hazelton Residence, and Toronto’s ritzy new Ritz-Carleton Hotel. George Bush, Sr. owns one of his pieces.

“My ‘aha’ moment came when I was 14, alone on the ocean with the mountains and sun. I thought, ‘I have to make the most of this life.’ ”

Crafting art and architectural glass is not a singular occupation. Goodman credits his core staff: David Williamson; Aidan Crichton (son of his former Sheridan teacher); Blaise Campbell, “the best glassblower in Canada,” who provides vital assistance on bigger projects; and especially Sylvia Lee, his workaholic designer and manager. For someone who faces occupational danger every day, Goodman’s limbs are surprisingly unmarked, save for a slight burn on his inside right forearm. “I was getting pizza out of the oven. My kids laugh at me because I work every day with kilns running at 2,500 degrees Celsius, but I only ever seem to burn myself at home.” Speaking of home, does he ever envisage returning like a salmon to his original obsession? “Absolutely. I still want to build that boat.” c I

Two years studying all aspects of glass craftsmanship and artistry at Sheridan College, another year at the renowned Alfred University in Alfred, New York, and a final year’s BFA from the University of Illinois. A three-year stint as a student resident glassblower at Toronto’s Harbourfront studio, with work thereafter as the centre’s technical advisor. Six years teaching at Sheridan in addition to founding the first of successive Toronto-based studios in 1989. Somewhere along the way, time for marriage to graphic designer Mercedes Rothwell, as well as two children: Zoë, now aged 16, and Dylan, 9. Jeff Goodman was and is a busy man – a good thing too for his concentric circle of fans. The artisan’s prodigious output of chandeliers, art glass and sand-cast panels punctuates the upper-crust

“The Jeff Goodman studio isn’t me. It’s the group.”

preview, ÂŠ Bruno Sabastia, Fotolia. SAFI organisation, a subsidiary of Ateliers dâ&#x20AC;&#x2122;Art de France and Reed Expositions France

Home influences 20-24 Jan. 2012 Paris Nord Villepinte www.maison-objet.com The show for home-fashion Trade only. Visitors: Promosalons Tel : +1 514 861 5668 crey@promosalons.com

on with the show The performing arts thrive and bloom at Simon Fraser Universityâ&#x20AC;&#x2122;s gritty but glam Goldcorp Centre for the Arts. â&#x20AC;&#x201D;by rhys Phillips

Photography by ed White / ed White Photographics

Designed for a variety of configurations, the Fay and Milton Wong Experimental Theatre has a maximum capacity of 460 seats.

One of my most enduring memories as a toddler visiting Vancouver grandparents in the 1950s was riding the number-17 tram across Cambie Street Bridge to visit the infinite pleasures of the sprawling Woodward’s department store. For a child, its lavish Christmas windows were a treasure while parents flocked to its unusually varied food floor, a rarity for Canadian supermarkets. Following Woodward’s 1993 bankruptcy, efforts to revitalize the site failed until 2004 when a city-run competition handed Westbank/ Peterson Investment Group with Henriquez Partners Architects the right to develop a dynamic, mixed-use project. The resulting complex includes Simon Fraser University’s new 130,000-square-foot Goldcorp Centre for the Arts. Proscenium Architecture + Interiors Inc. in joint venture with CEI Architecture were hired by SFU to design the teaching complex within Gregory Henriquez’s base building. “The success of Goldcorp’s spaces,” says Proscenium principle Kori Chan, “lies in its concrete frame that is specifically designed both to meet struc32 CANADIAN INTERIORS November/December 2011

tural needs and to accommodate large, free-span spaces reaching over 40 feet in height.” The Centre, therefore, is as much about “interior architecture” as it is about interior design. Certain load points could not be compromised, however, a problem made even more difficult by the social housing tower resting on the roughly triangularshaped, six-storey (two-below-ground) podium. This required a stacking of the two main, multi-level interior volumes. Thus, the Djavad Mowafaghian Cinema (with lecture hall) sits atop the flexible, black-box Fay and Milton Wong Experimental Theatre, isolated by an intervening nine-foot-thick concrete slab. The latter’s finishes were selected for both their acoustic and aesthetic properties. Splitface concrete block and rough-faced brick provide contrast through their muted colours and varied textures, “but also act as effective reflective surfaces for scattering acoustic energy as well as being highly lightable surfaces,” says Chan. Movable curtains do likewise, but when drawn over the reflective surfaces, a softer

room, both visually and acoustically, emerges. Infill maple panels conceal mechanical and electrical systems while countering the space’s eclectic industrial vocabulary. The theatre reflects both SFU’s and the architects’ approach to interior detailing. Simon Fraser wanted an industrial feel, a “factory for learning.” Henriquez’s robust structural grid of exposed concrete, which permits generous window openings along the building’s perimeter, along with Proscenium/CEI’s polished concrete floors, ensure a definite industrial-loft feel. In some areas, such as the top-level dance studios, huge window expanses opening onto the messy panorama of the city define the very essence of these lightinfused spaces. “When it comes to detailing the interior,” says Chan, “we like to bring inside what is outside creating continuity in the material palette.” In addition to exposed concrete, therefore, the exterior’s industrial-hued reddish brick is transferred inside, a gesture that also ties spaces back into nearby Gastown’s materiality. The use of new and

Above Finishes at the Fay and Milton Wong Experimental Theatre were selected for both their acoustic and aesthetic properties. Split face concrete block and rough brick provide contrast through their muted colours and varied textures, but also act as effective reflective surfaces for scattering acoustic energy as well as being highly lightable surfaces. Infill maple panels counter the black-box theatreâ&#x20AC;&#x2122;s eclectic industrial vocabulary. Below Sitting atop the theatre, separated by a nine-foot concrete slab, is the Djavid Mowafaghian Cinema, a 350-seat venue for film and digital presentations. Opposite In the top-level dance studio, huge window expanses opening onto the messy panorama of the city define the space.

November/DeCember 2011 CANADIAN INTERIORS 33

reclaimed wood both reflects SFU’s mountaintop home while providing contrasting warmth to colder concrete surfaces. Indeed, wood, primarily naturally stained maple, is used extensively for trellises, screens, panels and dropped ceilings – helping to define and soften the hard edges of lobbies, student gathering areas and performance venues. maple panels are also used as the stair guards on the main staircase. A grid of punched holes, a motif carried through in baffle boards and wall panels in many of the venues, signals contemporary art’s high digital content. Arrayed around three sides of the stack of major event venues are smaller performance and rehearsal spaces. between the stack and these other venues, Proscenium/ CeI has carved out a series of lobbies and informal student gathering spaces. Three of these lively spaces connect floors visually with two- or three-level atriums penetrated by open stairs boasting robust structures and smart detailing. For example, the building’s primary ground-floor lobby is a wide hallway stretching from Hasting 34 CANADIAN INTERIORS November/DeCember 2011

Street, past the Centre’s street-exposed visual arts Audain Gallery and out to the Cordova Street plaza after crossing an interior bridge over a three-level atrium space. The lobby is defined by a wooden half-trellis arching over the space and articulated by very narrow cathode light tubes running counter to the canopy’s rich maple struts. Cool, ice-like and back-lit glass counters stretch along one wall, while large wheeled display panels attached to the opposite brick wall pivot out across the high-gloss terrazzo concrete floor. These provide temporary exhibition space. The atrium drops to the Theatre’s below-grade lobby, its three levels unified vertically by a brick wall highlighted by back-lit glass bricks and a descending bundle of metal ventilation tubes. Two additional two-level atriums, with open stairs linking the second and third floors, serve the cinema as well as two double-height studios, one for dance and the other for theatre. The suspended and folded steel frames of the stairs act as strong sculptural elements, while acrylic c-channels inserted in their concrete

treads make the surfaces appear to dance with light. Glass stair guards minimize any sense of bulk. In the primarily white painted multimedia atrium, generous windows flood the space with natural light and engage the city. The windowless cinema lobby, however, boasts powerful brute concrete beams and a double-height, unpainted concrete block wall that has been softened and articulated with a march of vertically fixed reclaimed fir beams. In the Goldcorp Centre for the Arts, the Proscenium/CeI interior reflects a fine balance of being a functional yet comfortable “factory of learning” for a 24/7 student body while providing enough “gritty elegance” to excite the public making use of a welcome raft of new performance venues. c I

Above Naturally stained maple is used extensively throughout the project, softening edges. A grid of punched holes – a motif carried through in baffle boards and wall panels in many of the venues, as well as in this classroom – signals contemporary art’s high digital content. Below One of several informal student gathering spaces. Opposite left The primary ground-floor lobby is a wide hallway that crosses an interior bridge over a three-level atrium space. It’s defined by a maple half-trellis arching over the space and cool, ice-like and backlit counters stretching along one wall. Opposite right In the primarily white painted multimedia atrium, generous windows flood the space with natural light and engage the city.

November/DeCember 2011 CANADIAN INTERIORS 35

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1-Space within space As part of Vancouver-based Molo Design’s continuing exploration of space making, new colours of their softwall + softblock modular systems were unveiled at M&O that are intended to enhance the qualities of light reflection and absorption by each of the two materials they are available in: indigo for craft paper softwall + softblock; pale yellow for textile. molodesign.com 2-Hanging with attitude Bau, a sculptural hanging lamp designed by Vibeke Fonnesberg Schmidt for Normann Copenhagen, combines colour, composition and geometric shapes in interlocking circles. The immediate pattern is broken up by the discs’ colours, sizes and off-centre linkages, making the lamp both vivid and organic in expression as one’s position changes in relation to it. normann-copenhagen.com

Carte blanche daydreams 2

Perhaps it was the reprieve of Indian summer, but spirits were dancing and whimsy was in the air as objet de désir leapt from the aisles at Maison & Objet in Paris this past September. —By Peter Sobchak

NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 37

1-Collected nature This year at M&O, the Thai firm Deesawat debuted several new additions to its outdoor living collections, including the Nest Partition. Utilizing small cuts of teak to create mischievous floral patterns in a circle bench, shade, side table and partition, they also support plant growth and encourage interaction with wildlife, such as birds. deesawat.com 2-The ordinary less ordinary Wood Lamp by Muuto (whose name, inspired by the Finnish word muutos, means “new perspective”) “is a low-tech antidote to the usually very modern work 38 CANADIAN INTERIORS NOVEMBER/DECEMBER 2011

3-Peculiar indeed d.lab, one of several Singapore-based studios exhibiting as a collective at M&O, showed off its Daily Objects collection, developed with fellow Asian artisans. It includes a new series of products for daily use around the house, such as this lamp titled Peculiar Attachments. Designed by Chung Sui Fai, it is made of aluminum, steel, maple and balau wood.

4-Bright idea Glass tubes can be bent is many different shapes. So why are there thousands of manufacturers but only three basic energy-efficient light bulb designs? The Plumen 001 by Samuel Wilkinson for Hulger, a London-based boutique electronics brand, is attempting to remedy consumers’ ho-hum attitude (yet implied moral obligation) towards the dull regular shapes of existing low-energy bulbs. In addition to evoking a bird’s show feather (hence “plume”), it uses 80 per cent less energy than the traditional incandescent bulb and lasts eight times longer.

dlab.com.sg

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desk lamps” say the designers, Stockholmbased TAF Architects. “All the details are pragmatically chosen with every screw visible.” muuto.com

5-Nordic dream Lena Bergström has expanded her Björk collection for Design House Stockholm with a small rug and a stool, inspired by birch tree stumps found all over Sweden. The woven structure’s marbled effect comes from cotton intertwined with wool, simulating the black and white trunk of the birch, while the leather represents the inside of the bark. designhousestockholm.com

6-School’s out The Back to School stackable chair is part of the 2011 collection for Zuiver, a fairly young Dutch design label, and an ode to

old school models in a contemporary vivid reinterpretation. The back and seat come in varnished beech, and the steel frame is available in eight electric colours. zuiver.com

7-Fusion infatuation Two separate Mandarin words combined – qi expresses air, breath and energy, while diàn means cushion – is a good way to describe this eye- and thought-provoking chair. The Qi Diàn, designed by Benoit Lienart and Paul Chen for Cerekapery, uses a rigid resin shell to support a soft pliable cushion that moulds to fit the user’s form. cerekapery.com

8-Mining memories Marimekko dove into its legendary print archive to find inspiration for 2012, and came back with Per Olof Nyström’s Helsinki-Helsingfors print from 1952. Inspired by Helsinki’s Art Nouveau buildings, this spring 2012 interior decoration collection begins Marimekko’s year-long celebration of World Design Capital Helsinki 2012. The Helsinki series includes Oiva mugs in two colours with accompanying trays and snappy kitchen towels. marimekko.fi

NOVEMBER/DECEMBER 2011 CANADIAN INTERIORS 39

Who’s Who

B+H REVITALIZES TD CENTRE Modern-architecture mavens have a special fondness for the mid-’60s Toronto-Dominion Centre because it was Bauhaus meister Ludwig Mies van der Rohe’s largest built project. B+H Architects was the TD Centre’s architect of record then and are overseeing its revitalization now. B+H celebrated the achievement by throwing a party in an entirely empty floor of the Royal Trust Tower. The unobstructed views were spectacular.

You and the night and the music —By David Lasker

VIVA HAWORTH To promote the Viva Haworth collection, Toronto Haworth dealer CTI Working Environments invited the A&D community to an Italy-inspired evening at the Four Seasons Centre lobby. The Richard Bradshaw Amphitheatre stairs showcased seating by Cappellini, Cassina, Castelli and Poltrona Frau, along with a speech by Giulio Cappellini. A recital by operatic soprano Mireille Asselin capped the event in song and style. 1—From Zas Architects + Interiors: Ella Mamiche, principal; senior designers Nihan Basak and Mohammed Mamiche; and designers Mei Y Cheng and Georgina Leung. 2—Crowd scene during the recital. At centre left is soprano Mireille Asselin: the lady in red. 3—Warren Somers, president, and Jennifer Daborn, sales partner, at CTI Working Environments, and Greg Quinn, partner at commercial design firm X Design. 4—Cian McDermott, structural engineer at Associated Engineering and designer Allen Durkin of Ireland’s Boss Interiors.

40 CANADIAN INTERIORS November/December 2011

1—Douglas Birkenshaw, Partner, B+H Architects; Randal Froebelius, real estate, MaRS (Medicine and Related Sciences, the medical research facility at Queen’s Park). 2—Bedford Capital managing directors Tim Bowman and Elliott Knox; Heidi Painchaud, principal and VP of interior design, B+H Architects; David Hass, partner, Bedford Capital; and B+H’s Tonu Altosaar, senior principal and managing director, Middle East, and Daniel McAlister, chairman. 3—35th floor of the Royal Trust Tower. 4—B+H’s Lisa Bate, principal; Gabriella Savu, senior associate; and Patrick Fejer, principal.

GLADSTONE HOTEL It was a dark and stormy night, the Toronto International Film Festival boasted umpteen competing parties and the event was merely a “re-launch,” not a launch, yet the aesthetically understated Melody Bar in the Gladstone Hotel, Toronto’s oldest continuously operating hostelry, drew a standing-only crowd.

1—Zeidler clan: Christina, hotel president and Melody Bar designer; brother Rob, Brookfield Properties senior property manager; Dad Eb, superstar architect; Deanne Lehtinen, Christina’s partner and a furniture designerbuilder; Eb’s wife, art-consultant Jane; and Laura Zeidler, Rob’s wife and an assistive technology instructor. 2—Quadrangle Architects’ Danny Tseng, architect; Tate Kelli, property manager, Colliers International; and Janean Bruhn, Quadrangle designer and head figureskating coach, Ryerson University. 3—Joseph Clement, filmmaker, Auratic Media; George Brown College Institute without Boundaries program associate Simon Drexler; graphic designer Angelica Ramos; Institute without Boundaries program administrator Elise Hodson; Nick Crampton, technical director, Digifest (Toronto’s international digital-arts festival); Michael Prokopow, history professor at Ontario College of Art and Design University and former Design Exchange curator; and (kneeling) the hotel’s creative director, Jeremy Vandermeijh.

ARIDO AWARDS GALA ’Twas the night before IIDEX/NeoCon Canada, when all through the soldout Liberty Grand house at Exhibition Place, not a bartender was stirring, not even shaking, a martini. This year, for the first time, the ARIDO Awards gala was held the night before, rather than during, IIDEX, which explains this year’s higher energy level. 1—At the podium, Yabu Pushelberg partners George Yabu and Glenn Pushelberg receive their Project of the Year award for Printemps Haussmann department store in Paris. 2—Burdifilek partners Diego Burdi and Paul Filek. 3—From SGH Design Partners: Anjana Kaul, senior designer (and wife of Inscape VP Sharad Mathur); designers Renee Maarse-Adamkowski and Diane Ernjakovic; and design director Michelle Berry. 4—Andrew Kozak, senior consultant at acousticians Engineering Harmonics; Elizabeth Broxterman of her firm, E.B. Designs; Isabelle Talbot, partner, Raymond Chiappetta and Associates; Svend Nielsen Contract Furniture’s Rob Colman, project manager, and Derrick Nielsen, president; and Kelly McTernan Lavoie principals John Kelly and Stella McTernan. 5—Celia Spaulding, director, business development, Office Source; Susan Burnside of her eponymous design firm; and Intercede Facility Management spouses Micheline (president) and Moises (relocation manager) Bartlett. 6—At the Masquerade Ball in the Artefacts Room: Dave Turner, director sales, business development, CTI Working Environments, and interior designer Carol Syrnyk, principal, Designstream.

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

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Designers Choice www.designerschoice.ca 15

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High efficiency, high performance plumbing fixtures. Variety of LEED® applicable designs, technologies, and budget options. Customize further with a choice of colours, round-front or elongated bowls, comfort height seats, or one-piece & low-profile styles. • Proficiency 3.0 lpf Ultra High Efficiency toilets • Niagara Flapperless leak proof toilets • Matrix Dual Flush toilets • Zero Flush® urinals 800-668-4420 www.watermatrix.com

800 332-NORA

www.nora.com/us

professional directory Full Year (8 Issues) $200 per • Single $350

www.canadianinteriors.com To book your space in the Professional Directory please contact Martin Spreer at mspreer@canadianinteriors.com 416-510-6766

November/DeCember 2011 CANADIAN INTERIORS 43

Last Word

From within During the Nebuta Festival in Aomori, Japan, fabled heroes, demons and animals come to life as large-scale, illuminated paper lanterns. Vancouver-based Molo Design creates a fitting home for these creatures of myth. —By Michael Totzke

Ten years ago, Vancouver-based Molo Design won an international competition – judged by architects Tadao Ando and Jean Nouvel, no less – to build a large urban housing and community complex in Aomori, a city in northern Japan. But over the course of the project, something fairly standard morphed into something magical. Located in front of Aomori’s train station where the city meets the sea, the completed project – Nebuta House – is home to mythical creatures. A museum and cultural centre (comprising an exhibit hall, theatre, music rooms and more), Nebuta House was inspired by the craftsmanship and spirit of Aomori’s Nebuta Festival; one of Japan’s largest, the festival is a form of storytelling during which heroes, demons and animals from history and myth come to life as large-scale, paper lanterns (nebuta), illuminated from within. The building not only provides a home for these mythical creatures, but also archives the history and nurtures the future of this unique cultural art form. All four sides of Nebuta House are enclosed with screens made from 12-me30 CANADIAN INTERIORS NOVEMBER/DECEMBER 2011

tre-tall, twisted ribbons of steel. Each of the 820 ribbons is uniquely shaped and twisted to create openings for light, views and people to move through. While the screen is a simple shade of burnt orange– red, matched to the colour and sheen of local lacquerware, it can give the illusion of multiple hues depending on the quality of light and time of day. An abstraction of the patterns of wind and weather, the screen was inspired by the vertical patterns of light and shadow

of the primeval beechwood forest surrounding Aomori. It also has origins in the screens used to layer the connection of interior and exterior space in the traditional Japanese house, creating a perimeter space called the engawa. With connected but abstract views of the city and an intense colour immersion, the engawa of Nebuta House acts as a threshold between the everyday life of the city and the world of myth and imagination within. Photography by Iwan Baan

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