Canadian Interiors January February 2011

January/February 2011

Home fires 2 lighthearted houses Brand-new bathroom products Report from Valencia

Including IDC’s Dimensions

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Reflecting the core values of sensual minimalism, this new bath and shower line from Grohe offers tactile appeal to enhance the user’s experience. The invisible fastening system on the fixtures heightens the overall modern look. GROHE QuickFix™, installer-focused technology, reduces installation time by up to 40%, thanks to fewer and innovative parts.

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Learn more about Grohe’s initiative to support the Breast Cancer Research Foundation at: www.grohehopeflows.com

1-12 12:52 PM

January/February 2011

Official publication of the Interior Designers of Canada

16

25

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COVER — 20 The award-winning Boheimer residence outside Winnipeg, designed by Johanna Hurme and Sasa Radulovic.

Photo by Dan Harper

CONTENTS FEATURES

DEPARTMENTS

Home Fires

INSIDE — 9

ROOMS WITH A VIEW — 20 Located on an acre of land along the Red River on the southern outskirts of Winnipeg, a playful family home celebrates the prairie landscape.

By Rhys Phillips

WHAT’S UP — 10

A LIGHT TOUCH — 25 Architecture firm Reigo and Bauer lightens and brightens a Toronto semi.

By David Steiner

WHO’S WHO — 35

FOUR FROM THE FLOOR — 30 Inspiring design from a quartet of exhibits at Feria Habitat Valencia.

By Erin Donnelly

THE GOODS — 16 Bathing beauties Hot and cold running style.

By Michael Totzke

10

LAST WORD — 38 If these walls could talk Recreating period wallpaper at Toronto’s historic Spadina House.

By David Steiner Following page 14

January/February 2011 VOL.48 NO.1

Anthony

Publisher

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

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

erin Donnelly, David Steiner Art Director

Lisa Zambri Advertising Sales

416-510-6766 Circulation Manager

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

Liz Callaghan Production

Jessica Jubb 416-510-5194 Senior Publisher

Tom Arkell Vice President of Canadian Publishing

Alex Papanou President of Business Information Group

Bruce Creighton Head OfďŹ ce

519.424.3855

anthonyconcretedesign.com

12 Concorde Place, Suite 800 Toronto, ON M3C 4J2 Telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year.

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Inside

Old and new It’s that time of year again: out with the old, in with the new. In keeping with a fresh new start, the two houses we’re featuring in this issue are up-to-the-minute homes for young families. But in the spirit of another timeworn phrase – the one warning against throwing the baby out with the bath water – both are renovations.

First up is the Boheimer residence, located on an acre of land along the Red River on the southern outskirts of Winnipeg (“Rooms with a view,” page 20). As writer Rhys Phillips explains, “the architects started with a much-altered 1920s house and a thorough distillation of how the clients and their two young children conduct their lives.” Johanna Horne and Sasa Radulovic stripped the house down to the foundation, which became the walls of a sunken courtyard, around which were wrapped three new wings. The end result – a U-shaped structure of open flowing spaces, with views through the house and outside to the river – is, in Phillips’s words, “a functional yet playful family home intricately suited to its prairie landscape setting.”

As for the second house featured – a semi-detached in midtown Toronto, owned by a couple with a young daughter – the renovation was far less drastic (“A light touch,” page 25). Architects Merike Regio and Stephen Bauer were faced with a shoebox of a house; the trick was to bring as much sunlight in from its two ends as possible, while avoiding a totally open plan. “Clever placement of partial walls and floor-to-ceiling millwork on the main floor keep the various spaces distinct and physically separate, “ notes writer David Steiner. “At certain spots you can see across the length of the floor plate, making the house feel spacious without exposing the contents of every room.”

For our Last Word, Steiner investigated another residence: Spadina House, one of 10 historic museums operated by the city of Toronto (“If these walls could talk,” page 38). No renovation here, of course – its lovely, sturdy bones are well protected – but rather an update of the original restoration, to depict how the house appeared in the 1920s and ’30s. Focussing on the painstaking efforts that went into recreating the drawing-room wallpaper, Steiner shows how something old – Spadina House – is made new thanks to something old made anew. c I Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

JAN./FEB. Gold!

At a gala dinner in Toronto this past November, the Design Exchange presented its annual national awards, recognizing projects that balance function, aesthetics and economic success. DXAs were presented in 12 categories, ranging from architecture and industrial design to landscape architecture and visual communication.

The 12 categories include three devoted to interior design. In an unusual turn of events, two companies from the Interior Design - Commercial category were awarded Gold; two companies from the Interior Design - Temporary category also garnered Gold; and the Interior Design - Residential category was cancelled due to poor submissions.

The two Gold Commercial winners are the Avenue Road Showroom at 415 Eastern Avenue, by Yabu Pushelberg; and Brown Thomas Luxury Hall, by Burdifilek. The former is a transformation of an historic Consumers Gas building in Toronto into a contemporary showroom for furniture retailer Avenue Road.

A glass atrium, which pays homage to the century-old structure’s original architectural features, bisects all three floors, connecting the space so that every level is visible.

(Judges referred to the project as “flawless, with seamless aesthetics.”) The latter is a space devoted to fine jewelry, watches and other fine gifts in the flagship location – in Dublin, Ireland – of luxury store

Brown Thomas. The perimeter is sheathed in subtly reflective dichroic glass, the colour shifting with light and movement; soft lighting accentuates a shimmering, gold-hued iridescence throughout.

The two Gold Temporary winners are MÜVBOX, by Aedifica and Sid Lee; and Ontario Pavilion at the 2010 Vancouver Olympic Games, by Hariri Pontarini. The former is a “pop-up” fast-food venue with a graphically pleasing exterior. Created out of a recycled shipping container and powered by solar energy, MÜVBOX reinvents the old-fashioned canteen; vanishing back into its box each night, it unfolds the next morning at the touch of a button into a restaurant with a full kitchen, counters and

10 CANADIAN INTERIORS January/February 2011

Clockwise from right Yabu Pushelberg’s Avenue Road Showroom at 415 Eastern Avenue; Burdifilek’s Brown Thomas Luxury Hall; MÜVBOX,

by Aedifica and Sid Lee; Hariri Pontarini’s Ontario Pavilion at the Vancouver Olympic Games.

terrace. The latter was designed as “a physical and experiential gateway to Ontario,” referencing Niagara Falls, one of the province’s most recognizable icons. With an exterior translucent screen projecting varying degrees of visibility, the pavilion prompted visitors to shift their perception of what defines transparency.

Burdifilek also won a Bronze for the Thompson Sales Centre (Temporary). Two other firms also took home

Bronze (no Silver awards were given): Dialogue 38 for Guu Izakaya restaurant (Commercial); and Munge Leung, for Pears on the Avenue - Sales Office (Temporary).

For a listing of all 2010 DXA winners, visit v2com.biz. An exhibition is on display at the DX through Mar. 27.

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What’s Up

Inscape comes to Montreal Inscape, a leading designer, manufacturer and distributor of innovative workplace solutions, recently opened a brand-new showroom in Montreal. “Establishing a showroom here is an example of Inscape’s commitment to developing our business in this important region of Canada,” says Craig Dunlop, Inscape’s executive vice-president of sales and marketing.

“We are very pleased to be able to support our partners by increasing our visibility and presence here.”

The 2,200-square-foot showroom is located in a century-old building in Montreal’s historic district, home to many design firms.

Wood floors, original steel beams and brick walls have been restored to their original

For the film fan After 35 years, the Toronto International Film Festival is finally providing an opportunity for movie lovers to take home their TIFF experience

character, providing a unique backdrop for the contemporary aesthetic of Inscape’s products.

Low-height panels allow natural light to flow in from large windows to permeate the space, while Inscape’s Interval post-and-beam system provides structure and delineates space within the showroom. Custom screens display sketches of the

inspiration for the design of the company’s Scala and Planna lines.

The building’s rich, dark wood beams and brick contrast with the light natural maple wood, silver and white finishes of Inscape products; peripheral seating adds a burst of colour. Accessories include natural wood cut from Quebec’s plentiful forests.

Above left Custom screens display sketches of the inspiration for the design of Inscape’s Scala and Planna lines. Above right Wood floors, original steel beams and brick walls in the century-old building have been lovingly restored.

– thanks to a new store carved into the corner of the new TIFF Bell Lightbox on King Street West. The TIFF Shop was conceived by J.C. William Group and created by Marcotte Design in collaboration with the festival.

The designers faced a major challenge, presented as they were with three walls of

“non-merchandisable” glass.

The solution proved to be bold 10-foot-high freestanding structures, made of translucent acrylic, along with a soaring feature wall. These key features provide a sculptural vehicle for displaying TIFF products, from clothing and accessories to niche books and DVDs. A palette of subtle greys

and white allows the merchandise to pop; hits of orange – courtesy of jazzy plastic water bottles and crisp signage – add a little zing.

With its focus on both form and transparency, Marcotte Design’s store suits the TIFF Bell Lightbox to a T.

Carved into a corner of the TIFF Lightbox on Toronto’s King Street West, the TIFF Shop is wrapped in glass on three sides. A soaring feature wall and freestanding acrylic structures keep it light and airy.

12 CANADIAN INTERIORS January/February 2011

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Published by Firefly, Eco House is a book that makes a straightforward promise: “to explain the principles of bioclimatic design, to describe the features that make a house green, and to show you where and how to get started on fulfilling your dream.” It not only keeps its promise, it does so in the most clear, succinct and illuminating way possible, all within in a generously illustrated 162 pages – thanks to author Sergi Costa Duran, who specializes in environmental preservation.

The book is divided into three sections. The first section provides installation diagrams in the design phase and key factors for a bioclimatic design; elegantly rendered, these diagrams make it easy to understand everything from heat-recovery ventilation systems to geothermal installations. The second section investigates measures to consider in the design phase of the green home: structure and skin, flooring and woodwork, passive and active energy strategies, room climate control, saving water, and lighting systems. The third section presents a room-by-room (and into the garden) plan for a greener house, with case studies from around the world – beautifully photographed, with a short yet informative text.

To top it off, Eco House provides information on cleaning the home using fewer chemical products; a directory of architects and designers; another directory of manufacturers and associations; and online resources.

All in all, Eco House is a little green gem of a book – a valuable resource vibrantly executed.

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dimensions vol.1 2011

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contents/sommaire departments On a professional note…

Sur une note professionnelle…

4 5

On your behalf…

En votre nom…

12 13

In conversation with…

14 En conversation avec…

18 19

features Social media consciousness Should your company jump on the “bandwidth” wagon?

Est-ce que votre compagnie devrait prendre la voie de la «bande passante»?

Reducing VOCs Might these dangerous compounds soon be obsolete?

Ces dangereux composés seront-ils un jour désuets?

8

Industry members/Membres de l’industrie

20

dimensions team

idc staff

idc board of management

Publisher: Susan Wiggins, Executive Director, IDC swiggins@idcanada.org Editor: Penny Tomlin penny.tomlin@gmail.com

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

Editorial Advisory Board (MB) Heather Anderson

Dimensions is the official magazine of IDC (Interior Designers of Canada) © 2010

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

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

canadian interiors team

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

Publisher: Martin Spreer, Publisher, Canadian Interiors mspreer@canadianinteriors.com Deputy Editor: Peter Sobchak, Canadian Interiors Art Director: Lisa Zambri, Canadian Interiors French translation: Pierre-Éric Villeneuve

idcanada.org

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On a professional note…

Collaboration, according to the Oxford English Dictionary, is the art of working jointly (with someone) especially at literary or artistic production. Something you do every single day. Something we all do every day. But what impact does that fairly commonplace task have on the education of future interior designers? How should we prepare future generations of interior designers for the art of collaboration? Is there a magical formula to get it right?

We were recently invited by the Council for Interior Design Accreditation (CIDA) to participate in a one-day visioning session on this topic. The purpose was to determine if it is possible to forecast changes in the way interior design practitioners will collaborate in the future, and if or how they might work in project teams. Using these predictions, participants then discussed whether it’s necessary to change the interior design curriculum to prepare graduates for the workforce.

It was a unique way to approach the topic of the future and the conversation among the 15 expert panelists who were invited to contribute to the dialogue was indeed provocative. In the end CIDA was extremely pleased with the take-away information from the day.

Our role was as observers, listeners and note takers. In other words, we, David Hanson and Susan Wiggins, weren’t part of the discussion. Instead, we sat in a room and listened to a fascinating discussion and dialogue for a day without speaking. We were there to interpret what we heard and translate the message into a call to action for the future. Apart from a little nail biting in an effort to resist the temptation to speak up, we managed rather well. In the end, we both concluded that we took a lot more away from the exercise by listening and thinking than by actively contributing.

So, the discussion the two of us had later that day, as we celebrated CIDA’s 40th anniversary over a glass of wine, was that while collaboration is absolutely essential in the office and on our projects, perhaps in the future there needs to be a larger role for thinking independently. Collaboration has become the mantra of the day. As interior designers you are creating workplaces that encourage collaboration. Furniture manufacturers have created desks and tables to enable collaboration in response to this need, this demand. But have we gone too far? Have we allowed enough independent thinking space? Are we promoting a fair balance?

Having to listen to a discussion for a day without participating is a unique and challenging exercise.

We encourage you to give it a try with your team. Invite half of your group to discuss a workplace, design challenge, or management topic and ask the other half to just listen, to think about what they’ve heard and interpret the results. Maybe CIDA is onto something; maybe we were set-up.

Maybe we all need to exercise our quiet mind as part of the collaborative process. n

Da v id Ha n son Pre s id e n t/ Pré sident

Susan Wiggins Executive Director/ Di rect ri ce

Check out IDC’s new website: www.idcanada.org

Your member resource...

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idcanada.org

Sur une note professionnelle…

Selon l’Oxford Dictionary, la collaboration est «the art of working jointly (with someone) especially at literary or artistic production.»Voilà une chose que nous faisons tous les jours. Quel impact une action aussi habituelle a-t-elle sur l’éducation des futurs designers d’intérieur? Comment devons-nous préparer les générations de designers d’intérieur du futur à cet art de la collaboration?

Y-a-t-il une formule magique pour bien le faire?

Nous avons récemment été invités par le Council for Interior Design Accreditation (CIDA) à participer à une session d’une journée consacrée à ce sujet. Le but était de déterminer si les praticiens du design d’intérieur pouvaient prévoir les changements et les manières de collaborer dans le futur, essayer de savoir si et comment ils travailleront sur des projets d’équipe. En revoyant ces prédictions, les participants ont discuté de la nécessité de changer le curriculum du design d’intérieur afin de préparer les diplômés au marché du travail.

C’était une façon innovatrice de réfléchir à ces questions qui concernent l’avenir, et la conversation avec les 15 panélistes experts, invités à dialoguer a suscité des débats. En bout de ligne, le CIDA était satisfait de l’information partagée et recueillie durant la journée.

Nous sommes venus voir, écouter et prendre des notes. En d’autres termes, nous, David Hanson et Susan Wiggins, sommes restés à l’écart de la discussion, assis silencieusement pour mieux écouter les échanges et les dialogues les plus stimulants. Nous étions là pour interpréter les choses entendues et traduire le message livré dans les termes d’une volonté d’agir pour l’avenir. Nous avons aussi souvent lutté contre la tentation de nous exprimer et nous avons réussi cela admirablement. À la fin de la journée, nous avons tous les deux conclu que nous avions profité de cet exercice en écoutant et en réfléchissant davantage qu’en participant aux débats.

Plus tard dans la journée, tandis que nous célébrions le 40e anniversaire du CIDA avec un verre de vin, notre discussion portait sur le fait que même si la collaboration nous paraissait absolument essentielle dans les contextes du bureau et de certains projets, il devrait peut-être, dans le futur, y avoir une plus grande place pour une réflexion plus autonome. La collaboration semble être devenue le mantra du jour. En tant que designers d’intérieur, vous créez des espaces de travail qui encouragent la collaboration. Les fabricants de meubles n’ont cessé de créer des tables et des bureaux pour faciliter la collaboration et satisfaire les demandes et les besoins. Mais sommes-nous allés trop loin? Avons-nous laissé la place à un espace pour une réflexion plus autonome? Avons-nous fait la promotion d’un plus juste équilibre? Écouter des discussions toute la journée, en silence, reste un véritable défi. Nous vous encourageons à l’essayer avec votre équipe. Demandez à la moitié du groupe de discuter des sujets comme le bureau, un design qui représente un défi ou des questions d’administration; et demandez à l’autre moitié de seulement écouter et de réfléchir à ce qu’elle a entendu dans le but d’examiner les résultats. Peut-être que le CIDA a vu juste; peut-être que nous avons été bernés. Peut-être que nous avons tous besoin d’exercer cette part plus silencieuse de notre intelligence et de la voir comme une partie du processus de la collaboration. n D a v id Ha ns o n P re s ide nt /P r é si de n t

Susan Wiggins E xecutive Director/ Directrice

Visitez le nouveau site Internet des IDC à www.idcanada.org

Une ressource pour les membres www.idcanada.org

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SOCIAL MEDIA consciousness Should your company jump on the “bandwidth” wagon?

Est-ce que votre compagnie devrait prendre la voie de la «bande passante»?

By L e s l i e C . S mi t h

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website is a relatively static thing. You can simply hang it up in the air and leave it there, tweaking it from time to time for freshness – and to keep your Google Page ranking trending ever upwards. The same is true for professional sites like LinkedIn unless, of course, you are actively job-seeking. But blogs, Twitter and Facebook are different entities, consuming time and content voraciously. For this reason alone, many design companies balk at the idea of setting up their own social nets.

Alison Logue, of Toronto’s Vitamin-d Design, speaks for many of her confreres when she says: “I don’t discount it – it might send someone your way. But for me, it’s all about people and personal relationships. In terms of marketing and getting work, that’s not something we’ve explored – I guess because we haven’t had to.”

Across the city at figure3, however, Caroline Hughes is more enthusiastic. “Information has to be meaningful, in the sense that the world of design is changing. How can we educate our clients, make them more comfortable with the language and ideas of design?”

Hughes answers her own question by describing the two-minute video her company just shot for its web interface, demonstrating the design experience to interested business people. She is also targeting new business, literally, with a start-up monthly blog on the website of Canadian Business magazine, marketing her firm directly to the client base she wants to attract. And she claims that she won’t run dry of content ideas or commitment, unlike so many other former bloggers.

Her approach would win kudos from New York social media expert Avi Flombaum, co-founder of www.designerpages.com, an interactive Twitter site created to hook up those who seek with those who make home and office furnishings. Flombaum says that, over time,

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n site Internet est un univers relativement statique. Il est possible de le laisser flotter dans l’air et de le consulter à l’occasion pour le renouveler, sans négliger de maintenir votre cote de fréquentation sur Google à la hausse. La même loi s’applique pour les sites professionnels comme LinkedIn, à moins que vous soyez dans un processus actif de recherche d’emploi. Mais les blogues, les médias sociaux tels que Twitter et Facebook sont des entités différentes puisqu’ils demandent du temps et du contenu en abondance. Pour cette seule raison, plusieurs compagnies de design sont rébarbatives à l’idée d’instaurer leur propre réseau social sur Internet.

Alison Logue, de la firme Vitamin-d Design à Toronto, parle pour plusieurs de ses confrères lorsqu’elle affirme: « Je ne néglige pas ces outils : ils peuvent procurer des clients.

Mais pour moi, il est davantage question des gens et des relations personnelles. Si on pense au marketing ou encore au travail que cela rapporte, nous n’avons pas encore exploré cette alternative, sans doute parce que nous n’avons pas encore eu besoin de le faire.»

Dans un autre coin de la ville, chez figure3, Caroline Hughes est toutefois plus enthousiaste: «L’information doit avoir une signification dans la mesure où le milieu du design est en changement. Comment pouvons-nous renseigner nos clients, les rendre plus à l’aise avec le langage et les idées du design?»

Hughes répond à ses propres questions quand elle décrit la vidéo de deux minutes que sa compagnie a produite pour son interface sur le Web et qui informe les gens d’affaires intéressés à l’expérience du design. Elle est aussi littéralement à la recherche de nouveaux clients d’affaires avec son nouveau blogue mensuel sur le site www.CanadianBusiness.com, qui fait la promotion de sa firme directement auprès de la clientèle qu’elle souhaite attirer. Sans mentionner qu’elle est certaine de ne pas www.idcanada.org

Twitter might prove a useful marketing tool for interior designers and architects as well. He professes some doubt as to the marketing effectiveness of LinkedIn, and wonders if Facebook would provide individual design shops with the right target audience. But putting up a blog on your website and running video feeds to sites like Vimeo and YouTube are two methods he wholeheartedly recommends.

Content-wise, he suggests chronicling the process of creating a new design, as well as describing projects you’ve already done. “Explain your methods, your inspiration.

People like to learn how things are made…see into the minds of experts. It’s a great way to market oneself.”

Flombaum warns, however, one must be aware of the obligations these media impose. Although technically free of cost, maintaining a social media presence demands a dedicated marketer, someone who knows how to craft just the right message – and do it continually. There is also no guarantee that such effort will produce new clientele.

“It’s more a case of creating relationships, and seeing where it goes from there. There’s no easy way to gain new business via the internet [and] you’ll only get out of it what you put into it. On the other hand, social media is a revolution – and you can’t put brakes on a revolution. It’s up to you to decide what level of involvement you’re willing to take on.”

Several of his observations were echoed by Canadian social media strategist Mark Evans, of ME Consulting, at a recent business conference. “Social media offers a set of enhanced communications tools,” he said. “It’s nothing to be scared of but it’s not the Second Coming, either...

You don’t need to use every tool out there simply because it’s there.”

Evans suggests figuring out which services will work best for you and your brand. For those who would like to give blogging a whirl, he recommends they “be judicious www.idcanada.org

manquer de contenu ou d’engagements, contrairement à plusieurs autres blogueurs.

Son approche lui rapporterait bien des lauriers, selon l’expert de ces médias sociaux, Avi Flombaum, établi à New York et cofondateur de designerpages.com : un site Twitter interactif créé pour réunir les gens qui recherchent ou construisent des meubles résidentiels et commerciaux.

Flombaum affirme qu’avec le temps, Twitter sera peut-être un outil de marketing utile pour les designers d’intérieur et les architectes. Il a par ailleurs des réserves quant à l’efficacité de LinkedIn en matière de marketing et il se demande également si Facebook pourrait offrir des boutiques individuelles de design avec un public bien ciblé. Cela dit, le fait d’instaurer un blogue sur votre site Internet et d’avoir une vidéo sur des sites comme Vimeo et YouTube sont deux méthodes qu’il recommande sans aucune hésitation.

Sensible au contenu, Flombaum suggère de faire une chronique des processus de création d’un nouveau design, en plus de décrire les projets déjà réalisés. «Expliquez vos méthodes, votre inspiration. Les gens aiment savoir comment les choses sont faites. Voyez ce qui préoccupe les experts. Cela reste une bonne manière de vous mettre en valeur.»

Il précise cependant qu’il ne faut jamais perdre de vue les obligations que ces médias imposent. Même s’ils sont gratuits, y maintenir une présence sociale demande une implication des agents de marketing, des gens qui savent comment rendre le bon message et le faire continuellement. Il n’y a pas de garantie que de tels efforts apporteront une nouvelle clientèle.

«Il est davantage question de créer des relations et de voir ce qui se passera ensuite. Il n’y a pas de façon facile d’obtenir de nouveaux clients via Internet et vous serez récompensé selon les efforts fournis. Par ailleurs, les médias volume 1, 2011

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and use smart copywriting techniques. Provide the reader with real information and entertainment, and only throw in an understated sales pitch here and there. Talk not just about products but about larger issues. And latch onto topical references by keeping your eyes and ears open to news pieces and hot-button issues.”

Even IDC is picking its way carefully through the new media windfall. The Association established corporate Facebook and Twitter accounts last spring. Communications coordinator Julia Salerno says that currently there are no plans to add a blog to IDC’s newly upgraded website or a corporate page on LinkedIn. Salerno says that it took her a little while to get used to tweeting every day. It also took time to learn how to employ a different voice and make her microblogs engaging enough to build a responsive audience. But now the process has become “habitual.”

Her advice? “Don’t jump right into it: watch what others are doing, follow them for a while, see if their choices are right for you. Build followers by making your content engaging and relevant. Be open and honest. It’s a great networking tool, but you need to be committed to it.”

It seems social media is here to stay. And it seems, as with any new tool, some are bound to love it and adopt it immediately and wholeheartedly, while others will be more reserved in their enthusiasm. Regardless of what your approach is, you can likely count on seeing a growing number of your colleagues engaging in social media in the near future. n

Find us on Facebook and follow us on Twitter @idCanadaTweets Venez nous voir sur Facebook et suivez-nous sur Twitter@idCanadaTweets

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sociaux sont une révolution : il est difficile de mettre les freins à une révolution. Il dépend de vous de décider jusqu’où vous voulez participer.»

Plusieurs des observations de Flombaum ressemblent à celles du stratège des médias sociaux canadiens Mark Evans, de la firme ME Consulting et entendu lors d’une récente conférence pour les gens d’affaires. « Le média social offre une gamme d’outils améliorés de communication, dit-il. Il n’y pas de quoi avoir peur mais ce n’est pas non plus la venue du Messie. Nul besoin d’utiliser chaque outil sous prétexte qu’il est disponible et accessible.»

Evans propose de trouver les services qui seront les plus adéquats pour vous et votre marque de commerce. Pour ceux qui veulent donner une chance au blogue, il recommande d’ «être judicieux et d’utiliser des techniques d’édition intelligentes. Donnez à vos lecteurs de l’information vraie et divertissante, offrez-leur des occasions de vente, ici et là, sans trop insister. Ne parlez pas seulement de vos produits mais aussi des questions plus larges. Ne manquez pas de discuter de références précises en restant vigilant et à l’affût des questions du jour.»

Même les IDC participent à l’engouement pour ces nouveaux espaces des médias sociaux. L’association a ouvert des comptes corporatifs sur Facebook et Twitter au printemps dernier. La coordonnatrice des communications, Julia Salerno, dit qu’il n’y a pas de projet d’ajout d’un blogue au nouveau site Internet ou à la page corporative sur LinkedIn. Salerno dit qu’elle a mis du temps à s’habituer à «tweeter » tous les jours. Il a aussi fallu apprendre à utiliser une autre voix et rendre ses microblogues assez stimulants pour attirer un public aussi engagé. Tout cela a pris du temps mais le processus est devenu une «habitude».

Son conseil? Ne faites pas le saut trop rapidement!

Observez ce que font les autres, suivez-les pendant quelque temps et voyez si cela vous convient. Encouragez les admirateurs en ayant du contenu stimulant et pertinent.

Soyez ouvert et honnête. C’est un superbe outil de réseautage qui nécessite votre engagement.”

Il semble que les médias sociaux soient là pour rester.

Comme c’est le cas pour tous les nouveaux outils, il semble que certains les aimeront et les adopteront sur-le-champ, tandis que d’autres seront plus réservés ou moins enthousiastes. Peu importe votre approche, vous pouvez certainement compter sur une croissance du nombre de vos collègues qui participeront aux médias sociaux dans un futur rapproché. n

www.idcanada.org

On your behalf…

Your Association understands the importance of insurance to the profession of interior design. That’s why we want to tell you about a valuable benefit of your membership in IDC, a partnership that exists on your behalf…

It will come as no surprise that there is strength in numbers. This is especially true when seeking competitive rates for insurance coverage. As a group, IDC is able to negotiate a better rate than you would be able to by yourself. So, whether it’s professional liability, an employee benefit plan, your personal home and automobile insurance, or health-care and life insurance, you will save money when you take advantage of IDC’s insurance program. The program is managed by Mumby Insurance Brokers Inc. When it comes to insurance, we understand that your needs as an interior designer are generally more complex and time-sensitive than your personal needs. We also feel it’s important that the insurer be responsive to the individual needs of our members. Often this means developing an insurance policy that is flexible.

Professional liability coverage is essential for anyone practising interior design. While IDC’s program for individual designers automatically includes both professional liability and commercial general liability insurance, corporate applicants have the option of omitting the latter if they have this covered elsewhere.

This option is one of several customizations available to IDC members through Sovereign General, the program’s insurer. Sovereign is one of Canada’s major insurance companies and is licensed in all 10 provinces and three territories.

When necessary, at the request of Mumby and an IDC client, Sovereign will provide limits or special accommodation to their insurance coverage such as the one just mentioned. Other examples of customization include: arranging for increased coverage for a one-day project at a reduced premium; arranging for discovery period for the insured when selling or closing a business; and arranging an enhanced Professional Liability Policy for clients who work extensively in the U.S. or outside North America.

We recommend you speak with your broker regarding your specific needs. IDC’s insurance program covers the minimum requirements set by each province to operate as an interior designer. You may wish to increase your liability coverage depending on your personal circumstances. Regardless of the insurance coverage you choose, whether professional liability, an employee benefits plan, or personal insurance, you’ll get the best value by taking advantage of IDC’s program.

Watch for a member education campaign from Mumby scheduled for launch in fall 2011.

The campaign will feature enhanced print materials, website resources, live seminars and other tools to ensure members are aware of the insurance

An important mandate of IDC is to build relationships and alliances with industry stakeholders. Our goal is to ensure that interior design practitioners benefit from these relationships and alliances. You can monitor all of our recent activities through the Association website at www.idcanada.org.

Need us to advocate on your behalf? Let us know. We’re here to help.

benefits available to them through IDC.

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www.idcanada.org

En votre nom…

Votre association comprend l’importance des assurances pour la profession du design d’intérieur.

C’est pourquoi nous tenons à vous informer des avantages importants de votre adhésion aux IDC, un partenariat qui existe en votre nom.

Cela ne surprendra personne : la force du nombre est une réalité. Cela est particulièrement vrai lorsqu’on cherche des tarifs compétitifs pour une couverture d’assurance. En tant que groupe, les IDC sont capables de négocier pour vous les meilleurs tarifs. Qu’il s’agisse de la responsabilité personnelle, des avantages sociaux d’un employé, des assurances de votre maison ou de votre voiture, de l’assurance maladie ou de l’assurance vie, vous économiserez en prenant le programme d’assurance des IDC. Le programme est géré par Mumby Insurance Brokers Inc. Lorsqu’il est question des assurances, nous comprenons que vos besoins comme designer d’intérieur sont généralement plus complexes et pressants que vos besoins personnels. Nous sentons aussi qu’il est important que les assureurs répondent aux besoins individuels de nos membres. Cela veut souvent dire revendiquer une police d’assurance flexible.

La couverture de la responsabilité professionnelle est essentielle pour quiconque pratique le design d’intérieur. Tandis que le programme individuel des IDC pour les designers individuels inclut à la fois et automatiquement les responsabilités professionnelle et commerciale, les proposants corporatifs peuvent omettre la responsabilité commerciale si cette dernière est assurée ailleurs. Cette option est l’une parmi les diverses formules offertes aux membres des IDC via le programme de la compagnie d’assurance Sovereign General. Sovereign est l’une des principales compagnies d’assurances au Canada.

Elle a une licence dans les dix provinces et les trois territoires.

En cas de nécessité, à la demande de Mumby et d’un client des IDC, Sovereign offrira des arrangements spéciaux à leur couverture d’assurance telle que celle mentionnée ci-dessus. D’autres exemples de formules adaptées à la clientèle incluent: des arrangements pour une couverture rehaussée lors d’un projet ou événement d’une journée avec une prime d’assurance réduite; des arrangements pour une période d’essai pour le client assuré au moment de la vente ou de l’achat d’un commerce; et des arrangements dans le cas d’une police de responsabilité professionnelle améliorée pour les clients qui travaillent aux États-Unis ou à l’extérieur de l’Amérique du Nord.

Nous vous recommandons de parler avec votre courtier au sujet de vos besoins spécifiques. Le programme d’assurance des IDC couvre les exigences minimums établies dans chacune des provinces pour fonctionner en tant que designer d’intérieur. Vous voudrez peut-être augmenter votre couverture d’assurance responsabilité selon vos circonstances personnelles. Peu importe la couverture d’assurance que vous choisissez, que ce soit l’assurance de responsabilité professionnelle, celle des avantages sociaux pour les employés ou une assurance personnelle, vous obtiendrez ce qu’il y a de mieux en tirant profit du programme offert par les IDC.

Ne manquez pas la campagne d’information pour les membres au sujet de Mumby, qui sera lancée à l’automne 2011. Cette campagne offrira des brochures améliorées, des

Un des mandats les plus importants des IDC est d’établir des relations et des alliances avec les partenaires de l’industrie. Notre but est de nous assurer que les praticiens du design d’intérieur profitent de ces relations et de ces alliances. Vous pouvez suivre nos récentes activités grâce au site Internet de l’association au www. idcanada.org.

ressources sur Internet, des séminaires et d’autres outils pour s’assurer que les membres soient informés des avantages d’assurance disponibles pour eux

Besoin de nous pour faire de la promotion en votre nom? Faites-nous le savoir.

Nous sommes là pour aider.

www.idcanada.org

grâce aux IDC.

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reducing VoCs Might these dangerous compounds soon be obsolete?

Ces dangereux composés seront-ils un jour désuets?

B y H e a th e r M a c Ka y

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nce accepted as a fact of life, volatile organic compounds (VOCs) could be on a fast track to obsolescence as new products and materials break into the old solvent-based market. VOCs, a standard component of widely used paints, finishes, adhesives, sealants and coatings, join in photochemical reactions to form dangerous particulate matter and ground-level ozone that are linked to serious health problems.

Environment Canada is currently developing federal guidelines to control VOC emissions from consumer and commercial products. A 2010 department discussion paper associates VOCs with “thousands of premature deaths, hospital admissions and emergency room visits every year,” along with increased rates of lung cancer and heart disease. For interior designers, the warnings are not new, but the range of alternative products is growing rapidly.

Adolfo Silva, LEED AP and principal with Ecovert Sustainability Consultants in Toronto, says he approaches projects as a “practical end-user.” The former facility manager uses this tactic to guide his nearly four-year-old company.

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ême s’ils sont acceptés comme une réalité de la vie, les composés organiques volatils (COV) pourraient bientôt devenir désuets, car les nouveaux produits et matériaux intègrent le marché des produits à base de solvant. Les COV, qu’on retrouve dans la peinture usagée, les finis, adhésifs, obturants et revêtements standards largement utilisés, s’associent aux réactions photochimiques pour former une particule dangereuse d’ozone troposphérique, élément lié à des problèmes de santé sérieux.

Environnement Canada est en train de développer des consignes fédérales pour mieux contrôler les émissions de COV des produits de consommation et commerciaux. Un article du département publié en 2010 associe les COV avec «les milliers de morts prématurées, les admissions dans les hôpitaux et les fréquentations de salles d’urgence annuellement», sans oublier la hausse des ratios de cancer du poumon et des maladies du cœur. Pour les designers d’intérieur, ces avertissements ne sont en rien une nouveauté, mais la variété des produits alternatifs augmente rapidement.

Adolfo Silva, LEED AP et président chez Ecovert Sustainability Consultants, à Toronto, dit qu’il voit les www.idcanada.org

“It’s a really dynamic time in the sustainability field,” says Silva. In the last eight to 10 months alone, he says, the number of clients seeking carbon-footprint analysis, for example, has ballooned. “It is real change.” The flood of reduced VOC products is more proof that sustainability efforts are having an impact.

Eco-House, a manufacturer of environmentally responsible paints and finishes, based in Fredericton, began importing wood finishes from Europe in the 1980s and developing its own fine-art materials, aimed partly at increasing paint longevity for mural artists. Today the company’s silicate dispersion paint is used in interior and exterior applications across North America, from parking garages to housing. It was recently used to coat Ontario’s Warkworth Institution, the largest federal correctional facility in Canada.

Made of quartz sand, potash, limestone, dolomite, soapstone, china clay and water, it’s not unlike paints that have been used around the world for centuries. EcoHouse’s Elizabeth Richards acknowledges that niche markets still form a large part of her customer base. Her paint is huge in straw-bale construction. “It’s a critical part of how these buildings function and remain healthy,” she says. But it is also gaining ground in larger developments where product longevity is becoming more important in early-stage budgeting.

Adam Stoker, project principal with Enermodal Engineering in Calgary, credits LEED and its incredible growth for making sustainability measurable. One component of LEED, he points out, is “looking at and understanding the chemicals introduced to the interior environment,” and now people have targets to shoot for.

“So far, the industry has done a really good job of picking it up and running with it. It’s a real success story,” says Stoker. Although VOC reduction is largely marketdriven, there appears to be widespread industry support for more stringent regulations. Current Canadian guidelines lag behind those in other jurisdictions, notably California and other parts of the United States.

Working with new products involves the same concerns as working within sustainable design generally.

Mock-ups and test installations are common. Stoker advises interior designers to build up their comfort level with low- and no-VOC products, which are evolving. He adds that manufacturers are careful to note when these products require certain substrates or other specific conditions.

Sjoerd Bros is vice-president of Sansin Corp., a 25-year-old, self-described boutique manufacturing company based in Strathroy, Ont., that produces wood finishes, stains and paints. With DIY representing about www.idcanada.org

projets comme des «utilisateurs finaux pratiques». L’ancien gestionnaire du bâtiment utilise cette tactique pour guider sa compagnie, fondée il y a quatre ans.

«C’est une période dynamique dans le champ du développement durable», dit Silva. Par exemple, dans les derniers huit à dix mois seulement, le nombre de clients qui recherchent des analyses d’empreinte de carbone a explosé. «C’est un réel changement.» L’abondance de produits contenant moins de COV reste une preuve supplémentaire que les efforts de développement durable ont un impact.

Eco-House, un fabricant de peinture et de finis engagé dans la protection de l’environnement et basé à Fredericton, au Nouveau-Brunswick, a commencé à importer des finis de bois d’Europe dans les années 80, en plus de développer ses matériaux d’art dans le but d’augmenter la longévité de la peinture pour les artistes de murales. De nos jours, la peinture à pulvériser aux silicates est utilisée pour les applications à l’extérieur comme à l’intérieur, partout en Amérique du Nord, des espaces de stationnement jusqu’aux maisons. On l’a même récemment utilisée pour peindre la Warkworth Institution, en Ontario, le plus vaste établissement correctionnel au Canada.

Fait avec du sable de quartz, de la potasse, du calcaire, de la dolomie, de la stéatite, du kaolin et de l’eau, ce produit n’est pas si différent des peintures utilisées partout dans le monde depuis des siècles. Elizabeth Richards, chez Eco-house, admet que le marché de niche constitue toujours la majorité de ses clients. Sa peinture est en demande pour les constructions en ballots de paille. «Elle a une place importante dans la manière dont ces immeubles restent fonctionnels et sains», dit-elle. Ces peintures sont aussi de plus en plus populaires dans les développements plus larges, où la longévité des produits devient plus importante dans les premières étapes budgétaires.

Adam Stoker, directeur de projet chez Enermodal Engineering, à Calgary, croit que grâce à LEED et à sa croissance incroyable, le développement durable est désormais mesurable. Une des composantes de LEED, dit-il, est le simple fait de «regarder et comprendre les produits chimiques qui sont introduits dans l’environnement».Les gens ont désormais des objectifs en vue.

«Jusqu’ici, l’industrie a fait un travail remarquable pour composer avec ce facteur et l’adopter. Cela reste le récit d’une réussite», dit Stoker. Même si la réduction des COV est largement dominée par les marchés, il semble y avoir un soutien global de l’industrie pour des réglementations plus fermes. Les normes canadiennes actuelles sont moins d’avant-garde que celles d’autres juridictions, notamment en Californie ou dans certaines régions des États-Unis. volume 1, 2011

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The flood of reduced VOC products is more proof that sustainability efforts are having an impact.

L’abondance de produits contenant moins de COV reste une preuve supplémentaire que les efforts de développement durable ont un impact.

half of its business, Sansin has grown mainly by word of mouth, both at home and in Europe. “Timing’s really been on our side,” says Bros. “Consumers are wiser these days.”

Sansin’s water-borne alkyd formula means VOCs are reduced almost to zero. “These days there are no real benefits to having VOCs,” according to Bros, as low- and no-VOC products consistently outperform outmoded chemical concoctions.

Even companies that introduced a green product line are beginning to realize it no longer makes sense to manufacture two separate streams and are choosing to go with where the market is headed. The “premium” label is slowly disappearing. “We’ll see prices normalizing,” says Ecovert’s Silva.

Interior designers across the country are leading the way in reducing VOC emissions in interior environments.

The increasing numbers of LEED accredited professionals and LEED certified buildings are testament to this fact. So too are the increased demand by clients to reduce or eliminate VOCs and the increased number of eco-friendly products on the market. The reason is simple. Interior designers are by nature more cognizant of the sensory aspects of space. So, switching to planet-friendly paints and finishes is an easy transition. “They have a natural understanding of it,” says Silva. “It’s inherent in what they do.” n

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Le fait de travailler avec des nouveaux produits nécessite les mêmes préoccupations que de travailler avec un design durable de manière générale. Les factices et les tests d’installation sont d’usage. Stoker suggère aux designers d’intérieur de trouver leur zone de confort avec ces produits. Les produits sans ou à faible émission de COV sont en évolution et, selon lui, «les fabricants sont attentifs lorsque ces produits demandent certains substrats ou autres conditions spécifiques.»

Sjoerd Bros est le vice-président de Sansin Corp., une compagnie de fabrication dans les affaires depuis 25 ans et basé à Strathroy, en Ontario. Cette boutique fabrique des finis de bois, des teintures et des peintures. Avec DIY (l’alternative Do-It-Yourself) qui représente approximativement la moitié de ses affaires, Sansin a fait sa réputation grâce au bouche à oreille, ici comme en Europe. «Le timing nous a été favorable, dit Brod, les consommateurs sont plus perspicaces de nos jours.»

La formule à base d’eau, alkyd, de Sansin, signifie que les COV sont pratiquement réduits au degré zéro. «Il n’y a pas d’avantage réel aux COV, selon Bros, puisque les produits sans ou à faible émission de COV sont plus performants que les concoctions chimiques les plus démodées.»

Même les compagnies qui ont introduit des lignes de produits durables commencent à réaliser que cela ne fait plus aucun sens de fabriquer deux courants de produits différents, et préfèrent suivre les tendances actuelles du marché. La marque «premium» disparaît tranquillement.

«Nous verrons une normalisation des prix», précise Silva, de la compagnie Ecovert.

Les designers d’intérieur de partout au Canada sont des leaders dans cette volonté de réduire les émissions de COV dans les environnements intérieurs. L’augmentation des nombres de professionnels accrédités LEED et les immeubles ayant la certification LEED en sont la preuve, comme le sont les demandes des clients pour réduire ou éliminer les émissions de COV et le nombre grandissant de produits durables et écologiques disponibles sur le marché.

La raison est simple. Les designers d’intérieur sont fondamentalement plus soucieux des aspects sensoriels de l’espace. Ainsi, faire le passage à des peintures et des finis respectueux de la planète demeure une transition facile.

«Les designers d’intérieur ont une compréhension naturelle de cela, dit Silva, cela est inhérent à ce qu’ils font.» n

www.idcanada.org

in conversation with…

Jaclyn Gauley and Nicole Gomes are a remarkable design duo B y J u l i a S a l e rn o

Jaclyn Gauley and Nicole Gomes joke that they come as a package deal. So, when the recent graduates and good friends landed a job at the same Vancouver-based design firm, they knew better than to consider it coincidence.

The pair met while attending Kwantlen University’s Bachelor of Interior Design program in British Columbia, where they hit it off right away. “The four-year program was intimate in scale, with only 10 students, which allowed for a high degree of interaction,” says Nicole.

Name: Jaclyn Gauley Age: 28 (for the fifth year in a row) Years since graduation: Less than one Jobs since graduation: One Favourite design tool: Trace paper, fineliners and AutoCAD Least favourite tool: Rendering markers

“We lived together for the last two years of school,” says Jaclyn. “Shortly after becoming roommates we were awarded dual stipends to attend an annual lighting conference in Mexico. We were the first two Kwantlen students to receive that award.” And so began their shared journey.

After graduation, they both applied for the same position at Bob’s Your Uncle Design Ltd. (BYU). “It came down to the two of us out of more than 45 other applicants,” says Jaclyn, who was hired for the original position because of her LEED accreditation. “BYU didn’t want to miss the opportunity to hire both of us, so they created a second position for Nicole.”

Of their experience at BYU, Jaclyn says, “We get the chance to assist intermediate staff with everything from concept development to completing working drawings. Junior designers often don’t get a chance to be involved in every phase of a project. We feel very fortunate.”

Their advice to other young designers is to take every opportunity to interact with the local design community. “The connections and networks formed with other designers create a platform for individual and collective growth,” says Nicole.

Although the friends share many of the same passions, they have very separate design interests. “I developed an interest in community and public spaces,” says Nicole. “I like to challenge space and look for new opportunities to express how we relate to one another in space to strengthen social interaction.” Jaclyn’s interests are in residential design, with a focus on urban density, aging in place, and building liveable communities.

In the next five years Jaclyn hopes to have a good mix of projects under her belt and be a fully qualified interior designer. Nicole’s plans are to return to school in the near future to obtain a master’s degree. Both plan to write their NCIDQ (National Council for Interior Design Qualification) exam within the next three years.

Name: Nicole Gomes

“The design world must have big plans for us together!” say the friends. “We seem to come as a package deal.” n

Age: 26 Years since graduation: Less than one Jobs since graduation: One Favourite design tool: SketchUp, Photoshop, and AutoCAD

“the connections and networks formed with other designers create a platform for individual and collective growth,”

Least favourite tool: Foam Core

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en conversation avec…

Jaclyn Gauley et Nicole Gomes forment un duo remarquable dans le milieu du design Par J u l i a S al e rn o

Jaclyn Gauley et Nicole Gomes ironisent sur le fait qu’elles forment une paire gagnante. Lorsque ces deux diplômées et amies ont obtenu un emploi dans la même firme de design, à Vancouver, elles ont bien vu qu’il y avait là plus qu’une simple coïncidence.

Elles se sont rencontrées lors de leurs études de baccalauréat au programme de design d’intérieur de l’Université Kwantlen, en Colombie-Britannique, où elles sont devenues des amies immédiatement. «Le programme de quatre ans était très intime, avec seulement dix étudiants, ce qui a permis rapidement un haut niveau d’échanges», dit Nicole.

«Nous avons habité ensemble pendant les deux dernières années du programme, dit Jaclyn. Peu de temps après être devenues colocataires, nous avons obtenu une bourse pour participer à la conférence annuelle sur le luminaire au Mexique. Nous étions les deux premières parmi tous les étudiants de Kwantlen à recevoir un tel prix.» Ainsi a débuté leur parcours commun.

Nom : Jaclyn Gaul

Après la graduation, elles ont toutes deux soumis leur candidature pour le même emploi chez Bob’s Your Uncle Design Ltd. (BYU). «Nous avons été les deux seules candidates retenues sur plus de 45 candidats» dit Jaclyn, qui a été engagée pour le poste ouvert en raison de son accréditation LEED. BYU ne voulait pas manquer cette occasion de nous engager toutes les deux. Ils ont donc créé un autre poste pour Nicole.»

Années de pratique depuis la graduation : moins d’un an

Quand elle parle de leur expérience chez BYU, Jaclyn dit : «Nous avons eu l’occasion d’aider les employés intermédiaires dans leurs tâches les plus variées, allant du développement de concepts jusqu’à la finalisation des dessins. Les designers juniors ont souvent la chance d’être impliqués dans chacune des étapes d’un projet. Nous nous sentons très privilégiées.»

Outils de design de prédilection : Trace paper, fineliners et AutoCAD

Elles recommandent aux jeunes designers de tirer profit de toutes les opportunités d’échanges avec les communautés de design locales. «Les contacts et les réseautages que l’on forme avec d’autres designers créent une plateforme pour la croissance individuelle et collective», dit Nicole.

Âge : 28 (depuis les cinq dernières années)

Emplois depuis la graduation : Un

Outil de design le moins apprécié : Rendering markers

Même si ces deux amies partagent des passions communes, leurs intérêts en ce qui a trait au design sont différents. «J’ai développé un intérêt pour les espaces communautaires et publics, dit Nicole. J’aime mettre les espaces au défi et chercher des occasions nouvelles d’exprimer comment nous sommes en relation les uns avec les autres, dans l’espace, afin de favoriser l’interaction sociale.» Les intérêts de Jaclyn se situent plutôt dans le design résidentiel, avec une spécialisation dans les domaines de la densité urbaine, des questions touchant le vieillissement et les relations à l’espace et de la construction de communautés où il fait bon vivre.

Dans les cinq prochaines années, Jaclyn espère avoir travaillé à des projets variés pour son portfolio et souhaite être une designer d’intérieur qualifiée. Nicole a l’intention de retourner aux études dans un futur rapproché, dans le but d’obtenir un diplôme de maîtrise. Les deux veulent aussi réussir l’examen du NCIDQ (National Council for Interior Design Qualification) dans les trois prochaines années. n

«les contacts et les réseautages que l’on forme avec d’autres designers créent une plateforme pour la croissance individuelle et collective.»

Nom : Nicole Gomes Âge : 26 ans Années de pratique depuis la graduation : moins d’un an Emplois depuis la graduation : Un Outils de design de prédilection : SketchUp, Photoshop, et AutoCAD Outil de design le moins apprécié : Foam Core

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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 partners InterfaceFLOR Nienkamper Furniture and Accessories Inc. DIRTT Environmental Solutions Ltd. INSCAPE Tayco Panelink Ltd. Teknion Furniture Systems Ltd.

IDC print partner Astley Gilbert

IDC/IIDEX national Bentley Prince Street

IDC national Steelcase Canada Ltd. Tandus (Monterey, C&A, Crossley)

IDC regional Haworth Ltd. Shaw Contract Group

IDC provincial American Standard Brands Beaulieu Commercial Benjamin Moore & Co. Ltd. Brigholme Interiors Group Crown Wallpaper + Fabrics Dauphin North America Four Seasons Hotels and Resorts Mabe Canada (GE Monogram) MARANT Construction Ltd. Miele Limited Odyssey Wallcoverings

IDC local 12 | 12 Decor Inc. 360 Living Inc. Abet Corp.

Allsteel Altro Floor and Wall Systems AMTICO International Inc. Applied Electronics Ltd. Archer Construction Group Ltd. ARCONAS ARTOPEX

Automated Interiors Avenue Road AYA Kitchens and Baths Ltd Barrymore Furniture Inc. Bennett Mills Agency Berenson Inc. Blum Canada Ltd. Brack Electronics Brunswick Manufacturing Co. Ltd. Business Interiors by Stapels California Closets Cambria Natural Quartz Surfaces Canadian Contract Leathers Inc. Carpenters Union, Local 27 CAS Interiors Inc CF + D | custom fireplace design Ciot Marble & Granite Inc. Click Lighting and Home Cohen & Cohen Full-Line Office Interiors Connect Resource Managers & Planners Inc. Contract Supply Corp. Ltd. Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Coreplan Construction Inc. Crate and Barrel Canada Cubo Design Inc. Custom Closet Organizers/Shelving Outlet Decorium DEKA Patio Cushions & Umbrellas Design Exchange Doctor TouchUp Dominion Rug Sales Ltd. DPI Construction Management Drechsel Business Interiors DWMartin Construction ECO HARVEST WOOD COMPANY Envirotech Office Systems Inc. European Hardwood Flooring Centre Fendi Casa, Canada Floor Coverings International fluidconcepts Flux Lighting Inc. Forbo Linoleum Inc. Fountain Creations Inc Gallery 133

Geovin Furniture Inc. Go Resilient Canada Grand & Toy Grohe Canada Inc. Hardwoods Specialty Products Herman Miller Canada Inc. High Point Market Authority Holmes & Brakel I. C. I. Paints Canada Inc. Interna Furniture Design Ltd. INVISTA/Antron Carpet Fiber J+J/Invision Johnson’s Business Interiors Jump I.T. Leber Rubes Inc. Louis Interiors Inc. LSD Lighting Limited LSI Floors Luxo Lamp Ltd. MacCormack & Sons Ltd. Magnum Opus Maharam Mannington Commercial Marble Trend Ltd. Meadowbrook Construction Inc. Metro Wallcoverings Inc. Missoni Home Canada MOEN INC. M-Tec. Inc. Office Source Inc. OLON Industries Olympia Tile International Inc. Optimal Performance Consultants Orion Hardware Corporation Para/General Paints Partition Components Inc. Paytrak Payroll Services PI Fine Art/ Posters International POI Business Interiors Prima Lighting Pro Source Wholesale Floor Coverings Toronto Prolific Marketing Inc. Rae Brothers Ltd. Reid & Lyons Renovations By Gray RHB Enterprises Inc.

Robert Allen Fabrics Canada Rodgers Wall Materials Inc. Roman Bath Centre Roman Bath Centre Roya Manufacturing & Supply Canada Inc. Royal Lighting Savoia Canada Inc. SCI Interiors Ltd. Shurway Contracting Ltd. Silk and Style By Dann Imports - 707585 Ontario Limited Silverwood Flooring Smart-Tech Systems Ltd. Smitten Creative Boutique SOFA, Source of Furniture and Accessories Sound Solutions 1997 Inc. Stonequest Inc. Suite22 Interiors Sun Glow Window Covering Products of Canada Ltd. SunProject Toro Inc. Taps Bath Centre The floor studio inc.

The Gallery on the Lake Inc. The Sullivan Source Inc. Threadcount Textile & Design Three H. Furniture Systems TORLYS Inc. Turco-Persian Rug Co. Ltd. Tusch Seating Inc. Urban Amish Interiors Vandyk Commercial Co. Ltd. Videoscope W Studio Ltd. Weavers Rug Gallery Whittington Furniture Mfg. Wilsonart Canada Workscape Interiors Ltd. Your Home Custom A/V Systems *As of November 18, 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 www.idcanada.org 20

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SAVE THE DATE FOR THREE DAYS OF GREAT DESIGN

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The Goods

Bathing beauties

1—ÀPRES-SKI The Tranquility line from Graff brings a light Asian influence to the bath environment. Its Thermostatic Ski Shower system – complete with directional flush-mounted body sprays – includes a full eight-inchsquare showerhead with ¾-inch thermostatic valve mounted on a ski-shaped shower panel. Available in polished chrome and Steelnox satin nickel finishes. graff-faucets.com

Hot and cold running style —By Michael Totzke

1

2—NO TANKS Caroma’s Invisi Series II toilets – wall hung and wall faced – make tanks disappear. With the tank and flushvalve mechanism smartly hidden within the wall (between the studs), each toilet maximizes bathroom floor space. Like all Caroma toilets, Invisi Series II models are dual-flush, using less water. aromausa.com

2

3—ALL-CANADIAN Firma is an award-winning Canadian company dedicated to the innovative design and manufacture of bath furniture. Infra (shown) comprises a one-drawer vanity with walnut satin finish, topped with white crystal; and a column of textured oak in a graphite-grey stain finish, with a touch door and adjustable glass shelves.

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fermabathfurniture.com

4—MINIMALISM The Absolutely Minimal line from Hastings Tile & Bath takes thinness to a new level. These basins use a horizontal siphon, which allows the drain – including the trap – to be completely hidden. Shown here is the oval front basin with integrated towel rack, constructed of Corian. hastingstilebath.com

16 CANADIAN INTERIORS January/February 2011

3

PuraVida

©2010 Hansgrohe, Inc.

Discover pure life for the bathroom

PuraVida. Poetic purity and clarity of form defines the latest Hansgrohe collection. PuraVida, which translates to “pure life”, is the design inspiration from Phoenix Design that reflects harmony, balance and emotion. Experience PuraVida and discover pure life for the bathroom.

Please visit www.hansgrohe.ca to view the entire collection.

The Goods

1—Total recall Morphing is a new collection created

by Italian designers and architects Ludovia+Roberto Palomba for Kos. Sculptural and sophisticated, Morphing recalls – and reinvents – the classic shapes of bathtubs, washbasins and cabinets ingrained in our memories. Shown here is the freestanding tub made of Cristalplant.

2

kositalia.com

2—CURVES AHEAD With a sleek profile and soft curves, Kohler’s Loure collection of faucets offers a sensual flow of water with precise temperature and volume control. Including lavatory faucets, pressure-balancing, and thermostatic shower components and bath fillers, Loure comes in polished chrome, brushed nickel and polished nickel.

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3—MOONGLOW Toto’s Neorest II Vessel Sink was inspired by the small pool melting snow carves into a sheet of ice.

Crafted from Luminist (Toto’s proprietary hybrid epoxy resin), the basin radiates with soft illumination from an embedded LED light.

The Neorest II high-efficiency faucet was inspired by a sword’s blade of steel; super slim, it has no joints.

3

totousa.com

4—NOW YOU SEE IT Metropolis, a new collection of faucetry, bath fixtures and accessories from French company THG Style, offers an update on deco. Squareshaped metal handles reveal Lalique crystal insets. The ultramodern Urban Bathtub features a transparent curved opening intended to reveal the body in its true relaxed form. thgstyle.com 4

18 CANADIAN INTERIORS January/February 2011

Home Fires

Rooms with a view Located on an acre of land along the Red River on the southern outskirts of Winnipeg, a playful family home celebrates the prairie landscape. —By Rhys Phillips

20 CANADIAN INTERIORS JANUARY/FEBRUARY 2011

Photography by Dan Harper

From opposite left Within the protected arms of the U-shaped house facing away from the river, a bridge stretches across the courtyard “moat” to a front entrance signalled by a tall, slim volume that reaches across the house; the glistening white kitchen features foil-covered cabinets and quartz countertops; a short stair descends to the 1 ½-storey living room, its fully glazed wall confronting the river.

In the early 20th century, the young Turks of Modernism embraced Frank Lloyd Wright’s renowned portfolio with its flowing use of space countering the limitations of discrete rooms. Their affection was not returned and their initial admiration largely evaporated.

Superficially, it was the great American master’s commitment to – as Alfred Loos put it in his famous manifesto – “the crime of decoration” that separated the two schools. At a more profound level, however, it was Wright’s understanding that successful architecture must respond to a location’s sense of place, its genius loci, rather than some universal zeitgeist that divorces design from the here and present that separated the two schools. Not all Modernists succumbed to Modernism’s limiting ideologies. Most notably, Finland’s Alvar Aalto drew back after his much admired Bauhaus-influenced Paimio Sanatorium and went on to produce such wonderfully contextual work as the Villa Maria. If postmodernism contributed one thing, it was to lead many Modernists back to the idea that all great architecture is first regional architecture.

Architects Johanna Hurme and Sasa Radulovic, founding principals of the exciting new Winnipeg firm of 5468796 Architecture (2007), were both trained at the University of Manitoba’s School of Architecture where a strong environmental design base continues to dominate. (One wonders if Manitoba novelist Gabriel Roy’s

powerful and unsentimental invocation of the influence of the prairie landscape on people’s lives continues to influence.)

Hurme, however, was also born and raised in the architectural hothouse that is Finland and spent a year as a teenager on a Manitoba prairie farm before attending university. In contrast, Radulovic grew up in Sarajevo with its many competing and expressive vernacular styles. Their awardwinning Boheimer residence, designed while both were with Cohlmeyer Architecture Ltd., is located on an acre of land along the Red River on the southern outskirts of Winnipeg. It employs a lively play of forms, maximized engagement of its interior with the surrounding environment, a commitment to the play of natural light, an attention to materiality and a complexity of interior spaces – creating a highly functional but almost playful family home intricately suited to its prairie landscape setting.

The architects, with Hurme as the partner-in-charge, started with an existing but much-altered 1920s house and a thorough distillation of how the clients and their two young children conduct their lives. An initial reworking of the in-situ house resulted in an oversized block that soon gave way to a cheeky reversal in form. The original house was dismantled except for its foundation, which became the walls of a sunken courtyard – Radulovic calls it the “ghost house” – around which was wrapped three

new wings. The exposed concrete of the courtyard walls also serves as a barrier that permitted both the adapted reuse of the old basement and the construction of a new lower-level family room, both below the flood plane. Each wing is a unique and animated volume clad in almost black hardboard and powdercoated aluminum siding that contrasts strikingly with deeply protruding eaves and window frames of rich, clear stained fir.

Within the protected arms of the U-shaped house facing away from the river, a bridge stretches across the courtyard “moat” to a front entrance signaled by a tall, very slim volume that reaches across the house. Perhaps as Norwegian theorist Christian NorbergSchutz has observed about similar vertical elements in Finnish architecture, its height makes present that which is absent in a flat landscape. Once through the door, a narrow but soaring space acts to visually telescope attention directly to the river. Again, as Norberg-Schutz has written, in flat geography with limited features, a river often acts as a powerful edge that helps define one’s placement in the landscape. Thus, how the house unfolds is designed to ensure the river’s shore is frequently framed and almost always a visible, orientating datum.

At the point of entry, one is on the lowest level of the house’s primary floor.

To the right, up a half flight of stairs, is the parents’ deftly privatized bedroom

wing. To the left is the 1 ½-storey living room with a fully glazed wall confronting the Red. On the living room’s far side is a half wall of black powdercoated aluminum that frames a minimalist fireplace but is also cleaved by another short stair.

These stairs ascend to a glistening white kitchen of foil-covered cabinets and quartz countertops. Off the kitchen, additional spatial complexity is added by the treatment of the remaining three-storey children’s wing. Two bridges span a double-height void that drops down to the below-ground courtyard level. One bridge slips across in front of the massive glazed wall separating the lower family room from the exterior courtyard (which not incidentally also acts as a safe enclosed play area for the children) and terminates at the door to the garage. On the house’s outer wall, the second bridge, a narrow mezzanine, starts with stairs ascending to the third level’s two bedrooms and a play area and leads to stairs descending to the family room.

The interconnected complexity of the interior creates open flowing spaces, both horizontally and vertically. Visual sightlines are multiple and varied. This includes views through the house and outside to the river, the gently undulating prairie landscape, and the retained mature oaks, maples and conifers. In addition, there are views that cross the exterior courtyard and then back into other areas of the residence. In addition to generous

glazing, minimalist interior detailing helps maximize this transparency. A series of clear acrylic shelving units on the interior bridges as well as the unadorned glass sheets for stair rails are particularly effective in sustaining this intended character.

At the same time, there are also both subtle and strong contrasts in tones, materials and texture. The house’s predominately white walls, washed by strong prairie light or from primarily recessed lighting – as well as its polished concrete floors in the living and family rooms – are neutral in colour. The fir widow frames and baseboards, along with the strongly grained poplar floors, however, add rich hues and high-textured grains.

In the end, says Hurme, it is the ever-changing exterior landscape that provides the visual punchlines for the home’s interiors. Yet, if the house is expansive in its almost single-minded embrace of the exterior, the controlled sizes of the different domestic spaces also ensures what Radulovic calls a “cocooning” sense of intimacy within a “cozy” scale. The house demands that you live with a constant awareness of the sometimes harsh prairie landscape, but it also offers equally a fine retreat for the engagement of family life. c I

Tktk Tktk

Counterclockwise from opposite left Glimpsed at bottom left is the lower-level family room, facing the sunken courtyard; a bridge slips across in front of the family room’s glazed wall; a second bridge, a narrow mezzanine, leads to stairs descending to the family room; one of two children’s bedrooms, which contain the house’s only coloured walls; a clear view of the exterior bridge over the “moat,” with a glimpse of the master bedroom at right; a floor of strongly grained poplar graces the master bedroom.

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Home Fires

A light touch Architectural firm Reigo and Bauer lightens and brightens a Toronto semi. —By David Steiner

c.

y.

11 10:56 AM

Photography by Tom Arban

JANUARY/FEBRUARY 2011 CANADIAN INTERIORS 25

Merike Reigo and Stephen Bauer, principals of a young architectural practice, were invited by a couple they’d never met, to see a house for sale, 30 minutes before the showing. The couple had heard about Reigo and Bauer’s residential projects, hired them on and proceeded to buy the second house they saw: a three-storey semi-detached home in midtown Toronto.

Accustomed to condominium living, they wanted to replace the dated 1970s interior with something bright and contemporary.

Overleaf The railings of the three-storey staircase were rebuilt as a continuous low wall that winds its way up the house.

Below left and right On the main floor, partial walls and floor-to-ceiling millwork keep the various living spaces distinct and physically separate while retaining an open feeling.

Two weeks after the property closed, construction started.

The house is basically a long shoebox with a 65-foot party wall to the east side and a narrow passageway to the west, allowing in minimal light. As a result, only the front and back are open, leaving the owners desperate to get as much sunlight from the two ends of the house as possible.

Reigo and Bauer focussed on the main living space (situated one level above grade due to a steeply sloping site) and

the master bedroom, with smaller work – new trim, paint, doors, windows, fixtures and furniture – throughout the home.

Demolition occurred in select locations, preserving the existing structure wherever possible. Curved corners, ubiquitous in the original main level, were removed or straightened. All the washrooms were either rebuilt or updated with new fixtures, and the railings of the three-storey staircase were rebuilt as a continuous low wall that winds its way up the house.

The client required the formal dining room and kitchen to be out of view rather than part of an open-plan space. Clever placement of partial walls and floor-toceiling millwork on the main floor keep the various spaces distinct and physically separate while retaining an open feeling.

At certain spots you can see across the length of the floor plate, making the house feel spacious without exposing the contents of every room.

A 3.5-foot-long wall, detached at both

ends and wrapped in a pinstriped, silver-flecked wallpaper, stands at the south end of the dining room, creating privacy from the entry hall. A 10-inch slot provides a slivered view to the front door.

Between the living room and dining room is a 40-inch-wide piece of millwork that extends up to the ceiling; clad front and back in a black veneer with a heavy wood-grain pattern, it conceals a bar. “It is meant to feel like a freestanding object in space,” says Merike Reigo. When open,

drinks flow to both the living room and dining room; when closed there is just enough solid surface to make the dining area private while still allowing light to filter around.

Flat white is the principal colour used throughout. “It helps immensely to brighten the space,” says Stephen Bauer, who adds that it acts as a counterpoint to the new mahogany windows and the oil-finished, thermally treated ash wood floors. Upper and lower kitchen cabinets

Above Upper and lower kitchen cabinets are covered in a white laminate with a matte finish so flat they appear to be made of paper. Below In the master bedroom, floor-to-ceiling millwork holds a TV and hides an abundance of clothing.

are also covered in a white laminate with a matte finish so flat they appear to be made of paper. The arctic palette continues up the wall of the staircase and along the hallways, extending into the rooms of the second floor.

Asked to select much of the home’s furnishings, Reigo and Bauer chose items that are luscious without being flashy.

With a deliberate bit of drama they contrasted contemporary surfaces with classic home wear: in the master bed-

28 CANADIAN INTERIORS JANUARY/FEBRUARY 2011

room a Boss Bed from Palazzetti, with its dark leather tufted headboard, sits in front of a wall covered in a damask-patterned wallpaper that seems to give off a gentle pulse. Snaking around two walls of the room are 22 linear feet of custombuilt floor-to-ceiling millwork, in flat white, holding a TV and hiding an abundance of clothing. A Smoked Chair,

by Maarten Baas (fabrication includes burning the frame to increase its texture), rests off in the corner.

Just enough of the existing house was sliced away to increase its feeling of spaciousness while retaining the original character. Many bold patterned surfaces, new bits of wall, elegant millwork and furniture – all expertly crafted – add up to a brash, bright interior that is at once clever and fun without compromising a drop of the home’s intended function. c I

Four from the floor

Inspiring design from a quartet of exhibits at Feria Habitat Valencia.

—By Erin Donnelly

Glob and Tag It! are two bright ideas from Ham & Cheese Design.

Glob is a cuddly stuffed toy whose face lights up when squeezed, doubling as nightlight.

Tag It! is a simple little notepad for scribbling quick notes. tastydesignstudio.com

NUDE

Shkon by Dicrein features an internal mechanism that allows an oscillating movement of the padded leather seat. Once positioned as desired, the spidery stainless steel legs hold it in place, until the user wishes to adjust again. dicrein.es

30 CANADIAN INTERIORS JANUARY/FEBRUARY 2011

It’s long been evident to Canadian Interiors that the highlight of Spain’s Feria Habitat Valencia furniture fair is always sure to be the Nude section.

Exhibiting works from new designers and manufacturers, Nude has grown steadily in the eight years since its inception; for the show’s 2010 edition, the fair finally had the presence of mind to put it front and centre. Literally opening the show, Nude was bigger and better than ever, and greeted visitors just inside the main entrance. As if this prime position wasn’t enough for an exhibit that is used to being tucked at the back of a room, from there it rolled right out the door and into the city. Hotel Nude, hosted at the Purple Nest Hostel – centrally located at Plaza Tetuán 5 – was an offsite attraction that featured works shown in years past, in installation settings. A further initiative, which was prompted by Hotel Nude, is City Nude, a route around the streets of Valencia focussing on design.

COSAS Of course Nude couldn’t have all the attention to itself. No design show is complete without a design star and Valencia had one of the brightest this year in Patricia Urquiola. The Spanish-born designer created a special exhibit called Cosas (translation: Things) for this year’s show. The space incorporated many of her well-known works for such manufacturers as B&B Italia, Alessi, Molteni, Viccarbe, Kettel, Gandia Blasco and Moroso.

A rotating mobile of prototypes and models used in the construction of her designs took up a full of half of Cosas. The various pieces were in paper, staples, foam, bent wire, stitched felt, taped cardboard and even something that looked like a stuffed sweater – all of it jimmyrigged to form shapes in which a variety of iconic designs could easily be recognized as they floated by on the conveyor belt of creativity.

I understood about three words of Urquiola’s speech. Her enthusiasm however, needed no translation.

Vig and Joe & Averell are both from Estres Studio. Vig is a classic woodwork table that folds completely flat for storage, while Joe & Averell are the first two lamps in a whimsical series that pays homage to the Dalton Brothers, of the Lucky Luke comics. estudioestres.com

A reversible chair/table/shelf from Aal Cuadrado’s 90° line of products. aalcuadradoestudio.blogspot.com

Patricia Urquiola’s Cosas exhibit incorporated many of the Spanish designer’s celebrated works.

JANUARY/FEBRUARY 2011 CANADIAN INTERIORS 31

From A la Mesa’s “Buying” section, Herb-savor, from Prepara. prepara.com

A LA MESA! DISEÑO Y COMIDA & LIFESTYLES International Kitchen Design won’t be featured at the show again until next year, but some kitchen stuff was still on the menu and two related feature exhibits caught my eye. A la Mesa! Diseño y comida (that’s “Dinner is Served! Design and Food”) was divided into three sections: Buying, Preparing and Serving, and featured a variety of products that fit into each of those categories. The exhibit was “set up on several tables, tables being the object upon which and the place where we eat, talk, write and make plans. The table is perhaps the link between design and food,” said curator Martín Azúa.

The show’s Lifestyles exhibition was created to show four lifestyles that typify the “Made in Spain” concept: Traditional or Home Loving, Simple or Easy Living, Consumerist or Cool Hunter, and Personal Fulfilment or Sophisticated. The whole proposition is presented in vignettes created by leading architecture and design practices. Estudihac represented the Cool Hunter lifestyle and La Salamandra the Sophisticated lifestyle; Enproyecto took on Home Loving and Yonoh Estudios Creativos presented Easy Living. The concept was intended as a toll for exhibitors and visitors alike – for the companies showing their products the exhibit was as an example of how to promote the intangible values of design, while for visitors it showcased the creativity and variety of Spanish design.

La Salamandra’s “Sophisticated” and Yonoh Estudios Creativos’ “Easy Living.”

32 CANADIAN INTERIORS JANUARY/FEBRUARY 2011

From “Preparing,” mesh bag and silicone steaming case, both designed by Luki Huber lukihuber.com

From “Serving,” Lladró’s porcelain Equus collection, designed by Bodo Sperlein in collaboration with the company. lladro.com

14

Announcing The

14th annual Best of Canada Design Competition Be part of the country’s only design competition to focus on interior design projects and products without regard to size, budget or location.

For information and entry form, visit canadianinteriors.com

INTERIORS

Official publication of the Interior Designers of Canada

Who’s Who

DX GALA It must be a hip event, because the crowd at the Design Exchange’s annual fall Black & White Fundraising Gala keeps getting younger.

Or are we just getting older?

1

1—Inspired oversized ice chandeliers by Ice Culture Inc. worked their magic.

2—Cheryl Sheridan, Reptilia Zoo educator, wrangles a nine-foot Burmese python for a brave Jeanette Williams, general manager at marketing firm Onbrand Design.

3—Julia Rosen-Rosen, healthcare director, Brigholme Interiors Group; Frank Tan, account executive, SCI Interiors; Jennie Hobin, designer, Kasian; and Tim Au-Yeung, A&D rep, Humanscale.

4—Make-up artist Neil Schmidt and partner, fashion designer Lucian Matis (wearing his own pyramid-studded shirt, with Toronto elementary school teacher Misel Cimpric.

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3

4 1

Seasonal soirées —By David Lasker 1 2

GLOBAL PARTY Global Group held its A&D preview–cum–seasonal social at the Steam Whistle Brewery in the restored and renovated former Railway Lands roundhouse at the foot of the CN Tower. Global family-founder Feldbergs were out in force.

3 1—Janice Feldberg, lawyer at property developer Milestone Group; her mother (and wife of Saul), Toby; and Jeff Kohl, account manager, Global.

2—Harvey Lamb, director, business development, Global Group, with spouses Allan and Marg Skinner, president and VP at furniture dealer Office Source.

3—Global’s Ray Townsley, senior VP, government affairs and strategic markets; Saul Feldberg, company founder and chairman; Helen Stergiou, partner, Office Shop; Saul’s son, Global president and COO Joel Feldberg; and Office Shop partner Joanne Triantafilou.

2

3

IDC/IIDA LEADERS BREAKFAST The Regency ballroom at the Four Seasons hosted the IDC/IIDA (Interior Designers of Canada/ International Interior Design Association) Leaders Breakfast. Any sleepyheads in attendance were thoroughly awakened by the risqué keynote address

by Paul Lavoie, chairman of ad agency Taxi.

1—Building code guru and guest of honour Leszek (“Les”) Muniak, founding principal, Larden Muniak Consulting, and his wife, Eva, flank interior designer Alison Logue, principal, Vitamin-D Design.

2—Areti Carter, senior sales rep, Knoll; Veronica Liu, designer, and Milena Milicevic, associate, IBI Group; and Greg Rapier, Knoll Group regional manager, Canada.

3—Theo West-Parks, president of ARIDO and of Westparks and Associates; and Canadian Interiors editor Michael Totzke.

January/February 2011 CANADIAN INTERIORS 35

Who’s Who

1

DX AWARDS 2

The Design Exchange Awards honoured an enticing mix of usual-suspect design stars and budding young geniuses, and provided a delectable supper, sponsored by En Ville catering.

1—Burdifilek’s Sonia Germain, marketing and business development head, with creative director and partner Diego Burdi.

2—An array of “principal” architects, with DX president and CEO Samantha Sannella (at right): Meg Graham, Superkul; Stephen Teeple, Teeple Architects; and Barry Sampson, Baird Sampson Neuert.

3—All the gang ­– from interior design firm Munge Leung – is here: Sarah Tremblay, junior designer; Jung Paric, intermediate designer; Alessandro Munge and Sai Leung, partners; Cy Lam, intermediate designer; and Mirella Munge, controller.

4—Telus Tower design-team members: John Gillanders, SSF&Co Architects; Doug Hitchcox, Cushman Wakefield; Guy Belanger and Gary Handley, Menkes Developments; Trish Clarry, Telus; and SSF&CO partner Dermot Sweeney.

3

4

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JOY TU THE WORLD A not-so-silent night, hosted by the Interior Designers of Alberta and TU Gallery, gathered together the design industry, including suppliers, designers and consultants, to ring in the holiday season. (Photos by Donna Assaly) 1—Dafne MacLeod and Bridgette Jarosch, interior designers, Hodgson Schilf Architects and Engineers; Chris Onishi, contract specialist, Shaw Industries; Katherine Fischgrund, interior designer, Urban Design Interiors.

2—Simon Bell, contract sales agent, Christopher Carpets; Michele Rumbold, interior designer; Adam Sarnecki, contract sales agent, Christopher Carpets; and Michele Roach, principal, Wolski Design Group.

3—Celeste Thiesen, contract specialist, Shaw Industries; Laurie Snider, principal, Edgewise Design; and Laura C. Bielecki, interior designer, Kasian.

36 CANADIAN INTERIORS January/February 2011

2

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January/February 2011 CANADIAN INTERIORS 37

L Word Last

From left The original; the recreation; the result.

If these walls could talk recreating period wallpaper at Toronto’s historic Spadina House.

—by David Steiner How do you recreate a heavy-tooth, multi-toned wallpaper, produced a century ago, by a process no longer practised in north america? neil brochu, a museum curator for the city of Toronto, was confronted with this task when the original restoration of the Spadina House museum was recently updated. First built in 1866, the mansion was added to by successive generations of austins, a wealthy Toronto business family. after being bought by the city from a family heir in 1984, the house opened to the public as a museum.

Spadina House underwent an interior restoration last year to recreate its appearance in the inter-war era. The most important transformation was getting the wallcoverings to accurately depict the period. brochu chose nine rooms where the wallpaper needed to be recreated. each room has a separate wallpaper pattern and colour, some simple and others remarkably complex. eight were recreated by digitally printing reproductions from original wallpaper remnants.

38 CanaDIan INTERIORS January/February 2011

For the drawing room – the home’s principal public space – the wallpaper was produced as it would originally have been made, by stamping coloured patterns onto a heavily grained coloured paper.

The original drawing room wallpaper – discovered in a previous renovation behind successive layers of wallcoverings – was originally documented by curators as “flocked,” a process where a paper surface gains texture by adhering wool fibres with glue. Doubting the diagnosis, brochu checked with powers that be at Cooper Hewitt, national Design Museum, in new york City. examining a roll of the original wallpaper in their collection, they agreed with brochu’s hunch that it was an “ingrain” paper, a process where a fibrous cotton or wool paper is dyed the final background colour and then overprinted in successive layers to build up colour patterns. adelphi Paper Hangings from new york State was the only company among the many brochu called that was interested in recreating the original production method.

adelphi sourced a neutral-toned custom paper from Saint armand Papermakers in Montreal; the paper was dyed with four layers of wash to match the original green background. a Toronto graphic designer split the design pattern into its three separate colour components. each component was then laser cut into an individual wood block. adelphi placed one block in their press at a time, inked it and stamped the primed paper, leaving slight inconsistencies when the wood pulled away from the paper surface, mimicking the original hand-blocked texture.

The effort taken to get the wallpaper to look true to its time and technique have paid off: when the final product is examined, either mounted on the wall or over a curator’s table, it appears as genuine as the original. c I

Photos by Maciek Linowski / Synthescape Inc.

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