Canadian Interiors November December 2012 by Annex Business Media

November/December 2012

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November/December 2012

Official publication of the Interior Designers of Canada

COVER — 23 Room in Saskatoon’s James Hotel, designed by Michael Shugarman Architecture + Design. Photo by Gleb Gomberg / Ovatio

CONTENTS

PARIS WHEN IT SIZZLES — 31 Hot outside, hot inside, at Maison & Objet. By Michael Totzke

FEATURES

Western Comfort LAND & SKY — 23 To transform a ’60s apartment building in Saskatoon into the upscale James Hotel, Calgary-based architect/designer Michael Shugarman looked to the light and landscape of the prairie. By Leslie C. Smith

NOVA DADES — 39 Economic cycles affect trade fairs, too, as was evident at Feria Hábitat Valencia 2012. But Spanish design is as vibrant and fresh as ever. By Peter Sobchak DEPARTMENTS INSIDE — 10 WHAT’S UP — 14

COME INTO MY PARLOUR — 26 At Calgary’s Butter Beauty Parlour – more like a friend’s apartment than a salon – clients can really let their hair down. By Gail Jansen-Kesslar LET IN THE LIGHT— 28 Despite its subterranean locale (in the basement of the Fairmont Hotel Vancouver), Sitka Physio & Wellness seems to breathe in the open air. By Gail Jansen-Kesslar

SHOW BIZ — 18 Crowd pleaser A re-energized IIDEX delivers the goods. By Leslie C. Smith WHO’S WHO — 42 LAST WORD — 45 So simple In praise of Punkt. By Michael Totzke

Following page 50

November/December 2012 VOL.49 NO.7

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Publisher

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

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

Gail Jansen-Kesslar Art Director

Lisa Zambri www.QuARTzbyACO.com (877) 226-4255

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80 Valleybrook Drive Toronto, ON M3B 2S9 Telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year. Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher. Subscription rates Canada $38.95 per year; plastic wrapped $41.95 per year (plus taxes) U.S.A. $71.95 US per year, Overseas $98.95 US per year. Back issues Back copies are available for $10 for delivery in Canada, $15 US for delivery in U.S.A. and $20 overseas. Please send payment to Canadian Interiors, 80 Valley brook Drive, Toronto, ON M3B 2S9 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com Newsstands For information on Canadian Interiors on newsstands in Canada, call 905-619-6565 Canadian Interiors is indexed in the Canadian Magazine Index by Micromedia ProQuest Company, Toronto (www.micromedia.com) and National Archive Publishing Company, Ann Arbor, Michigan (www.napubco.com).

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Inside

Why not... Let’s hear it for the innovator – the designer or architect who at some point during the process poses the question “Instead of x, why not y?” In this issue, we salute three such individuals: Michael Shugarman, principal of Calgary’s Shugarman Architecture + Design; Tara Marshall, intern architect with Calgary’s McKinley Burkart; and Joanne Gates of Vancouver architectural firm Gates_Suter. Up first, Michael Shugarman, tasked with transforming a 1960s apartment building in Saskatoon into an upscale boutique apartment-hotel. Instead of going dark and deluxe (the hallmark of many a prairie hotel), he reasoned, why not let in the light and clean lines of the landscape? Writes associate editor Leslie C. Smith, “Shugarman has stressed a muted colour palette reflective of the surrounding landscape: wheat and earth to the horizon, then an azure canopy that can, at the same time, be darkened with thunder clouds over here, white and billowy cumuli over there.” You can check into the James Hotel on page 23 (“Land & sky”). Next up, Tara Marshall, working with salon owners to bring their concept of Calgary’s first-ever blow-dry bar to life. Instead of bowing to convention, Marshall reflected, why not create a space that is more like a friend’s quirky apartment than a salon? Elements she incorporated to achieve this effect, writes Gail Jansen-Kesslar, “include an eclectic assortment of artwork and accessories, along with floor lamps and big chandeliers.” Get a taste of Butter Beauty Parlour on page 26 (“Come into my parlour”). Finally, Joanne Gates, challenged to flesh out her clients’ vision of a light and airy spa – in a subterranean Vancouver locale. Instead of lightening and brightening here and there, she thought, why not go whole hog and trick the eye into thinking the spa is above ground, under a sunny sky? Jansen-Kesslar shines a light on Gates’s extraordinary alchemy: Sitka Physio & Wellness does indeed seem to breathe in the open air (“Let in the light,” page 28). Instead of taking my word for it, why not dive right in and see for yourself? c I Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

NOV./DEC. Ontario’s best “’Twas the night before IIDEX / At Liberty Grand / We gathered to give / All the winners a hand.” The winners of the annual ARIDO Awards, that is, and what a festive occasion it turned out to be, with the fitting theme of “The Future is Bright.” As always, the Association of Registered Interior Designers of Ontario gives good gala: the decor was dandy, the food fab, the presentation punchy. The ARIDO Awards recognize excellence, innovation and creativity in the province’s interior design industry. Total awards this year number 22: Project of the Year; two Awards of Excellence; 18 Awards of Merit; and one Award of Merit + Award of Merit: Sustainable Design. The big winner of the evening was Johnson Chou, of the eponymous Toronto firm, for his project Sixty Colborne, a condominium presentation centre kitty-corner to downtown Toronto’s St. James Cathedral. Chou designed a modern white box framing north and east city views. By day, the glass walls invite passersby to peek into the tranquil space; at night, the walls become reflective screens for projection of proposed development. “ARIDO members consistently defy expectations, creating groundbreaking, world-class projects,” says ARIDO president Sue Bennett. “There are dozens of marketing centres built in Ontario every year, but Sixty Colborne stands

out from the crowd. It is a true creative expression.” Toronto-based Figure3 had a remarkable evening, winning four awards in total: an Award of Excellence for its bold and bright Telus, Generation 2 Store in Laval, Que.; an Award of Merit + Award of Merit: Sustainable Design for its state-of-the-art Nova Scotia Power workplace on Halifax’s waterfront; and Awards of Merit for Telus Small Business Store and Quartz/Spectra Model Suite. The other Award of Excellence went to Toronto-based MacLennan Jaunkalns Miller Architects for its pristine, arctic-themed Polar Securities Office Renovation in Toronto’s financial district. “ARIDO congratulates all the award winners,” says Bennett. “Their talent and commitment to design excellence strengthen ARIDO’s position as the guardian of the highest standards for interior design in Ontario.” To view the full list of winners, visit arido.ca and click on Awards. To see photos taken at the special gala celebration, turn to Who’s Who on page 42. Clockwise from top Sixty Colborne, a condo presentation centre in Toronto by Johnson Chou, named Project of the Year; Polar Securities Office Renovation in Toronto, by MacLennan Jaunkalns Miller Architects (Award of Excellence); Telus, Generation 2 Store in Laval, Que., by Figure 3 (Award of Excellence); Nova Scotia Power, a workplace in Halifax by Figure3 (Award of Merit + Award of Merit: Sustainable Design).

14 CANADIAN INTERIORS November/December 2012

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What’s Up

B.C.’s best At the end of September, a happy throng of 300 attended the 29th annual Interior Designers Institute of British Columbia’s Awards of Excellence. Guests were treated to an evening of networking, laughs, eye candy (including images of the interior design projects nominated for awards) and taste delights catered by the Vancouver Convention Centre. Local jazz band Mimosa provided the entertainment. IDIBC holds the annual event to celebrate excellence in interior design and promote its members throughout the province. Total awards this year number 20: Best in Show; five Awards of Excellence; 12 Awards of Merit; and two Awards of Merit, Sustainability. The big winner of the evening was Box Interior Design Inc., which took home three awards: Best in Show and an Award of Excellence for MJ Jewellers, a sumptuous, jewel box of a space, giving new life to a long-established private jewellery store; and an Award of Excellence for Black & Blue Restaurant, a modern steakhouse referencing the forms and traditions of the past. Winners of the three other Awards of Excellence: Sarah Gallop Design, for Waterfront Hideaway (which also won an Award of Merit, Sustainability), a modern residence nestled into a cliff of a relatively undeveloped island; Mitchell Freedland Design, for Mountain Penthouse, a redesign with a contemporary edge; and Perkins+Will Canada Architects, for Cobalt Office Interiors (which also won an Award of Merit, Sustainability), a light and airy workplace. To view the full list of winners, visit idibc.org and click on Awards.

Clockwise from top MJ Jewellers, by Box Interior Design (Best in Show + Award of Excellence); Waterfront Hideaway, by Sarah Gallop (Award of Excellence + Award of Merit, Sustainability); Cobalt Office Interiors, by Perkins+Will Canada (Award of Excellence + Award of Merit, Sustainability); Black & Blue Restaurant, by Box Interior Design (Award of Excellence); Mountain Penthouse, by Mitchell Freedland (Award of Excellence).

16 CANADIAN INTERIORS November/December 2012

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Show Biz

Crowd pleaser

A re-energized IIDEX Canada delivers the goods. —By Leslie C. Smith You could feel it in the air – a steady hum of anticipation and excitement – after stepping through the doors of the Direct Energy Centre on the morning of Sept. 20. For here was a brand-new IIDEX Canada, thanks in part to the involvement of Architecture Canada|RAIC, presenting the show, for the first time, with IDS (Interior Designers of Canada). It soon became clear that the country’s National Design + Architecture Exposition & Conference had got its mojo back. (A week later, the numbers spoke of IIDEX’s success: attendance was up, with 15,500 visitors over two days.) Taking my cue from the cover of IIDEX Canada’s 2012 Official Show Guide, I spent the better part of the show’s first day casing 350 architecture and design exhibits in search of the “new/now/never before.” Following are a half-dozen of my favourites.

MAGIC CARPETS I was prepared to like the rugs at W Studio’s booth, if only because the Toronto-based carpet-design gallery scored a Gold and three Bronze Innovation awards. The Gold winner was created by German designer Jan Kath; called The Joker for its playing-card motif in one corner, the black-and-white area rug is seemingly a blown-up collage of degraded filmstrips and other ephemera. Very cool, but it was another work by Kath that intrigued me the most: a traditional Turkish carpet scribbled all over with ivory silk hand knotting. Kath patterned his abstract scrawl by tracing the trajectory of a soccer ball during a 90-minute match. Known only as No. 27023 in the catalogue, I privately dubbed the rug “Turkish Delight.” wstudio.ca

18 CANADIAN INTERIORS November/December 2012

Photo (top) by Yianni Tong

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4—A CANDELA IN THE WIND Not a product, per se, but an annual showcase for artists and designers from the greater Ottawa area tasked with exploring electric light as a creative medium, the Candela exhibit this year anchored IIDEX’s Light Canada Expo. My favourite offering is Flitz, a conversation-piece lamp by Montrealer Daniel Harding. Crafted in curves of laminated plywood and aluminum, its upper portion a recycled wing rib from a Bombardier Challenger jet, this lamp’s sleek, intrinsically aerodynamic shape appears poised to turn any desk into a vintage Duesenberg.

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Western Comfort What’s Up

To transform a ’60s apartment building in Saskatoon into the upscale James Hotel, Calgary-based architect/designer Michael Shugarman looked to the light and landscape of the prairie. —By Leslie C. Smith Photography by Gleb Gomberg / Ovatio

I wish I had a river The reception desk is a plain, oblong slab of onyx, horizontally striated like the riverbank outside. Shugarman himself created the large mural at left; its jagged chunks of blue, green, grey and white represent “large sheets of ice floating down the river.”

November/December 2012 CANADIAN INTERIORS 23

If, in the past, Midwestern Canada had reason to complain of being ignored by the rest of Canada and particularly the fat cats back east, the issue has neatly resolved itself. Thanks to a super-abundance of natural materials – oil, gas and potash – the area is white-hot. Businesspeople of all stripes are now flocking to the prairies like a massive gaggle of Canada geese descending on Diefenbaker Lake in the springtime. Once there, new investors and entrepreneurs can experience culture shock. Such friendly people! A landscape so alien and unremittingly immense! The hotels so (we hate to be insufferably superior but) stuffy and old-fashioned! Enter Michael

Shugarman, the born-andraised prairie boy who heads up Calgary’s Shugarman Architecture + Design. His most recent project, retrofitting a 10-storey, 1960s vintage apartment building in Saskatoon and turning it into an upscale boutique apartmenthotel, addressed all three cultural concerns in a single swipe. Shugarman felt the city offered no accommodations with “an elegant, luxurious, yet contemporary feel.” Traditional CP-style hotels in the region still tend towards the type of dark, deluxe dressings that were in vogue among the Victorians. Saskatoon’s new James Hotel, however, features clean lines and a lightened palette, presenting a refreshing

24 CANADIAN INTERIORS November/December 2012

face to visitors used to the modern vernacular. Even more important, both for out-of-towners and city dwellers that make their home at the hotel or utilize its publicly accessed areas, is the sense of being welcome. As Shugarman puts it: “One of the things that the West has is a very inclusive sense of living. In many parts of the world, luxury is exclusive – we wanted luxury that was inclusive. I think the best thing about the James is that it’s like a relaxed, inviting club that anyone can join.” Situated in the heart of the city, right on the banks of the South Saskatoon River, the hotel also offered the designer a chance to showcase the region’s idiosyncratic artistry,

one based (as so much Canadian art is) on the allure of the landscape. An artist himself, the Edmonton-born Shugarman has made a personal study of the prairie aesthetic, and has attempted to relate it to his choices for the hotel’s interiors. “There’s a quality of light that is very different here,” he says. “The dryness of the air makes the light sharper and it casts stronger shadows.” The light itself is given shape by these shadows, in much the same way as a strong spotlight becomes more noticeable when creating dramatic shadow play against a stage flat. Then too, “the flatness of the landscape really sets any object out and apart. There’s such strong

Shadows and light Throughout the hotel, Shugarman has stressed a muted colour palette: soft gold and brown, pale blue and grey, punctuated with strong patches of white. A group of tall, thin louvers marks the lobby’s division from the lounge (above left and above right) and bar (opposite); mimicking the strong llght and shadows of the Midwest, they present two faces: dark walnut contrasting with white lacquer. An onyx rectangle forms the large fireplace, echoing the

horizontals and, when they’re there at all, strong verticals. A barn or grain elevator looks almost like a child would draw it, delineated in very simple terms.” And so the hotel lobby features wooden wall panelling of sparse detail, save for the vertical grain that runs floor to ceiling. The reception desk is a plain, oblong slab of onyx, horizontally striated like the riverbank itself outside. Another onyx rectangle (and stylized reference to the South Saskatoon) forms the lounge fireplace, where a low gas flame is underlined by a smooth row of river stones. And marking the lobby’s division from the main-floor lounge and bar is a grouping of tall, thin louvers that

present two faces: the shadow of dark walnut contrasting with the light of white lacquer. Throughout the hotel, Shugarman has stressed a muted colour palette (soft gold and brown, pale blue and grey, punctuated with strong patches of white) reflective of the surrounding landscape: wheat and earth to the horizon, then an amazing azure canopy that can, at the same time, be darkened with thunderclouds over here, white with billowy cumuli over there. Even his choice of local artwork dotting the hallways and guest rooms features the same chromatic scheme. The pieces also reference Saskatchewan artists’ mid-20th-century love affair with abstraction, as typified by the Emma Lake

Workshops and the Regina Five. Shugarman himself, inspired by Marion Nicoll’s paintings from the ’50s and ’60s, created the huge, 45-by-8foot mural that stretches down one wall of the lobby and wraps around into the bar. The work’s jagged chunks of blue, green, grey and white represent “large sheets of ice floating down the river, colliding with each other, catching the winter light.” He designed the hotel furnishings too, which were produced by local manufacturers. The James’s 59 rooms and single penthouse come qualityequipped with couches covered in mohair, butternut armchairs and solid walnut wall units. Shugarman is perhaps proudest of the way these

reception desk. In the guest bedrooms (such as the one at left), local artwork was specifically selected to blend in with the “prairie in early twilight” colour scheme.

rooms manage to express the mood of early evening light on the prairies: “There’s a beautiful, mellow softness that goes from very blue to gorgeous sunset to steely grey twilight, especially in the wintertime. For the bedrooms in particular, I wanted guests to feel enveloped, wrapped up in this soft grey evening sky.” c I

November/December 2012 CANADIAN INTERIORS 25

Western Comfort

At Calgary’s Butter Beauty Parlour – more like a friend’s quirky apartment than a salon – clients can really let their hair down. —By Gail Jansen-Kesslar

Beurre noir Most of the furnishings in Butter were custom designed and manufactured, from hair-washing stations (opposite top) and manicure station (opposite bottom) to footbaths (inset). The Kenya black marble from which the footbaths are made is repeated in the large reception desk (above). Walls, bases, casings, doors and millwork are all painted dark charcoal, providing a neutral backdrop 26 CANADIAN INTERIORS November/December 2012

to better display an eclectic collection of furniture, accessories and art. The painting above the reception desk, entitled L-RAD, is by Franco DeFrancesca; the custom lit Venice Marquee was constructed by Calgary lighting design company Christiaan+Planck.

Photography by Justin Poulsen

For Tara Marshall, an intern architect and designer with Calgary’s McKinley Burkart, working with well-known salon owners Jereme Bokitch and Michelle Mayne to bring their concept of Calgary’s first ever blow-dry bar to life was a welcome challenge. Though pleased with the architectural and minimal designs of their full-service Hedkandi salons, Bokitch and Mayne wanted Butter Beauty Parlour – devoted to blowouts, conditioning and styling – to have a lusher, more feminine feel that would speak to its target demographic: a wellrounded woman whose interests include beauty, fashion, entertainment and travel. “One of the main driving factors was the concept of the parlour itself,” explains Marshall. “We thought back to beauty parlours of the past and what they meant to the women who frequented them: a place where women would go and sit for a long time with their rollers in, and where they could talk to each other about what was going on. But we didn’t want it to feel so much as a hair salon as we wanted it to feel like a beautiful apartment that they might go to: a friend’s apartment where they could go and step outside of their life for a little bit to just focus on themselves.” Elements Marshall incorporated to achieve this vision include an eclectic assortment of artwork and accessories scattered throughout the space, along with freestanding floor lamps, big chandeliers and hanging pendant lights that could meet the needs of stylists. She also incorporated Bokitch’s own idea of using round tables adorned with low tabletop mirrors, which would allow clients to see one another, have their hair done and still engage in conversations – as at a dining-room table. Other key conversational

areas were created without the use of “typical” salon furnishings – from pedicure stations where clients could sit on luxurious looking vinyl sofas (accented with lush textured throw cushions) inspired by fashion, to custom marble footbaths and hair-washing stations far removed from the sterility of traditional salon equipment. “Trying to avoid using actual salon furniture was probably the biggest challenge for me,” says Marshall. “Salon furniture has very specific mechanical characteristics and there’s not a broad option out there, especially when you’re trying to find things that have cultural, historical or eclectic characteristics. That is why we ended up having to design and custom make almost 90 per cent of the furnishings” (from

the salon’s soft-seating areas to all of the larger table pieces, station chairs and foot baths). Inspired by its predominantly female clientele, the style of Butter Beauty Parlour is as active, vibrant and diverse as its Mission District neighbourhood, with a wideranging eclecticism specifically incorporated to appeal to an equally wide range of women. “We’re very influenced by lifestyle,” says Marshall. “So for me a big part of the design process was to really focus in on who the clientele would be and to appeal to their interests by creating a space they would aspire to go to.” A place, says Marshall, where women can disconnect from their lives and reconnect with other women. Just like the beauty parlours of old. c I

November/December 2012 CANADIAN INTERIORS 27

Western Comfort

Despite its subterranean locale (in the basement of the Fairmont Hotel Vancouver), Sitka Physio & Wellness seems to breathe in the open air. —By Gail Jansen-Kesslar

28 CANADIAN INTERIORS November/December 2012

The owners of Sitka Physio & Wellness had a clear vision for the 1,400 square feet of space they’d leased in the basement of the Fairmont Hotel Vancouver. Along with a West Coast feel, they wanted a space that would be light and airy, despite its subterranean locale. The challenge for the architects at Vancouver’s Gates_Suter was to realize that vision without access to any natural sources of light. The key to the design, says architect Joanne Gates, was to find a way to fool the mind’s eye into thinking the

space had a natural sky-lit feel. Choosing not to close in the ceilings, Gates and company were then faced with a suspended tangle of service wires, ducts and sprinkler systems. Using a white palette, Gates says the first step was to paint out all of the services and wires as a way of evoking a soft white light that would make the space calm and serene. Next, the team looked to white perforated-metal screens, pre-painted with a durable factory finish, as a way of covering up the ser-

Photography by Shane O’Neill

Spruced up Throughout Sitka, the ceiling serves as a light reflector/fixture, while also concealing wires, ducts and sprinklers; corrugated, perforated-metal panels with fluorescent uplights at the edges softly gather and bounce light. An image of the Sitka tree – a large spruce found in coastal forests – is cut into the textured light/ shadow wall behind the reception desk and etched into glass walls. Engineered oak flooring was chosen for its lightness and durability. Apple-walls add “a sort of fresh calmness to the space.”

vices, while still allowing the light to flow through, making the space seem much loftier than it is in reality. Wood and glass elements were used as counterpoints to the starkness of white. Wanting to refrain from a “woodsy” look, and to keep the design fresh, Gates used oak veneer millwork for the reception desk and cupboards, and an engineered oak floor throughout, for both its lightness and its durability. Like bamboo, says Gates, oak gives a softer edge than regular hardwood. With apple-green

coloured walls, the space took on an earthy feel while still avoiding a traditional forest look. “We went through many greens to get the right one,” says Gates. “And again, it was so there’d be a sort of fresh calmness to the space.” Glass walls etched with an image of the Sitka tree (a large spruce found in coastal forests), along with a seamless mirrored wall on the far side of the large gym, add to the light and spacious atmosphere. “It was quite remarkable how the mirrors and glass worked

together in the big space,” says Gates. “We knew they would amplify the light. We didn’t really expect how much they would multiply the space.” Lighting became the final piece of the puzzle. Using fluorescents with fixtures than could be retrofitted to LED’s, Gates also experimented with soft T8 bulbs aimed upwards, until she was able to achieve the diffused light she desired. “Ultimately this project has given us a lot more confidence in terms of knowing that we can achieve a quality light

effect even without natural light,” says Gates. “And the end result really does feel as spacious as we had hoped.” To those faced with a similar design dilemma, Gates’ advice is to simply follow your gut: “For us, we were quite blessed with a client who trusted us. Not every client would want perforated metal on their ceiling. We simply went with our instincts and weren’t afraid to experiment.” c I

November/December 2012 CANADIAN INTERIORS 29

The exhibitors at Outdoor_ Indoor – a show-with-in-a-show at Maison & Objet – couldn’t have asked for better weather: hot, sunny and mid-summery, in mid-September, no less. Those of us taking a break from covering the show were drawn to an oasis of outdoor furniture outside Hall 8, O_I’s home. (Where better to test drive the latest chaise longue or armchair?) There we basked in the sun, thumbed through the press kits we’d just gathered and – sampling white peach Häagen-Dazs, or sipping Veuve Clicquot (served from a converted Airstream trailer) – felt glad to be alive. At least I know I did. Outdoor_Indoor shared Hall 8 with another show-within-ashow: now! design à vivre, dedicated to the work of “the next generation of designers.” For the second year in a row, it also had an offsite element, called now! le off. It took place at Les Docks: Cité de la Mode et du Design: a very cool concrete structure, with a skin of steel and etched glass, on the banks of the Seine. Now! le off is part of Paris Design Week, initiated last year to support and embellish Maison & Objet, the long-running jewel in its crown. Design Week turns the entire city into one big design lab; the 2012 edition encompassed more than 180 shows and exhibits throughout the city – in design and art galleries, stores and agencies, cultural institutions, hotels and restaurants. Any week in Paris is a good week. But with the sun blazing away in a blue, blue sky; the Jardin des Plantes, Jardin du Luxembourg and Jardin des Tulieries in full bloom; and design to be discovered all over town – well, Paris Design Week 2012 was a real sizzler.

Paris when it sizzles Hot outside, hot inside, at Maison & Objet. —By Michael Totzke

THREE FROM FERMOB French firm Fermob was the hit of Outdoor_Indoor, with a dozen introductions. My three favorites (from top): the first rocking chair in the Luxembourg range, made of aluminum tube and slats, from Design Frédéric Sofia (available in 24 colours); a reinvention of the iconic low armchair in the Luxembourg range, with an aluminum frame and a seat made of flexible polymer (a footrest is also available), in two-tone colours to be confirmed; and the two-tone Ultra Sofa, incorporating the frame and seat in a single piece of waterproof fabric, also from Design Frédéric Sofia. fermbob.com

NOVEMBER/DECEMBER 2012 CANADIAN INTERIORS 31

Who’s Who

PAPER POWER All products from Japan’s Cuiora – with design by Takumi Shimamura of Qurz Inc. – are made from twisted pieces of 100-per-cent-recycled paper, glued together to make a flat band. The collection includes a bowl, multi-use pot, cushion and two types of lamps. My favourite is a stool with strong, durable bands, in six fresh colour combinations. cuiora.com

NOW! DESIGN À VIVRE

A GOOD YARN From Berlin-based llot lov comes Matt, a “knitted light” – actually a lighting element that can be hung as a single piece, knotted in a group, or set on a hook on the wall. Three different yarns – angora, merino wool and cotton – are available in several colours. llotlov.de

CRAFTY Friis & Black (a.k.a. Lishet Friis and Uffe Black) is the design firm behind Wallpapered, a table of ash wood and plywood with a printed graphic pattern. A reinterpretation of the paperhanger’s trestle, it’s easy to set up and to fold away after using. Part of the Danish Craft collection, a curated selection of contemporary Danish craft and design for the international market. lisbetfriis.dk

THREE EASY PIECES Based in Denmark, Design Nation works closely with designers who are masters of their trade and craft. One such creature is Søren Ulrik Petersen, whose Lambda Table is simplicity itself: two stained black ash trestles and a top of solid wood. design-nation.tk

PLEASINGLY PLUMP Netherlands company Soonsalon characterizes Madam Rubens – a whimsical collection of stools with foam – as “a plump but sophisticated lady.” Designed by Frank Willems, and made of foam, wood and PU coating, Madam R comes in five models. soonsalon.com

32 CANADIAN INTERIORS NOVEMBER/DECEMBER 2012

NIGHT & DAY A Red Dot design award winner, Revolve transforms from sofa to bed with a single-movement rotation of the backrest. Genius. In the upright position, the backrest and rear part of the seat unite in a single U-shaped volume embracing the seat; a specially fabricated hinge effects the transformation. Designed by Croatian team Ivana Borovnjak and Roberta Bratovic for Numen/ForUse. numen.eu

ROUGH WITH THE SMOOTH Nathalie and Patrick Cassagne are the French designers behind FIVA (which stands for Fabricant d’Inclusions en Verre Acrylique). Their latest project is a series of acrylic pieces: Bench of Feathers, Bench of Nails and (shown) Bench of Straw. fiva.com

NOW! LE OFF

COLOUR & LIGHT Echo, from France’s Iridescence, is an iridescent table lamp made of acrylic glass and brushed aluminum. As the observer’s position changes, so too does the colour of the lamp. iridescence-light.com

NOVEMBER/DECEMBER 2012 CANADIAN INTERIORS 33

PAST & FUTURE Ingrid Michel and Frédéric Pain are the designers behind Binôme, specializing in outdoor furniture with a primitive yet space-age feel: think The Flintstones meet The Jetsons. Case in point is Fantôme, a chaise longue made of resin, fiberglass, lacquer, oak and robinia. binomedesign.com

OUTDOOR_ INDOOR

TWO FROM EMU Italian company Emu introduced several pieces, including these two knockouts. Snooze (left) is a reinterpretation of Emu bestseller Siesta, a relaxing armchair designed in 1980; it’s available in a wide variety of colourful, highly resistant technical cloth. The MIA collection (right), designed by French architect Jean Nouvel, is easily adapted to both indoor and outdoor settings; it comprises stackable chairs (with or without armrests), high bar stools and two tables (one round, one square), with a sheet-metal foldable top. MIA is available in red, white, grey and black. emu.it

OPEN & SHUT Portland, Oregon–based Snow Peak specializes in equipment, lighting and supplies for climbing, hiking and camping. The Garden Take Chair Bamboo is a shorter version of the comfortable and portable bestseller. Its combination of laminated bamboo and stainless-steel framework allows for easy folding and carrying. snowpeak.com

34 CANADIAN INTERIORS NOVEMBER/DECEMBER 2012

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Nove dades Economic cycles affect trade fairs, too, as was evident at Feria Hábitat Valencia 2012, where the number of companies exhibiting was down significantly compared to previous years. But to only report on attendance and other results misses the most important point: that Spanish design is as vibrant and fresh as ever.

—By Peter Sobchak

1–WE START AS SEEDS Like trees, children grow; Menut Estudio conveys this simple truism in the new Grou clothing hanger for children. Both playful and functional, its hooks can be moved and placed along the rails distributed throughout the treetop as kids get bigger. menut.es 2-FLOATING WITH KARIM Sancal debuted four new products in a mini-collection called Flash. As good as the Party chair by Luis Eslava, Copla sofa by Rafa García, and Nudo tables by Juan Ibáñez Lax are, the obvious star is Float (shown), a seating idea for public spaces hatched from the brain of Karim Rashid. In his own words: “This slim floating seat with incorporated back wall provides complete privacy in open spaces, to rest back on, hang one’s scarf or coat on or simply wait in the secluded area given by its high back.” sancal.com

November/December 2012 CANADIAN INTERIORS 39

1-HEAD HONCHO ADAN (shown) and EVA – giant, surreal architecture sculptures designed by Teresa Sapey – have multiple uses beyond the obvious vases, such as seats, flower pots, auxiliary tables, and even lighting pieces. Manufactured by Valencia-based Vondom, they are built from linear low-density polyethylene (waterproof and resistant to extreme temperatures) and using the technique of rotational molding, these pieces are suitable for both indoor and outdoor use. vondom.com 2-NO SMALL PRINT HERE Designer Carmen Bayarri presented a collection of furniture pieces that share a 40 CANADIAN INTERIORS November/December 2012

common inspiration: her attraction to objects connected with writing. The most striking is the Tipos table, which was inspired by the metal plates of a printing press. While the piece is composed of two easels made of carved mobila wood and a steel or aluminum plate, its ethereal quality comes from the puzzling interplay of light and shadow. carmenbayarri.com 3-WRITING’S THE THING Much like its namesake, Ernest is a writing desk that evokes a quietness and steadiness, and creates an orderly workspace where maybe the next great novel will come from. The desktop has a delicate niche accessible by an operable flap door, perfect

for storing a tablet, laptop, pencils, paper or desktop mementos. Designed by Borja García for Punt, the desk is made of oak and walnut, and the back legs have slots for running wires, which are held, in a space under the desktop. puntmobles.com 4-DON’T SIT QUIETLY Spanish sofa manufacturer Pedro Ortiz may not have received the memo that says living rooms are meant to be the comfort zone of the house, a quiet space where families are supposed to decompress, because its new Life sectional sofa doesn’t look like something you’d want to sit quietly on. pedroortiz.com

Who’s Who

5-HELP ME, RONDA Simple and surprisingly comfortable, the New Ronda armchairs designed by Lievore Altherr Molina for Andreu World are composed of an oak structure or upholstered with flexible foam, and available with a diverse option of steel bases (four legs, sled and a central base with legs or with wheels) or beech wood, and is equally appropriate in the home or around a conference table. andreuworld.com 6-BACK TO THE NUDE No stranger to the NUDE portion of Feria Hábitat Valencia, Ramón Arnau of ASDFGH Estudio Creativo was again a standout in this year’s crop of young

designers. His slim and lightweight Box Sofa, for example, represents his selfdescribed “sybarite povera” ethos (loosely translated as a poor man addicted to luxury and pleasures of the senses), with “poor” materials of recycled wood art and traditional fabric cushions fashioned into something still witty, aesthetically functional and without pretensions. ramonarnau.es

7-THE GREATEST (FLOOR) SHOW Circus is a new braided rug by Naturtex and, as the name implies, is not only inspired by the zany energy of a traditional circus but wants to bring that carefree vigour into your home. Designed in coop-

eration with German textile designer Felix Diener, Circus is part of the company’s Fun group of rugs, and made of polyurethane and cotton braids. naturtex.es 8-WOOD TOUCHED BY LIGHT The Spiro suspension lamp, designed for LZF by designer Remedios Simón, is a hypnotic new 3-D handmade structure that takes its inspiration from classic ornamental latticework. Made using a new Polywood moulding process, the outer screen is available in four finishes and the interior is available in eight different wood veneer finishes. lzf-lamps.com

November/December 2012 CANADIAN INTERIORS 41

Who’s Who

DX À DEUX The Design Exchange kicked off its new season with simultaneous openings of exhibitions upstairs (Vertical Urban Factory) and downstairs (Considering the Quake: Seismic Design on the Edge).

Tonight’s the night —Text and photos by David Lasker

1—William Luu of M&P Associates accountants; social-media consultant Marie Roberge; Josh Higgens, executive assistant at ad agency Grey Canada, with friend Charles Swen. 2—Jano Badovinac, creative director and managing partner at design firm Fugitive Glue; Ryan Thomas, designer partner at Playground Inc.; and fashion designer Dylan Usher, creative director at Dylaniumknits. 3—Brigitte Shim of Shim Sutcliffe Architects, who helped instigate the Vertical Urban Factory exhibit; its curator, Nina Rappoport, publications director at the Yale School of Architecture; and her curatorial assistant, Sonia Ramundi, who just graduated from U of T School of Architecture. 4—Alison Garwood-Jones, journalist daughter of the late Hamilton architect, Trevor; architectural photographer Janet Kimber; and designer Richard Brown, with his own firm, Design Elements.

GLOBAL AT THE GARDINER Taking its cue from the in-progress Toronto International Film Festival, Global hosted its own bit of glitz, the Red Carpet Gala, to launch products in its upper-end lineup, the Global A+D Portfolio. It took place at the swanky, KPMB-designed Gardiner Museum – just across the street from the Royal Ontario Museum – with a glittering cast of over 300 architects and designers. 1—Ready for their close-up, Mr. DeMille, are Global design team members Paul Chang, Giselle Albright, Amy Zhang, Eva Ng, Gustavo Cadar, Paul Kijewski and design VP Mark Campbell. 2—Freeman and Freeman Design’s Daniel Long, interior designer, and Gloria Freeman, partner; Matt Simpson, senior associate; and interior designers Colleen Mullal and Nawleen Kaur; with Megan Husk, interior designer at dePM. 3—Cooper-Slipper Design’s interior designer Jane Juranek and graphic designer Jessica Cooper-Slipper, with X-Design’s interior designer Dianne Erwin-Nurse and project consultant Francine Smith. 4—Global’s Ray Townsley, senior VP, government affairs and strategic markets, confers with Saul Feldberg, founder and chairman.

2 1

42 CANADIAN INTERIORS November/December 2012

ARIDO AWARDS GALA Leaves flutter and turn brown in october, but for the design community, fall cometh a month early in the guise of that annual prelude to IIDeX Canada, the ArIDo Awards ceremony and dinner, held in the beaux Arts vastness of the Liberty Grand at exhibition Place.

1 3

1—Liberty Grand party palace in action. 2—Nihan bazak, senior designer, Zas Architects + Interiors; architect rig mugford, integrated designer, Zeidler Partnership Architects; Zas principal ella mamiche; and Zeidler intermediate interior designer Andrew Sun. 3—Figure3 partners Chris Wright, Allan Guinan and Carol Hughes. 4—The Perkins+Will project team for the award-winning TevA Cafeteria: Joanne D’Silva, designer; Jan-Willem Gritters, associate; Kristal Stevenot, architectural technician; Steve Ploeger, principal; michelle Sta Ana, interior designer; Alex mulholland and Ashley mcKay, architectural technicians. 5—Johnson Chou Design won Project of the Year for its Sixty Colborne condo presentation centre, located across the street from St. James Cathedral, for Freed Developments. Freed’s Sandra Frasson, vP sales and marketing, and Daniel Glassberg, development manager; Johnson Chou and his senior associate, Silke Stadtmueller, and Freed senior designer Tracy Kerr.

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Last Word

So simple In praise of Punkt. —By Michael Totzke

Clockwise from top ES 01, DP 01, AC 01.

44 CANADIAN INTERIORS November/December 2012

I consider myself part of the Punkt. movement. I first fell for the international design company at the January 2011 edition of Maison & Objet in Paris, with the introduction of its very first product, DP 01. I became a true convert at the September 2012 edition of Maison & Objet, with the introduction of its third product, ES 01. I applauded, from afar, the introduction of product number two, AC 01, during the April 2011 edition of I Saloni in Milan. To translate: DP = DECT analog phone; ES = extension socket; AC = alarm clock. And the 01? That stands for the Switzerland-based company’s design philosophy of “one device, one function.” Founded in 2008 by Petter Neby, Punkt. works with an in-house team of professionals and the world’s leading engineering firms. On board as art director is famed British industrial designer Jasper Morrison, who designed both DP 01 and AC 01; ES 01 was created by young, Barcelonabased Columbian designer George Moanack under Morrison’s direction. Punkt.’s core values are “function, design and simplicity.” Further: “As companies add increasing numbers of features to their products, we went back to basics. What do people really need? Products built to do a job, and do that job well.” To wit: DP 01 is made for one thing and one thing only – to make and receive phone calls; AC 01 wakes you up in the morning; ES 01 provides a convergence for all your cables and plugs (no matter what country you live in). All work straight out of the box: no instructions necessary. All feature impeccably clean lines and sharp visual concepts. All are iconic. Punkt. is also a deeply ethical concern. It’s committed to defending human rights in all aspects of its business; selecting suppliers with a proven environmental track record; and ensuring its products are built to last in a world of overproduction of rapidly obsolete consumer goods. In 2011, it launched its first charity campaign, Punkt. for Japan: Still Time to Help (100 per cent of the profits from the sale of a limited-edition AC 01, designed by Morrison to represent the Japanese flag, go to Habitat for Humanity for reconstruction work in Japan). It’s simple, really. What’s not to like? c

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PARIS CAPITALE DE LA CREATION

the ones to watch La relève à surveiller By / Par Rachael Factor

Left to right: Merissa Robertson, Joseph Persia, Maria Drugoveiko, Jennifer Nicevski, Michelle van Zetten

IDC recognizes Canada’s top emerging interior design professionals

Les DIC reconnaissent les professionnels du design d’intérieur en devenir.

IDC’s second annual Top 5 Under 5 Awards highlights the talent of Canada’s top emerging interior design professionals. The awards recognize five winners who are in the first five years of their careers, as selected by a panel of experienced interior designers. Presented in partnership with Knoll and Interface, this awards program is now in its second year. Entries are accepted from IDC’s Intern/Provisional members across the country – practitioners who have graduated from an accredited interior design program, and are gaining supervised work experience before writing their qualifying exams. Judges Suzanne Campbell (ON), Victoria Horobin (ON), Karen Lutz (BC), Carol Jones (BC) and Heather Robertson-Corrigan (NS) selected the winners based on recommendations from the applicants’ supervisors as well as their creative solutions to a design challenge. This year’s design challenge, From Gas Station to Work Station, had applicants repurpose abandoned gas stations into hubs that cater to today’s mobile, high-tech worker. “Repurposing old or abandoned buildings can help preserve our architectural heritage by finding new practical functions for under-used spaces,” says judge Suzanne Campbell. “As interior designers, we are increasingly called upon to make something new out of something old. The winning projects do an excellent job of responding to the needs of today’s workers while respecting the original space.” “These five winners are the ones to watch,” says fellow judge Victoria Horobin. “They are the top of their class in ingenuity and creativity. In addition, they all came highly recommended by well-respected professionals in the industry.” The Top 5 Under 5 received a trip to IIDEX Canada in Toronto, where they were each presented with a specially commissioned sculpture by Canadian artist Tim Forbes.

La deuxième année du concours Top 5 Under 5 Awards rend hommage aux talents des professionnels du design d’intérieur en devenir. Ces prix sont offerts à 5 gagnants dans les 5 premières années de leur carrière. Ces gagnants ont été sélectionnés par un jury composé de designers d’intérieur experts. Le programme de prix est dans sa deuxième année et est présenté conjointement par les compagnies Knoll et Interface. Les candidatures acceptées sont celles de membres stagiaires ou provisoires de partout au pays : des praticiens qui ont gradué dans un programme de design d’intérieur et qui accumulent les expériences de travail supervisé avant de compléter les examens de qualification. Les juges Suzanne Campbell (ON), Victoria Horobin (ON), Karen Lutz (C-B), Carol Jones (C-B) and Heather Robertson-Corrigan (N-É) ont choisi les gagnants selon les recommandations fournies par les superviseurs des candidats et en évaluant la créativité des solutions de design soumises dans l’exercice du défi du design à résoudre. Cette année, le défi de design à résoudre était From Gas Station to Work Station. Les candidats devaient réinventer des stations d’essence abandonnées et les transformer en lieux de travail pour les employés mobiles et branchés du monde d’aujourd’hui. Suzanne Campbell, membre du jury, affirme : «Réinventer de vieux bâtiments abandonnés peut aider à la préservation de notre héritage architectural en trouvant de nouvelles fonctions pratiques pour des espaces sous-utilisés. En tant que designer d’intérieur, nous sommes plus que jamais appelés à créer du nouveau avec des choses anciennes. Les projets gagnants se sont avérés excellents dans leur manière de satisfaire aux besoins des employés d’aujourd’hui, tout en respectant l’espace d’origine.» La juge Victoria Horobin précise : «Ces cinq récipiendaires seront à surveiller. Ils sont les meilleurs de leur classe, autant par leur ingéniosité que par leur créativité. De plus, ils avaient obtenu les recommandations les plus élevées de professionnels parmi les plus respectés de l’industrie.» Les gagnants du concours Top 5 Under 5 ont eu le privilège de voyager vers Toronto pour assister à IIDEX Canada, où ils ont été présentés au public. Ils ont aussi reçu une sculpture de Tom Forbes, un de nos artistes canadiens.

idc Top 5 Under 5

Maria Drugoveiko Geralynne Mitschke of Vancouver-based interior design firm Geralynne Mitschke Inc. recommended Maria Drugoveiko for the Top 5 Under 5 Awards. “Maria brings fresh and original ideas to the table,” said Mitschke. “She is thoughtful and creative in her work and often exceeds expectations.” For her design challenge, Maria took her inspiration from the disused gas station. The layout of the office space mirrors the layout of a car and colourful furniture is reminiscent of gasoline spills. “I imagined a gas station where everything had been removed. What would be left? Oil stains, maybe some old tires…I looked to these elements for my inspiration.” When asked what she thinks the future of interior design in Canada looks like, she said, “The future is bright. The students coming out of school now are really well prepared, technically and creatively. There is a lot of potential.” Geralynne Mitschke, de la firme de design d’intérieur Geralynne Mitschke Inc.., de Vancouver, a recommandé Maria Drugoveiko pour le concours des Top 5 Under 5 Awards. Elle affirme : «Maria a des idées nouvelles et originales lors de nos rencontres. Elle est créative et réfléchie et son travail dépasse souvent nos attentes.» Pour son défi de design, Maria s’est inspirée des usages des stations d’essence désaffectées. Le plancher des bureaux envisagés reflète celui d’une voiture et les couleurs du mobilier rappellent les taches d’essence. «J’ai imaginé une station d’essence où tout avait été enlevé. Que resterait-il? Des taches d’huile, peut-être de vieux pneus. J’ai examiné ces éléments pour y trouver mon inspiration.» Quand on lui demande ce qu’elle pense du futur du design d’intérieur au Canada, elle dit : «Le futur est brillant. Les étudiants qui graduent de nos jours sont très bien préparés sur le plan technique comme sur celui de la créativité. Il y a beaucoup de potentiel.»

Joseph Persia A passionate advocate for sustainable design, Joseph Persia has both a degree in interior design from Sheridan College and a degree in sustainable architecture from the Academy of Design. Tom Kolbasenko of Our Cool Blue Architects recommended Joseph based on his bold, fresh and inventive work. “Joseph is not afraid of design solutions that are unique and innovative. He displays design leadership and goes above and beyond to make sure the job is done right.” Joseph combined his two passions, sustainable design and modern architecture, to create a green workspace with clean, simple lines. “I wanted to do a workspace that was super green and super modern, but still realistic and approachable. My goal was to illustrate that with proper understanding and without doing anything really extreme, we can minimize our ecological footprint, one building at a time.” Joseph Persia est un défenseur passionné du design durable. Il compile d’ailleurs deux diplômes, un en design d’intérieur de Sheridan College et un autre en architecture durable de l’Academy of Design. Tom Kolbasenko, de la firme Our Cool Blue Architects, a chaleureusement recommandé Joseph pour son travail innovateur, nouveau et rigoureux. Il souligne : «Joseph n’a pas peur des solutions de design qui sont uniques et innovatrices. Il démontre du leadership en design et fait plus qu’on en demande pour s’assurer que son travail est très bien fait.» Joseph sait combiner ses deux passions, le design durable et l’architecture moderne dans le but de créer un espace de travail écologique avec des lignes simples et claires. «Je voulais créer le lieu de travail le plus écologique et le plus moderne tout en favorisant une approche facile et réaliste. Mon but était de réaliser cela avec la compréhension la plus adéquate. Sans rien faire d’extrême, nous pouvons réduire notre empreinte sur l’environnement, un bâtiment à la fois.»

idc Top 5 Under 5

Merissa Robertson “Merissa has not only developed good design skills, but she also has excellent presentation skills,” says her supervisor Nicole Tiessen of Saskatoon-based firm aodbt architecture + interior design, who recommended Merissa Robertson. “This is one of the greatest assets a designer can have and is integral to what we do.” For her design solution, Merissa designed a workspace that was specifically tailored to the needs of visual artists, designers, and others who work in art and design. She looked close to home for her design inspiration. “I took my inspiration from the art and design community that exists here in Saskatoon. I wanted to design a space where that community could come together to work, create, and inspire one another.” Nicole Tiessen, de la firme aodbt architecture + interior design de Saskatoon est la superviseure de Merissa et l’a recommandée. Elle affirme : «Merissa a non seulement développé des talents de design remarquables, mais ses aptitudes de présentation sont excellentes. C’est un des atouts les plus importants qu’un designer puisse avoir car c’est essentiel dans ce que l’on fait.» Pour sa solution de design, Merissa a conçu un espace de travail très adapté aux besoins des artistes visuels, des designers et autres personnes qui travaillent dans les arts. Elle a regardé près de chez elle pour y trouver son inspiration. «J’ai été inspirée par la communauté des arts et du design qui existe ici à Saskatoon. Je voulais créer un espace où la communauté pouvait se réunir pour travailler, créer, et où les artistes pouvaient s’inspirer les uns les autres.»

Michelle van Zetten On maternity leave from her position at Toronto-based firm modo, Michelle van Zetten was making baby food in her kitchen when she heard she had been selected for the award. “I was so surprised!” she said about her reaction upon hearing the news. “It still hasn’t really sunk in.” Chantal Frenette, principal interior designer with modo, recommended Michelle for her eagerness to take initiative and learn new aspects of her profession. “She is always looking to apply new principles on projects,” says Frenette. “Michelle continually seeks professional development opportunities, looking to expand her knowledge of the profession.” For her design concept, Michelle was inspired by current trends in office design. “Office spaces are changing,” she says. “They’re becoming more collaborative, more social, more mobile. I wanted to reflect these trends in my design, while respecting the original architecture of the space.” Présentement en congé de maternité de son poste à la firme modo de Toronto, Michelle van Zetten faisait de la nourriture pour bébé dans sa cuisine lorsqu’elle a appris qu’elle avait été sélectionnée pour le prix. «J’ai été très surprise! Je ne l’ai pas encore totalement réalisé.», raconte-t-elle au sujet de sa réaction lorsqu’elle a appris la nouvelle. La présidente et designer d’intérieur de la firme mode, Chantal Frenette, a recommandé la candidature de Michelle. Elle a commenté son envie de prendre des initiatives et d’apprendre des nouveaux aspects de la profession. Frenette dit : «Elle est toujours prête à utiliser de nouveaux principes sur les projets. Michelle recherche continuellement des occasions de développement professionnel pour mieux élargir ses connaissances de la profession.» Pour trouver son concept de design, Michelle a trouvé son inspiration dans les tendances actuelles des designs de bureaux. Elle mentionne : «Les espaces de bureaux changent. Ils deviennent plus mobiles, centrés sur la collaboration et les échanges. Je voulais que mon design illustre ces tendances tout en respectant l’architecture originale de l’espace.»

idc Top 5 Under 5

Jennifer Nicevski Jennifer Nicevski is a talented young Ryerson University graduate, who, after a summer placement at Yabu Pushelberg’s New York head office, joined Toronto-based firm Anacleto Design. For her design scenario, Jennifer created a strongly branded, member-based mobile work site. The space is adaptable and versatile, designed for anyone to use for any type of work. “It was important for me to create a brand for this project,” says Jennifer. “I wanted to design something that people would want to be a part of and that would appeal to young workers.” On the interior design profession in Canada, Jennifer is optimistic. “There’s so much talent here,” she says. “It’s only a matter of time before the rest of the world is looking to Canada.” Jennifer Nicevski est une talentueuse diplômée de l’Université Ryerson qui, après un emploi d’été dans les bureaux new-yorkais de la firme Yabu Pushelberg, a été engagée par la firme Anacleto Design à Toronto. Pour son scénario de design, Jennifer a créé une station mobile de travail strongly branded, member-based. L’espace est adaptable et versatile, conçu pour l’usage de tous et pour n’importe quel genre de travail. Jennifer dit : «C’était important pour moi de créer une marque pour ce projet. Je voulais faire le design d’une chose à laquelle les gens s’identifieraient et qui plairait aux jeunes travailleurs.» Jennifer est aussi optimiste quand elle pense à la profession du design d’intérieur au Canada. Elle affirme : «Il y a énormément de talent ici. Ce n’est qu’une question de temps avant que le monde entier se tourne et regarde le Canada.»

idc in partnership with:

topfiveunderfive Les 5 meilleurs en moins de 5 ans Canada’s Emerging Interior Designers Les designers d'intérieur se démarquant au Canada

20 12 idc Top 5 Under 5

dimensions V O L .4 /2012

The evolution of interior design / L’évolution du design d’intérieur Then and now. Tracing the roots of the interior design profession. Jadis et maintenant. Retracer les origines de la profession du design d’intérieur.

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contents/ sommaire

dimensions magazine VOL. 4 /2012

features/ dossiers

departments/ département

8. the evolution of interior design l’évolution du design d’intérieur Then and now. Tracing the roots of the interior design profession. Jadis et maintenant. Retracer les origines de la profession du design d’intérieur. 11. the dotted line: la ligne pointillée: Arriving at a contract agreement. Comprendre une entente contractuelle et ses points litigieux potentiels.

4/5 on a professional note… sur une note professionnelle… 6/7 in conversation with… en conversation avec… 14/15 on your behalf… en votre nom… 16 industry members/ membres d’industrie

dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Directrice générale, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly (AB) Lise Boucher (MB) David Chu (SK) Ron Hughes (ON) Johane Lefrançois-Deignan (ON) Carolyn Maguire (NS) Susan Steeves (BC)

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Georgi A. Ito Administrative Assistant Tony Sienes Manager, Accounting Victoria Fellowes Director, Business Development Sue Gravelle Director, Professional Development Candis Green Member Services Coordinator/coordonnatrice des services aux membres Debora Abreu Manager, Marketing Enrique Gaudite Marketing Coordinator/Coordonnateur du marketing Julia Salerno Manager, Communications Alexandra Tichinoff Communications Coordinator/Coordonnatrice des communications Rachael Factor Communications Coordinator

pg.

idc board of management conseil d’administration David Gibbons, President/Président (ON) Ada Bonini, 1st VP/Première vice-présidente (BC) Donna Assaly, Past President/Ancient président (AB) Adele Bonetti, Director/Secretary/Secrétaire/directeur (AB) Clinton Hummel, Director/Treasurer/Directeur/Trésorier (ON) Aandra Currie Shearer, Director/Directrice (SK) Anne-Marie Legault, Director/Directrice (QC) Dede Hiscock, Director/Directrice (NS) Denise Ashmore, Director/Directrice (BC) Kimberley Murphy, Director/Directrice (NB) Stephen Lamoureux, Director/Directrice (MB) Peter Heys, Director At Large/Directrice (ON) Rachel Clarida, Director At Large/Directrice (BC) Dorothy Stern, Director, Education/Directeur, formation (ON) Meryl Dyson, Director, Industry/Directeur, industrie (BC) Nicole Cormier, Director, Intern/Provisional/Directrice (NB) Trevor Kruse, IIDEX Canada Liaison/Liaison avec IIDEX Canada (ON) David Hanson, Chair, Board of Governors/Président du Conseil d’administration (BC) Susan Wiggins, Chief Executive Officer/Directrice générale (ON)

canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Scott Christie christie-stewart.com French Translation/Traduction française : Pierre-Éric Villeneuve Interior Designers Of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 f 416.921.3660 tf 877.443.4425 dimensions@idcanada.org www.idcanada.org

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on a professional note… sur une note professionnelle…

This article was written on the heels of a very successful IIDEX CANADA 2012, the first ever in partnership with Architecture Canada | RAIC. We are pleased to report that exhibitors and attendees alike have deemed this year’s show a hit, with kudos all around for its special features, most notably, Special Delivery. The popularity of this art installation in 18-wheelers was rivaled only by the joint Mission Design/IDC pylon exhibit. Special thanks to the original creators from Montreal, Paprika, for their imaginative display first showcased at the World Congress in Taipei last November. The keynote speakers were first rate as usual and the networking opportunities were plentiful. From the gala to the show floor, and from the showroom parties to the chair hockey fundraising tournament, it is safe to say that attendees are now caught up on the latest from their friends and colleagues in the biz. From a staff and Board perspective however, IIDEX is so much more than two days on the show floor. It is a chance to educate emerging professionals on the many benefits of professional membership. It is a chance to reach out to manufacturers and suppliers and thank those who continue to support our association, and it’s a chance to meet new partners. It’s also a chance to put a name to a face, meeting someone you’ve emailed or spoken to for the first time. Most importantly, as an association, IIDEX is a critical time in our calendar for two important reasons. First, it is the one and only time in the year when the IDC Board and the provincial presidents are in the same place at the same time. The eight provincial association presidents meet and spend a day together working towards harmonized standards in a number of areas. At this year’s meeting the presidents agreed to harmonize standards for professional development, meaning interior designers will have unified obligations for continuing education and professional development from coast to coast.

David Gibbons, President/Président Susan Wiggins, Chief Executive Officer/Directrice générale

Cet article a été écrit dans l’effervescence du succès du salon IIDEX CANADA 2012, organisé en partenariat avec Architecture Canada | IRAC. Nous pouvons dire fièrement que les exposants et les visiteurs ont reconnu la qualité exceptionnelle du salon. Les commentaires étaient parmi les plus élogieux pour ses expositions spéciales, en particulier l’installation Special Delivery. La popularité de cette installation n’a eu aucun rival sur le plancher, sinon l’exposition des DIC et de Mission Design. Nous tenons à remercier plus particulièrement la firme montréalaise Paprika pour son étalage original montré pour la première fois dans le cadre du World Congress, qui a eu lieu à Taipei en novembre dernier. Les conférenciers se sont révélés aussi exceptionnels que d’habitude et les occasions de réseautage étaient en grand nombre. Les visiteurs ont eu la chance de retrouver leurs collègues et amis et d’échanger dans des contextes variés allant de la soirée de gala au plancher du salon, des soirées de festivités au tournoi bénéfice de hockey sur chaise. Pour les employés et les membres du conseil d’administration, IIDEX représente beaucoup plus que deux journées au salon. C’est une occasion d’informer les jeunes professionnels sur les nombreux privilèges de l’adhésion professionnelle, de venir rencontrer les fournisseurs et les fabricants et de remercier ceux et celles qui continuent d’appuyer notre association. C’est une rare occasion d’établir des liens avec des nouveaux partenaires, le temps d’associer un visage à un nom, de rencontrer pour une première fois quelqu’un avec qui vous avez communiqué uniquement par voie électronique. La période du salon IIDEX est importante pour l’association et ce, pour deux raisons primordiales. En premier lieu, cette période est la seule de l’année où le

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The IDC Board of management met for two days following IIDEX to conduct Board business and carry out committee work. It was a very productive meeting and a chance for some detailed conversations about upcoming programs. The second reason IIDEX is so important for IDC is the opportunity to spend time with our association friends. It is a chance for association representatives to catch up on the many issues that impact interior design professionals around the globe. There were representatives from more than 27 different associations in attendance at this year’s show. On the Thursday evening of the show IDC hosted an acronyms dinner to catch up with the associations that we work most closely with. Sixty-five individuals were in attendance from across Canada, the U.S. and Europe. It was, from the Board’s perspective, one of the highlights of the week. To have so many like-minded individuals in one room sharing a meal and chatting about opportunities for collaboration and mutually beneficial programming made for a very lively evening. As an association, IDC meets with several different organizations regularly to share and brainstorm ideas, discuss challenges and plan for the future.

IIDEX is the only time of year when IDC’s Board and provincial presidents are in the same place at the same time.

conseil d’administration des DIC et les présidents des associations provinciales sont au même endroit en même temps. Les présidents des huit associations provinciales ont passé la journée ensemble pour échanger sur l’intégration des normes harmonisées dans divers secteurs. Dans le cadre de la rencontre de cette année, les présidents se sont entendus sur la nécessité d’harmoniser les normes dans les domaines du développement professionnel. Cela veut dire que les designers d’intérieur auront des obligations similaires dans le contexte de la formation continue et du développement professionnel partout au pays. Le conseil d’administration des DIC s’est réuni pendant les deux jours qui ont suivi le salon pour s’occuper des affaires urgentes du conseil et pour travailler sur les divers comités. Ces réunions ont été très productives et ont permis de discuter en détail des programmes envisagés en 2013. En second lieu, IIDEX est important pour les DIC parce que le salon nous permet de passer du bon temps avec les amis des autres associations. C’est

Our collaboration helps us to anticipate challenges and to provide more programming for the benefit of the profession. More hands makes for light work, or at least easier work. Thank you to all of the acronyms in attendance this year. We look forward to seeing you at next year’s IIDEX CANADA, September 26 and 27. Follow IDC on twitter: @idcanadatweets

« L a période du salon IIDEX est la seule de l’année où le conseil d’administration des DIC et les présidents des associations provinciales sont au même endroit en même temps. »

une occasion pour les représentants d’associations de faire le point sur les multiples questions qui ont un impact sur les professionnels du design dans le monde entier. Cette année, des représentants de 27 associations à travers le monde ont participé au salon. Le jeudi soir, les DIC ont organisé un souper pour rencontrer les associations avec lesquelles nous travaillons étroitement. 65 individus sont venus de partout au pays, des États-Unis et d’Europe. Selon les membres du conseil d’administration, cet événement a été le plus important de la semaine d’activités. Le fait de réunir autant de gens qui ont des passions communes sous un même toit, d’échanger sur les collaborations à venir et sur des programmations stimulantes et bénéfiques aura fait de cette soirée une des grandes réussites de la semaine. Les DIC rencontrent plusieurs associations différentes régulièrement pour partager des idées, discuter des défis et de la planification pour le futur. Cela facilite les choses lorsque plusieurs personnes se partagent le travail à accomplir. Nous tenons à remercier les institutions qui ont participé cette année. Nous espérons vous voir l’année prochaine au salon IIDEX CANADA, qui aura lieu les 26 et 27 septembre 2013. Suivez les DIC sur twitter : @idcanadatweets

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in conversation with… en conversation avec… Dimensions speaks with IDC Intern member Debbie Brekke of Calgary. Dimensions échange avec Debbie Brekke, de Calgary. Debbie est membre stagiaire des DIC. By / Par Julia Salerno

How did you decide to pursue a career in interior design? While completing my first degree in fashion and textiles, I took as many design courses that I could. In my third year, I considered transferring to Winnipeg to pursue a degree in interior design, but that plan didn’t work out. I vowed to myself that I would someday follow that dream and eventually I did. In 2003, I received my interior design degree from Mount Royal University in Calgary. Once enrolled in school, what surprised you most about the profession? I was surprised at how little time one gets to spend on design. As interior designers, we have many other roles, including project management and contract administration. What path have you followed to get to where you are today? I started my career in a position where I got to experience facility management and design, which led me into a position with one of the largest interior design firms in western Canada. In my five years at the firm, I learned a lot about sales, marketing, leadership, and corporate and hospitality design. Now I work in a small design studio called MartensGROUP. It’s an open studio where we work in project teams. It’s great because you get to work with a different designer on each new project, which keeps things interesting. What is your favourite part of interior design? Whether it’s a small residential project or an eight floor corporate office, I love working with clients to help them realize their vision. A happy client at the end of a project is reward in itself!

Name: Debbie Brekke Design School: Mount Royal University  Year of graduation: 2003 Favourite design tool: I love Sketch Up 3D, but my newest favourite is my iPad!

Nom : Debbie Brekke École de design : Mount Royal University Année de graduation : 2003 Outil de design de prédilection : J’aime Sketch Up 3D, mais le préféré depuis peu de temps est mon iPad!

Comment avez-vous décidé de poursuivre une carrière en design d’intérieur?

Lorsque je terminais mon premier diplôme en mode, je prenais autant de cours de design autant que possible. Dans ma troisième année, j’ai pensé être transférée à Winnipeg pour compléter un diplôme en design d’intérieur, mais ce scénario n’a pas fonctionné. Je me suis fait la promesse qu’un jour je réaliserais ce rêve-là. Je l’ai fait et en 2003 j’ai obtenu mon diplôme en design d’intérieur de l’Université Mount Royal, à Calgary. Une fois inscrite à l’école, quelle est la chose qui vous a le plus étonnée au sujet de la profession?

J’ai été surprise de constater le peu de temps consacré au design comme tel. Le designer d’intérieur a plusieurs rôles, incluant la gestion de projet et l’administration relative aux contrats. Quelle trajectoire avez-vous suivie pour vous rendre où vous êtes aujourd’hui?

J’ai commencé ma carrière dans un poste où j’ai pu acquérir de l’expérience en design et en gestion du bâtiment. Cette étape m’a permis d’obtenir un poste dans une firme de design d’intérieur par mi les plus importantes dans l’ouest du pays. Durant mes cinq années dans cette firme, j’ai appris énormément sur la vente, le marketing, le leadership, sur le design pour les entreprises et le milieu de l’hôtellerie. Je travaille maintenant pour MartensGoup, un petit studio de design. C’est un studio ouvert où nous travaillons sur des projets en équipe. C’est merveilleux parce que j’ai

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What advice do you have for others preparing to write the exam? Allow yourself a minimum of three months to study for the exam. I found it helpful to prepare a schedule at the beginning with all of the study “milestones.” This helped me manage my time so that I could cover all three sections and have time left to review! I also found that reading the recommended text and completing the quiz at the end of each chapter provided a good indication as to how well I understood the subject matter. Your success is not only based on your knowledge. It has a lot to do with time management. I purchased past exams and practiced completing them in the time you’re allotted for each section. It was also helpful to study with one or two other designers. Lastly, practice section three a lot. Managing your time in this section could mean the difference between a pass and a fail.

Continue the conversation: @idcanadatweets

Debbie’s advice to other Intern/Provisional members:

Le conseil de Debbie aux autres membres stagiaires ou provisoires :

“ How well you manage your time « Une bonne gestion de votre temps d’études peut could mean the difference between faire la différence entre réussir ou échouer l’examen. » a pass and fail grade at the exam.”

la chance de travailler avec un designer différent à chaque nouveau projet. Cela rend les choses intéressantes. Quelle est l’aspect que vous préférez dans le design d’intérieur?

Qu’il s’agisse d’un petit projet résidentiel ou d’une tour de bureaux de huit étages, j’aime travailler avec les clients et les aider à réaliser leurs visions. Un client satisfait à la fin du projet est une reconnaissance en soi!

compléter les petits quiz rapides, à la fin de chacune des sections, m’ont aidée à mesurer si je comprenais bien les sujets de l’examen. La réussite n’est pas seulement basée sur vos connaissances. Elle dépend aussi de la gestion du temps. J’ai acheté les examens des années passées et j’ai pris le temps de les compléter, selon le temps accordé à chacune des sections. Le fait d’étudier avec un ou deux autres designers m’a aussi aidée. Enfin, pratiquez abondamment la troisième section. Une bonne gestion du temps pour cette section peut faire la différence entre réussir ou échouer l’examen. Bonne chance à tous! Pour continuer la conversation : @idcanadatweets

Quel conseil pouvez-vous donner à ceux et celles qui se préparent à passer les examens?

Donnez-vous un minimum de trois mois pour étudier pour les examens. C’est pratique de préparer un horaire au début des études pour bien identifier les sujets incontournables. Cela m’a aidé à mieux gérer mon temps d’études, sachant que je pouvais couvrir les trois sections et me garder du temps pour la révision! J’ai aussi trouvé que la lecture des textes recommandés et le fait d’avoir pris le temps de

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the evolution of interior design l’évolution du design d’intérieur

Then and now. Tracing the roots of the interior design profession. Jadis et maintenant. Retracer les origines de la profession du design d’intérieur. By / Par Julia Salerno

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In order to see where we’re headed, we must first look back to where we have been. Tracing the roots of the Canadian interior design profession isn’t easy, and now, as IDC celebrates its 40th anniversary, it’s more important than ever to reflect on our past. Much of that history, however, is undocumented and now gone. Gone with many of interior design’s founding members, our design ancestors, who helped shape the profession into what it is today. So few of us can say that they have worked alongside our industry’s pioneers—Ray Staples, Bud Sugarman, Grant Marshall, Muriel Wooldridge, Don Adams, and Edith Wight — to name a few. Yet, so many of us often say, “remember when…” about the good old days of interior design. Let’s take a trip down memory lane to see what interior design was like and compare it to what we see in the profession today. The architecture and interior decorator disciplines were influential in shaping the profession.

Pour mieux savoir où nous allons, il est important de savoir d’où on vient. Retracer le parcours des origines du design d’intérieur canadien n’est pas chose facile. Et avec les DIC qui célèbreront leur 40e anniversaire, il est plus important que jamais de réfléchir à notre passé. Malheureusement, une grande partie de cette histoire est disparue, non documentée et derrière nous. Cette histoire s’est aussi envolée avec certains membres fondateurs de la communauté du design d’intérieur, des pionniers qui ont aidé à mieux définir la profession et qui ont contribué à établir ce qu’elle est devenue aujourd’hui. Peu de nos contemporains peuvent dire qu’ils ont travaillé avec ces pionniers : Ray Staples, Bud Sugarman, Grant Marshall, Muriel Wooldridge, Don Adams et Edith Wight, pour n’en nommer que quelques-uns. Même si plusieurs d’entre nous aiment dire «vous souvenez-vous quand…» pour évoquer les jours passés du design d’intérieur. Prenons le temps de se rappeler ce qu’était le design d’intérieur autrefois, pour le comparer à ce que nous voyons dans la profession de nos jours. Les disciplines du design d’intérieur et de l’architecture ont eu une influence dans l’ancrage de la profession. Une ancienne présidente des DIC, Anne Savill, toujours membre de l’IDIBC, affirme : «Le design d’intérieur provient de l’architecture et de la

“Interior design has grown out of architecture and interior decoration. Both have been around since man built his first dwelling,” says IDC pastpresident and IDIBC member Anne Savill. “The profession blossomed once the Modern Design Movement took hold following the rapid growth of cities after the War.” Interior design was still a relatively new profession in the 1960s and 70s. “Interior design was a specialized profession that not very many people were exposed to,” says Heather Robertson Corrigan, IDNS member and IDC Fellow who has practised commercial and institutional design for nearly 40 years. “Many designers started out as furniture consultants working in department stores. They received on the job training and later transitioned into residential design.” The advent of interior designers working on commercial projects came from a boom of multi-storey office towers being built in Canadian cities in the 60s and 70s. “The new office towers meant a lot of business in contract

interiors, handled then by the major office furniture dealers with interiors departments in stores like Simpsons and Eaton’s,” says Lorraine Tierney, ARIDO Fellow and former editor of Canadian Interiors magazine. “The environment was right for interior designers to launch stand-alone firms and in the 80s, some interior design firms grew tremendously in staff size and even served as prime consultants. This was different to the U.S. model, where substantial projects were frequently undertaken by large architectural practices,” adds Tierney. “In the last decade or so the American model has prevailed, with independent design firms merging with large national and international firms.” Interior design and architecture were always synonymous in Manitoba, according to PIDIM member Margaret Stinson, now retired for more than 10 years. The University of Manitoba’s interior design program existed, as it does today, within the faculty of architecture. “Class sizes were much smaller so we got to know the

décoration intérieure. Les deux disciplines existent depuis que l’humain a construit sont premier habitat. La profession a pris de l’ampleur une fois que le mouvement du design modern s’est établi avec la croissance rapide des villes après la guerre.» La profession du design d’intérieur était encore relativement récente dans les années 1960 et 1970. Heather Robertson Corrigan est membre de l’IDNS et des DIC. Elle se spécialise dans le design commercial et institutionnel depuis 40 ans et mentionne que «le design d’intérieur était une profession spécialisée. En fait, peu de gens y était exposés. Plusieurs designers ont débuté comme consultant dans l’industrie du meuble et travaillaient dans les grands magasins. Ils ont obtenu leur formation au travail. C’est plus tard qu’ils ont vécu une transition vers le design résidentiel.» L’arrivée des designers d’intérieur sur les chantiers des projets commerciaux est venue avec la croissance et les besoins des tours à bureaux construites dans les villes canadiennes dans les années 60 et 70. Lorraine Tierney est membre d’ARIDO et a été éditrice du magazine Canadian Interiors. Elle mentionne que «les nouvelles tours à bureaux ont donné beaucoup de travail et de contrats d’intérieurs, des contrats

administrés à l’époque par les fournisseurs de mobiliers de bureau des départements de décoration dans des magasins comme Simpson et Eaton.» Tierney ajoute : «L’environnement était propice aux designers d’intérieur et favorisait l’émergence des firmes indépendantes. Dans les années 80, plusieurs ont pris une ampleur considérable, certaines ayant même plusieurs employés, d’autres servant de consultantes de premier plan sur des projets. C’était aussi différent du modèle américain, où des projets plus importants étaient fréquemment sous la responsabilité de grosses firmes d’architecture. Dans la dernière décennie, le modèle américain a prévalu, avec des firmes de design indépendantes fusionnant avec de grosses compagnies nationales et internationales.» Margaret Stinson est membre de PIDIM. Elle a obtenu son diplôme universitaire en 1960 et a pris sa retraite depuis 10 ans. Elle précise : «Au Manitoba, le design d’intérieur et l’architecture étaient toujours synonymes. Le programme de design d’intérieur de l’Université du Manitoba existait, comme il existe toujours aujourd’hui, dans les murs de la faculté d’architecture. Les cours étaient plus intimes et cela nous permettait de bien connaître les étudiants en architecture.

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architecture students quite well. Interior designers learned a lot about architecture training and vice versa,” adds Stinson, who graduated from the university in 1960. Client relations have also evolved over the years. “In the 70s and 80s clients were less involved in the decision making process. At the time, all of my clients were the company’s president (and his wife.) It was a very top down approach to decision making,” says Robertson Corrigan. “Today, there are far more female decision makers and design decisions are made by committee. Today’s client is also far more knowledgeable.” “I was always educating my clients,” says Stinson. “Some clients knew exactly what you did, others thought they knew and then there were those that had no idea. You had to show them you could solve their problems for them to appreciate your value and understand what interior design is about.” Although the functionality of a space was always paramount to good design, the health and wellbeing of the user was to some extent never considered. “Every desk of an office in the 70s and 80s was fitted with an ashtray and fireproof wastebasket for their ashes,” recalls Robertson Corrigan. “Certainly the off-gassing of materials was never thought of as a potential health risk, barrier free design was

virtually non-existent, and our environmental footprint was not known.” “Today, interior designers ‘own’ wellness – it’s not part of any other discipline’s toolbox,” says Robertson Corrigan about this distinguishing aspect of the profession. Interior designers were not always treated fairly in the industry. “There is no tolerance for discrimination or harassment these days, but that was not necessarily the case when I started,” says Savill. “In a male dominated construction sector, some women experienced harassment, or in my case inequality of pay.” Margaret Stinson worked in architecture firms her whole career. “I was often turned away because I was a woman,” she says. Some of the challenges of the past may still ring true today. “Funding for projects has always been a challenge, especially with the ups and downs of the economy,” says Savill. “We’re either too busy to breathe or in panic mode when no new job is forthcoming.” As for the future of the profession,

“we must strive for all jurisdictions in the built environment to become equal players,” says Robertson Corrigan. Professional recognition in the form of Practice Acts across the country is also tops her list. “Change has been gradual,” says Stinson. “The public is becoming increasingly aware of what we do. Interior design is better established in the construction sector and I hope that we continue to move forward.”

Les designers d’intérieur apprenaient beaucoup de la formation en architecture et vice versa.» Au fil des années, la relation avec les clients a aussi évolué. Heather Robertson Corrigan le souligne : «Dans les années 70 et 80, les clients étaient moins impliqués dans le processus décisionnel. À l’époque, mes seuls clients étaient des présidents de compagnie (avec leur femme). C’était une approche descendante du processus décisionnel. De nos jours, il y a beaucoup plus de femmes qui prennent les décisions et plusieurs décisions sont prises par des comités. Les gestionnaires du bâtiment qui ont des formations en ingénierie, en design ou en architecture nous engagent souvent. La clientèle d’aujourd’hui est beaucoup plus informée.» Margaret Stinson le souligne également : «J’informais toujours mes clients. Certains d’entre eux savaient exactement ce que l’on faisait, d’autres croyaient le savoir, et plusieurs clients ne savaient absolument rien. Nous devions leur montrer comment nous pouvions résoudre leurs problèmes pour qu’ils nous apprécient et comprennent ce qu’était le design d’intérieur.» Même si la fonctionnalité d’un espace était toujours le centre d’un design de qualité, la santé et le bien-être des usagers n’étaient jamais considéré, ou rarement. Heather Robertson Corrigan mentionne que «dans les années 70 et 80, chaque table de travail d’un bureau comprenait un cendrier et une poubelle ininflammable pour les cendres. Il va sans dire que les émanations de gaz des matériaux n’étaient pas vues comme comportant des risques pour la santé. Le design axé sur

l’accessibilité n’existait pratiquement pas et notre empreinte environnementale était inconnue.» Elle ajoute : « De nos jours, le bienêtre des designers d’intérieur importe. Cela ne fait pas partie des boîtes à outils des autres profession et c’est ce qui distingue cette profession des autres. Les designers d’intérieur n’étaient pas toujours traités honnêtement dans l’industrie. Anne Savill insiste : « De nos jours, il n’y a aucune tolérance pour la discrimination et le harcèlement, mais ce n’était en rien comme cela au début de ma carrière. Dans le secteur très masculin du milieu de la construction, certaines femmes ont vécu le harcèlement ou, comme moi, des inégalités salariales.» Margaret Stinson a travaillé dans une firme d’architecte durant toute sa carrière. Elle raconte comment «on ne me respectait pas parce que j’étais une femme.» Certains défis d’autrefois sont peutêtre toujours d’actualité. Anne Savill constate que «le financement des projets a toujours été un défi, surtout avec les fluctuations de l’économie. Ou bien nous sommes trop pressés pour respirer ou carrément sur le mode de la panique lorsqu’il n’y a aucun contrat à l’horizon.» Pour le futur de la profession, Heather Robertson Corrigan précise

que «nous devons insister pour que toutes les lois de l’environnement bâti soient harmonisées.» La reconnaissance professionnelle grâce à un acte de pratique partout au pays est aussi une priorité sur sa liste. Margaret Stinson affirme que «le changement a été progressif. Le public est de plus en plus au courant de ce que nous faisons. Le design d’intérieur est plus établi dans le domaine de la construction et je ne peux qu’espérer que nous continuerons à avancer.»

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the dotted line: arriving at a contract agreement la ligne pointillĂŠe: Signer une entente contractuelle

Understanding contract agreements and their potential red flags. Comprendre une entente contractuelle et ses points litigieux potentiels. Byâ&#x20AC;&#x2030;/â&#x20AC;&#x2030;Par Denise E. Robertson, Mills & Mills LLP

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Part of an interior designer’s professional responsibility is to set out the scope of work, the cost of services, and any other special terms or conditions respecting the work in a contract document. Arriving at a contract agreement gives interior designers the best opportunity to ensure that you are serving your clients and protecting yourself. Interior designers may use a standard form contract containing provisions to protect themselves and clients, but the contract may not address the specific needs of a particular project. There may be necessary provisions, which are not included. If you decide to use a standard form contract, read it carefully and make sure that all aspects of the project are covered.

Une des responsabilités de la profession de designer d’intérieur est de bien déterminer l’envergure du travail, les coûts des services rendus et les autres termes et conditions établis dans le respect du travail et de bien les détailler dans un document contractuel par écrit. La signature d’un contrat écrit procure au designer d’intérieur la meilleure protection possible pour lui et son client. Les designers d’intérieur peuvent utiliser un formulaire standard décrivant les conditions pour se protéger eux-mêmes et leurs clients. Cela dit, un contrat peut ne pas fournir les détails des besoins spécifiques d’un projet en particulier. Il peut y avoir des conditions nécessaires qui ne sont pas incluses ou indiquées. Si vous décidez d’utiliser un

Key contract sections to consider in an interior design project: Proper identification of parties and project site: Get the name of the owner or person responsible for the project and verify the location. If your design business is incorporated, make the contract in the corporation’s name, particularly on the signature line, otherwise, you may be personally liable. Scope of services and additional services: The contract must specify what’s to be done and state that if the client requests additional services, these services must be agreed to in writing. Fee and payment structure: Specify your charges. This can be a flat fee, an hourly rate, a rate by square footage or a combination. Invoice regularly. You can identify any payment issues early on and the client will not be surprised by a large bill at the end of the work.

formulaire standard de contrat, veuillez prendre le temps de le lire pour bien vous assurer que tous les aspects du projet sont couverts. Voici une liste des sections incontournables à considérer dans le cadre d’un projet de design d’intérieur : Identification rigoureuse des parties prenantes et du site du projet: Obtenez le nom du propriétaire ou de la personne responsable du projet et vérifiez la localisation. Si votre entreprise de design est incorporée, complétez le contrat au nom de l’entreprise. Si vous ne faites pas cela, vous pourriez être tenu personnellement responsable en cas de litige. L’envergure des services offerts et des services additionnels : Le contrat doit spécifier le travail à accomplir et indiquer clairement si le client demande des services additionnels. Ces services doivent être détaillés par écrit. La tarification et les échéances des paiements : Veuillez indiquer les détails de votre tarification. Il peut s’agir d’un tarif fixe, d’un taux horaire ou d’une combinaison des deux modalités.

Purchases for clients: Interior designers may have professional obligations to disclose certain incentives to clients. If you buy goods or services for the client, do so as the agent of the client. If something goes wrong, the client will be able to go after the manufacturer or service provider for any legal remedy. Representations and warranties: Representations and warranties in standard form contracts generally protect the designer. Make certain that you are not making any representation or warranty about the work or services provided by others, or for anything that is not in your control. Read this section carefully when working with a client-provided contract. Insurance and liability: Provincial interior design regulators require members to have liability insurance. Designers should protect themselves and their business by purchasing and maintaining adequate insurance

Faites des factures sur une base régulière. Vous pourrez ainsi identifier les problèmes qui pourraient surgir. De plus, vous ne surprendrez pas votre client en lui remettant une facture imposante à la fin des travaux et des services rendus. Les achats du designer pour les clients : Les designers d’intérieur peuvent avoir l’obligation professionnelle de rendre certaines faveurs aux clients. Si vous achetez des biens ou des services pour le client, faites-le en tant qu’agent du client. S’il y a litige, le client pourra alors poursuivre légalement le fabricant ou le fournisseur des services pour toute compensation. Les représentations et les garanties du designer : Les représentations et les garanties évoquées dans les formulaires de contrat standard protègent généralement le designer. Veuillez vous assurer que vous ne représentez pas et ne garantissez pas le travail accompli ou les services fournis par d’autres personnes, ou toutes les choses qui ne relèvent pas de votre contrôle. Veuillez prendre le temps de lire cette section attentivement lorsque vous devez vous soumettre à un contrat fourni par le client.

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coverage. Contracts should provide that if any additional insurance is required by the client, it is to be obtained and paid for by the client. You can also include a clause limiting your liability. For example, “The Client agrees to release the Designer from any and all liability that the Designer may have to the Client for any amount in excess of the Fees paid by the Client to the Designer or the amount payable under the Designer’s insurance policy, whichever is less.” But be careful. The clause may not be enforceable if you have been negligent or fraudulent. Ownership of intellectual property: Unless agreed otherwise, copyright in the designs created for the project belong to the designer. Designers should mark their designs accordingly (i.e. © Designer Name, Year). To avoid claims by the client, ownership of copyright should be stated in the contract. If a designer agrees to assign his or her copyright to the client in exchange for a higher fee, for example, the contract must be in writing for it to be enforceable. Other intellectual property provisions include the right to photograph and publish pictures of the completed project, the right to use the project in marketing materials, the right to enter the project

L’assurance et la responsabilité : Les régulateurs provinciaux du design d’intérieur s’assurent que les membres ont une assurance responsabilité. Les designers doivent se protéger eux-mêmes et leur entreprise en se prévalant et en maintenant une couverture d’assurance en vigueur. Les contrats doivent stipuler que dans le cas où une couverture d’assurance supplémentaire est requise par le client, celle-ci doit être payée et obtenue par ce dernier. Vous pouvez aussi inclure une clause limitant votre responsabilité. Par exemple : «Le client accepte de libérer le designer de toutes ses responsabilités envers lui, pour le montant excédant le montant de la facturation qu’il a payé au designer, ou pour le montant payable selon la police d’assurance du designer, et le montant le moindre sera privilégié.» Mais il faut faire attention. Cette clause ne pourra être renforcée dans le cas où vous avez fait preuve de négligence ou de fraude. La propriété intellectuelle : À moins que les choses soient entendues autrement, les droits des designs créés dans le cadre d’un projet appartiennent aux designers. Les designers doivent identifier leurs designs selon les règles (par exemple, le © avec le nom du designer, et l’année). Pour éviter les poursuites, les propriétés des droits doivent être détaillées dans le contrat. Si, par exemple, le designer accepte de renoncer à ses droits et de les offrir aux clients en échange d’une tarification plus élevée, les détails d’une telle entente

into awards competitions, the right to post a sign at the project site, and a restriction on the client’s right to reproduce the work. Dispute resolution: Some contracts include mediation and arbitration provisions which could restrict the right to go to court. The type of provision required is related to the value of the contract and the value of the dispute. For disputes less than $25,000, it is probably less expensive to proceed to court. For disputes greater than $25,000, it may be better to arbitrate.

place. If all goes well, you won’t have to look at it again. This Article is not to be considered legal advice relating to specific facts or situations. Denise is a lawyer at Mills & Mills LLP, and has authored a number of articles for IDC on topics including contracts, complaints and discipline, copyright and professional liability. She is also a frequent speaker on topics of interest to design professionals. Contact Denise at denise.robertson@millsandmills.ca.

Provincial requirements: The contract must comply with all applicable provincial laws, including consumer protection legislation. In Quebec, contracts must be written in the French language or have a clause in French stating that the parties agree that the contract can be written in English. Finally, be sure that both parties sign the contract and both parties have a copy. Keep your copy in a safe

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doivent être mentionnés par écrit dans le contrat pour que les conditions de l’entente soient renforcées.

française ou présenter une clause en français stipulant que les parties prenantes acceptent que le contrat soit rédigé en anglais.

Les autres propriétés intellectuelles qui doivent être détaillés comprennent : les droits de photographies ou ceux concernant les images du projet complété, le droit d’utiliser le projet dans des documents de marketing, de soumettre une candidature pour des compétitions de prix, d’exposer le nom d’une compagnie sur le site du projet. Les détails sur les limitations des droits du client de reproduire le travail doivent être aussi mentionnés.

En somme, il est important que les deux parties prenantes signent le contrat et en conservent une copie. Vous devez conservez cette copie dans un endroit sécuritaire. Si tout va pour le mieux, vous n’aurez pas besoin de la consulter. Cet article ne peut être considéré comme un conseil légal concernant une situation ou des faits spécifiques.

La résolution de litige: Certains contrats incluent la médiation et l’arbitrage des provisions, ce qui peut limiter les droits de poursuites en cour. Le type de provision requise dépend de la valeur du contrat et de la valeur du litige. Pour les conflits coûtant moins de 25 000 $, il est préférable de procéder avec la cour. Pour les litiges coûtant plus de 25 000 $, il est peut-être préférable d’envisager l’arbitrage.

Denise E. Robertson est avocate chez la firme Mills & Mills LLP. Elle est l’auteure de plusieurs articles pour les DIC portant sur des sujets aussi variés que les contrats, les litiges, la propriété intellectuelle et la responsabilité professionnelle. Elle est une conférencière de réputation sur des sujets qui intéressent les professionnels du design. Pour la contacter, faites parvenir votre message courriel à denise. robertson@millsandmills.ca.

Les exigences provinciales : Le contrat doit se conformer aux lois provinciales en vigueur, incluant les lois de la protection des consommateurs. Au Québec, les contrats doivent être écrits en langue

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on your behalf… en votre nom…

Members are always asking us, “who handles what function at IDC?” So, we thought we’d take this opportunity to introduce you to IDC’s twelve staff members to help you better understand what we do, on your behalf. Heading the association is IDC’s CEO, Susan Wiggins. Susan’s primary roles are strategic management, advocating for the profession, and stakeholder and government relations. Susan’s executive assistant, Irma Kemp, works closely with the Board of Management and manages IDC’s Job Postings, Annual Meeting and arranges Susan’s travel and meeting schedules. IDC’s administrative assistant, Georgi A. Ito, manages all general administrative functions for the association. Tony Sienes is IDC’s Manager, Accounting. His major functions include preparing and analyzing accounting records and financial statements to ensure accuracy and conformance to government standards. Tony reports to both the CEO and to IDC’s Treasurer on the Board. Other major functions include developing, maintaining and analyzing budgets and preparing financial reports. The main responsibility of the Director, Business Development, Victoria Fellowes is to manage and support IDC’s more than 280 Industry memberships. Victoria manages IDC’s Email Broadcast and Mailing Labels programs and administers the association’s bi-weekly Sponsorship Bulletin. She also coordinates programming for emerging professionals, including IDC’s annual Top 5 Under 5 Awards for Intern/ Provisional members. One way IDC works to advance the profession is by providing its members with professional development opportunities. IDC’s continuing education department consists of two employees: Director, Professional Development, Sue Gravelle and Member Services Coordinator, Candis Green. The Director, Professional Development works closely with provincial presidents and the continuing education committee to organize interesting, relevant and informative professional development opportunities for members. Last year, IDC held more than 75 continuing education seminars across the country. Sue Gravelle is also responsible

Les membres nous demandent toujours «qui fait quoi aux DIC?» Nous avons pensé profiter de cette occasion pour vous présenter les 12 employés des DIC. Cela vous aidera à mieux comprendre ce que nous faisons en votre nom. À la tête de l’association, il y a la directrice générale des DIC, Susan Wiggins. Ses rôles les plus importants sont la gestion stratégique, la promotion et la protection de la profession, les relations avec les parties prenantes et les instances gouvernementales. Son assistante administrative, Irma Kemp, travaille en relation étroite avec le conseil d’administration et voit à la bonne gestion des postes vacants des DIC, des assemblées annuelles et de l’agenda des voyages et des rencontres de Susan. L’assistante à l’administration des DIC est Georgi A. Ito. Elle s’occupe de toutes les fonctions administratives générales de l’association. Tony Sienes est le directeur des finances des DIC. Ses fonctions comprennent la préparation et les analyses des données de la comptabilité et des bilans financiers, sans perdre de vue l’exactitude et la conformité aux normes gouvernementales. Tony est tenu d’informer Susan Wiggins et le trésorier du conseil d’administration. Ses fonctions comprennent aussi le développement, le maintien, l’analyse des budgets et la préparation des bilans financiers. La première responsabilité de la directrice du développement des affaires, Victoria Fellowes, est la gestion et les services aux 280 membres d’industrie des DIC. Victoria voit également au bon roulement des publipostages électroniques des DIC et des programmes d’envois postaux, en plus de gérer le bulletin bihebdomadaire des commandites de l’association. Elle est également responsable d’assurer le bon fonctionnement des programmes pour les professionnels débutants, incluant le concours annuel Top 5 Under 5 Awards des DIC destiné aux membres stagiaires et provisoires. Les DIC travaillent pour l’avancement de la profession. Une des manières de le faire est le maintien des normes professionnelles en offrant aux membres des ateliers de développement professionnel. Le département de la formation continue des DIC est administré par deux employés : la directrice du développement professionnel, Sue Gravelle, et la coordonnatrice des services aux membres, Candis Green. La directrice du développement professionnel travaille étroitement avec les présidents des diverses associations provinciales et avec le comité de la formation continue, ce dernier assurant l’organisation de formations continues adaptées, informatives et stimulantes pour les membres. L’année dernière, les DIC ont organisé plus de

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for coordinating member and industry surveys and organizing export missions and the IDC/IIDA Leaders Breakfasts in Toronto and Vancouver. She and her team work closely with marketing staff to ensure the promotion and execution of continuing education opportunities, as well as with IDCEC (Interior Design Continuing Education Council). As Member Services Coordinator, Candis Green works with Sue on professional development, mainly through promotion in compiling IDC’s web-based Calendar of Events and bi-weekly Professional Development Newsletter. The Member Ser vices Coordinator manages IDC’s online referral program, designFIND and is also responsible for acquiring new partnerships for IDC’s National Benefits Program, which offers members discounts on various goods and services. Working closely with the provincial associations, IDC’s marketing depar tment is responsible for organizing and executing various events and trade shows across the countr y. Manager, Marketing, Debora Abreu is responsible for coordinating IDC’s Table Top Trade Show program and organizing various national events. In addition, Debora works with Sue Gravelle on the Canadian IDC / IIDA Leaders Breakfasts and on the Continuing Education Committee. The marketing manager also organizes gala events for provincial awards programs.

Enrique Gaudite is IDC’s Marketing Coordinator. As a provincial liaison he works closely with the provincial associations and various committees to coordinate events across the country through event organization and promotion. IDC’s Communications team is responsible for writing and editing all communications pieces that are distributed to members and the public. Julia Salerno, currently on maternity leave, is Manager, Communications. Julia is editor of IDC’s quarterly magazine, dimensions, and works to promote the profession and association members to the public through media relations. She also manages IDC’s awards programs and the public side of idcanada.org. Rachael Factor is filling in for Julia during her leave. Communications Coordinator Alexandra Tichinoff is responsible for internal communications, including writing IDC’s monthly newsletter, ID Connections; the weekly news bulletin called IDC News Clippings; and the Members Only section of idcanada.org. Alexandra is also responsible for administering awards programs.

75 séances et séminaires de formation continue à travers le pays. Sue Gravelle est responsable de la coordination des sondages des membres et ceux de l’industrie et voit à l’organisation des missions d’exportation. Elle assure aussi le bon roulement d’événements importants comme les Leaders Breakfast des DIC et de l’IIDA, qui ont lieu à Toronto et à Vancouver. Elle et son équipe travaillent avec les collègues du département du marketing et les employés de l’IDCEC (Interior Design Continuing Education Council) pour maintenir la promotion et le bon fonctionnement de la formation continue. La coordonnatrice des services des membres, Candis Green, travaille avec Sue sur les dossiers concernant le développement professionnel, surtout ceux de la promotion en compilant les informations pour le Calendrier des événements en ligne et le Professional Development Newsletter, publié sur une fréquence bihebdomadaire. Le rôle de la coordonnatrice des services aux membres est de gérer le programme et l’outil de recherches designFIND, et d’assurer la création de nouveaux partenariats pour le National Benefits Program des DIC, qui offre aux membres des rabais sur divers biens et services. Le département du marketing des DIC travaille étroitement avec les associations provinciales. Ce département surveille l’organisation et la mise sur pied d’événements et salons à travers le pays. Debora Abreu est la directrice du marketing. Elle veille à la coordination du programme des minisalons sur table et à l’organisation de plusieurs événements nationaux variés. De plus, Debora travaille avec Sue Gravelle dans le cadre des Leaders Breakfats des DIC et de l’IIDA, en plus de siéger sur le comité de la formation

continue. La directrice du marketing assure le succès des cérémonies de gala et des programmes de prix provinciaux. Enrique Gaudrite est coordonnateur du marketing des DIC. Il est l’agent de liaison avec les associations provinciales et divers comités pour coordonner et promouvoir les événements qui ont lieu partout au pays. L’équipe des communications des DIC a la responsabilité d’écrire et d’éditer tous les documents destinés aux membres et au public. Julia Salerno est la directrice des communications et l’éditrice en chef du magazine trimestriel des DIC, dimensions, en plus de promouvoir la profession et les associations membres auprès du public grâce aux médias. Elle veille également au bon fonctionnement des programmes de prix des DIC et du site Internet idcanada.org. Elle est présentement en congé de maternité. Rachael Factor la remplace durant cette période. Alexandra Tichinoff est la coordonnatrice des communications et s’occupe des communications à l’interne, incluant la rédaction du bulletin mensuel des DIC, IDConnections, du bulletin d’information hebdomadaire, Les manchettes des DIC, et de la section réservée aux membres sur le site Internet des DIC idcanada.org. Alexandra est également impliquée dans la gestion des programmes de prix.

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

Vous avez besoin de nous pour agir en votre nom? Faites-le-nous savoir. Nous sommes là pour vous aider.

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

Industry members *Membres de l’industrie

With thanks to our industry members for their continued support of IDC. Avec nos remerciements aux membres de l’industrie pour leur soutien continu aux DIC. IDC/IIDEX Partner Partenaires des DIC/IIDEX Altro Cree Canada Inspire Interface Levey Wallcoverings Philips Teknion IDC National Member Membres nationaux des DIC Caesarstone Canada Hunter Douglas LP. Knoll North America Corp. Shaw Contract Group Steelcase Canada Ltd. StonCor Group Tandus Flooring Williams-Sonoma Inc. Designer Marketplace IDC Regional Member Membres régionaux des DIC 3M Canada - Architectural Markets Ames Tile & Stone Ltd. Cambria Natural Quartz Surfaces Formica GLOBAL GROUP Haworth Ltd. INSCAPE Kravet Canada Lutron Electronics Canada Inc. Milliken & Company IDC Provincial Member Membres provinciaux des DIC Allsteel American Standard Brands Arborite, division de/of ITW Canada Beaulieu Commercial Benjamin Moore & Co. Ltd. Ceragres Tile Group Contrast Lighting M.L. Inc Crown Wallpaper & Fabrics Dauphin North America Delta Sierra Construction & Millwork Ltd. Hettich Canada L.P. Joel Berman Glass Studios Julian Ceramic Tile Inc. Kohler Canada Co. LEEZA Distribution Inc. Mabe Canada (GE Monogram) Mapei Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Odyssey Wallcoverings Paloform Inc. Partition Components Inc. Robert Custom Upholstery Ltd. Three H. Furniture Systems TORLYS Smart Floors IDC Media Partner Partenaires des médias des DIC Canadian Interiors HOMES Publishing Group

IDC Print Partner Partenaire d’imprimerie des DIC Entire Imaging Solutions Inc. IDC Local Member Membres locaux des DIC 2KGrafx 3form 3G Lighting Inc. Abet Corp. Aeon Stone & Tile Inc. AGA Marvel Alendel Fabrics Limited AMTICO International Inc. Appliance Love Applied Electronics Ltd. Arconas AriaArt Art Works Gallery Astro Design Centre Atlas Carpet Mills Inc. Avant Garde division of Master Fabrics AYA Kitchens and Baths Ltd Banner Carpets Ltd. Beckwith Galleries Bermax Furniture and Design bf workplace BL Innovative Lighting Blackburn Young Office Solutions Blum Canada Ltd. BoConcept Bradford Decorative Hardware Inc. Bradlee Distributors Inc. BRC Canada Brunswick Manufacturing Co. Ltd. Buckwold Western Business Interiors by Staples California Closets Canadel Canlyte Inc. Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 CAS Interiors Inc Cascadia Design Products cd/m2 LIGHTWORKS corp. Ceratec Inc. CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Chestnut Grove Cabinetry & Millwork Ciot Click Lighting and Home Coast Wholesale Appliances Cocoon Furnishings Colin Campbell & Sons Ltd. Colonial Countertops Ltd. Command Performance Exclusive Electronic Solutions Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Crate and Barrel Canada Creative Custom Furnishings Creative Matters Inc Credible Upholstery CTI Working Environments Cubo Design Inc. Custom Closet Organizers Inc./Hiddenbed Canada Custom Range Hoods Inc. Daltile Canada Dasal Architectural Lighting Decor-Rest Furniture Ltd. Dell Smart Home Solutions Denison Gallery Design Exchange Design Lighting Design Living Centre Digital Smart Homes Divine Hardwood Flooring Ltd. DOM INTERIORS TORONTO

Dominion Rug Sales Ltd. D’or Art Consultants DPI Construction Management Drechsel Business Interiors E. Roko Distributors Ltd. / Formica Emily Quinn Emma Dane Design + Build Ensuite, The Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group Ethan Allen European Flooring Group Fendi Casa, Canada Fleurco Products FloForm Countertops Floor Coverings International Flux Lighting Inc. Fontile Kitchen and Bath Forbo Linoleum Inc. Gautier Geovin Furniture Inc. Grand & Toy GRANGE Furniture Inc. Greenferd Construction Inc. Gresham House Inc. Grohe Canada Inc. Grosfillex Inc. Hardwoods Specialty Products Hauser Industries Inc. Heritage Office Furnishings Ltd. Heritage Office Furnishings Victoria Ltd. Herman Miller Canada Inc. High Point Market Authority Holmes & Brakel Humanscale IDEE17 Impact Office Furnishings Limited Indigo Books & Music Inc. Info-Link/Enviro-Link Interior Conciousness Interior Surfaces Inc. Interna Furniture Design Ltd. Island Window Coverings Ltd. Isted Technical Sales JCO & Associates Johnsonite Jones Goodridge Keilhauer Kinetic Design Products Ltd. Kitchen & Bath Classics (Wolseley) Kobe Interior Products Inc. Korson Furniture Design Kraus/Floors with More Krug La Scala Home Cinema + Integrated Media Leber Rubes Inc. Leonardi Construction Ltd. Leon’s at the Roundhouse Liesch Office Interiors Light Resource LightForm M.R. Evans Trading Co. Ltd. Mac’s II Agencies Maharam Marble Trend Ltd. Marco Products (W Group) Marilyn Harding Art Martin Knowles Photo/Media Mercury Wood Products Metro Wallcoverings Inc. Miller Thomson LLP Millson Technologies Inc MOEN INC. Momentum Group Monk Office Interiors mpengo Ltd. M-Tec. Inc. My Greener House Nienkamper Furniture and Accessories Inc. Novanni Stainless Inc. Octopus Products Ltd.

Office Shop, The Office Source Inc. OLON Industries Inc. Olympia Tile International Inc. Orion Hardware Corporation Pacific Stone Tile Ltd Para Paints Pentco Industries Inc. PI Fine Art/ Posters International POI Business Interiors Powell & Bonnell Home Inc. Pravada Floors Prima Lighting Prolific Marketing Inc. Pure Wood Studio Inc. Rae Brothers Ltd. Ram Mechanical Marketing - Manitoba Reeves Group Agents Ltd., The Robert Allen Fabrics Canada Rodgers Wall Materials Inc. Roman Bath Centre Salari Fine Carpet Collections Schoolhouse Products Inc. Sherwin Williams Silk and Style By Dann Imports Silverwood Flooring SMARTWaste Canada smitten creative boutique SOFA, Source of Furniture and Accessories Solutions Workplace Furnishings Sound Advice Sound Solutions 1997 Inc. Spacefile International Corp Spacesaver Corp. Stanley Black & Decker, Inc. Stonequest Inc. Streamline Sales & Marketing Inc Stylish Fireplaces by Huntington Lodge Sullivan Source Inc., The SwitzerCultCreative Symmetry Lighting Tappatec Inc. Tasco Distributors Taymor Industries Ltd. The Brick Commercial Design Centre Midnorthern Appliances The Mohawk Group The Pentacon Group The Sliding Door Company Tierra Sol Ceramic Tile TOR The Office Resource Tremont Wood Specialties Inc. Tremton Construction Inc. Tri-Can Contract Inc. Tripped On Light design inc. Tritex Fabrics Ltd. Turco-Persian Rug Co. Ltd. Turnkey Lifestyle Technologies Tusch Seating Inc. Twelve O’clock Dream Valley Countertops Industries Ltd. Vandyk Commercial Co. Ltd. Vantage Controls Vicwood Industry (Suzhou) Co., Ltd. Vifloor Canada Ltd. W Studio Decorative Carpets Waterflo Kitchen & Bath Gallery Weavers Rug Gallery Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Your Home Custom A/V Systems *As of October 11, 2012 *À partir du 11 octobre 2012

SOURCE OF FURNITURE

+ ACCESSORIES

EvEn if you’rE a onEpErson dEsign shop, you can still havE a 200,000 sq ft showroom.

Use it like yoU own it. BRINg yOUR ClIENTS.

Whether solo designer or 100-person powerhouse, SOFA is the place for you. Walk clients through 30+ trade-only showrooms offering living, kitchen, appliances, dining, bed, bath & accessories in traditional, transitional and contemporary styles. Engage SOFA’s switchedon people for support. Access unlimited free parking, complimentary wi-fi, meeting areas and a restaurant. SOFA. Everything you need under one big, comfortable roof. Keep up to date on news & trade events: visitsofa.com/subscribe or watch our video: visitsofa.com/video

We are a member of: IDC, CDECA, IDRC, NKBA, TSA, RDI

Tues.–Thurs. 10–4 n VIP Concierge Appointments: 905.678.5626 n 6900 Airport Rd., Mississauga (International Centre)