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Bubble 2, Curved 3-4 seat-sofa, designed by Sacha Lakic. *$8,490 instead of $10,110 until 04/30/23 for a sofa as shown, 97.6” L. x 31.5” H. x 52” D. Price includes one curved 3-4 seat sofa, upholstered in Orsetto Flex fabric. Fully tufted, and excludes optional toss cushions. Other dimensions available. Astréa armchair, designed by Sacha Lakic. Triolet cocktail table, end tables and occasional table, designed by Julie Figueroa Zafiro. Up floor lamp and table lamps, designed by Marcel Wanders. Made in Europe. Mer rug, designed by Antoine Fritsch & Vivien Durisotti.
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N O 68 :
MAXIMAL MINIMAL
01 Chapter
INTEL
24 . LA UN C H ED New and noteworthy. 34 . COMI N G S OON On the boards. 38 . DE S I G N DI S PA TC H Portland: Design stays true to itself in this Pacific Northwest city. 48. VI TA L S A look at what makes two industrial designers tick.
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50 . B OOK S GRAY’s selection of design reads for the season. 52 . FI EL D NO T E S Interior designer Susan Marinello reestablishes her firm in the heart of her hometown.
02 Chapter
DESIGN DNA
58 . INT E R V IE W GRAY talks to Maria Porro and Roberta Silva, two women changing the face of leadership in the design industry. 64. O N T HE R ISE Alfonso Verduzco honors traditional Mexican materials and craftsmanship with his contemporary tile collections.
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70 . FA CTORY A look behind the scenes at Fermob, manufacturer of iconic outdoor furniture. 74 . CHA N GEMAK ER Seattle nonprofit Sawhorse Revolution is using carpentry workshops to teach high schoolers the benefits— and joys—of working with their hands.
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HOME
78 . M O D E R N M A XIM A L IST Inspired by historic Italian architecture, interior architect Greg Natale follows a more is more mantra when designing a villa in Australia. 92 . T HE A R T O F INT E R IO R S Designer Diego Burdi pairs contemporary art with custom furnishings to create timeless interiors for a well-traveled Toronto couple.
104. M O U NT A IN M O D E R N The kitchen in this British Columbia vacation home reinterprets conventional cabin style with sleek, elevated finishes. 108. O B J E C T S O F D E SIR E Take it back to the basics with furniture and accessories crafted from a timeless material that has been a designers’ choice for thousands of years. »
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DESIGN DNA
O N T HE C O V E R Inspired by historic Italian architecture, interior architect Greg Natale follows a more is more mantra when designing a villa in Australia. “Modern Maximalist,” written by Alyn Griffiths, photographed by Anson Smart.
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04 Chapter
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116. FIEL D W ORK The simple lines and humble materials of this Portuguese youth soccer facility combine to create a surprisingly elegant municipal project. 124. GOL DEN S TA TE OF MI N D NeueHouse’s fourth location captures the laid-back vibe and creative culture of midcentury California.
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130 . H OSP IT A LIT Y Inspired by the Portuguese countryside, the new Pa.te.os resort emerges from the landscape like a set of concrete sculptures.
05 Chapter
RESOURCES
136. A R C HIT E C T U R E + INT E R IO R S F IR M S
22 SHOWROOMS THOUSANDS OF REASONS TO B E I N S P I R E D
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Destination DesignCon 2023 GRAY LEADS AN IMMERSIVE DESIGN SYMPOSIUM IN VICTORIA, B.C., MAY 10–12, 2023
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Welcome reception
DesignCon opens with a luxurious sunset soirée at the Victoria International Marina—Canada’s only green superyacht marina—designed by dHKarchitects, Western Design + Build, and Landstory. The event, produced by Villeneuve Creative Consulting, features special guest Mayor Alto, designer cocktails, caviar, live music, and design installations by Cascadia Architects, Parker Johnston Industries, Benson Cabinetry & Millwork, Cosentino x Villeneuve Creative, Peacock & Fig, Puzzle Lab, and Western Design + Build.
Conference sessions
Held at the Belfry Theatre in the charming Fernwood neighborhood, a series of talks focused on design and futurism will provide delegates with a wealth of ideas and inspiration. Speakers include designer/artist Brent Comber, designer Garret Cord Werner, architect Michael Green, entrepreneur Matt Herbert, architect Joe Herrin, architect Alexandra Kenyon, developer Luke Mari, space architect Jeffrey Montes, business leader Craig E. Norris, editor Danielle Pope, architect Erica Sangster, designer/builder Ann Squires Ferguson, architect Jason Santeford, and entrepreneur Nick Van Buren.
ANN SQUIRES FERGUSON; TYSON VILLENEUVE
GRAY debuts Destination DesignCon, an annual symposium to be held in a different city each year. For 2023, we visit Victoria, British Columbia—a bold, forward-thinking destination. Located on Vancouver Island, on the traditional territory of the lək’wəŋən people, Victoria is less than 2 hours by ferry from lower mainland Canada. As it experiences a population boom, city leaders acknowledge its past while addressing its present and future needs, ever mindful of environmental, cultural, and social impacts. DesignCon delegates will enjoy an in-depth exploration of the city and its thriving design scene. We’ll hear a series of talks focused on design and futurism, party in cool spaces, and experience the city’s new design festival.
Destination DesignCon 2024
Where to next? Palm Springs!
graymag.com/designcon
COURTESY MIKE RANDALL DESIGN; MARY MCNEILL-KNOWLES, COURTESY THOMAS AND BIRCH KITCHENS + LIVING
Offsite events
Victoria has an amazing design community producing innovative, meaningful, and beautiful works. In partnership with Design Victoria, many local creatives will open their doors for DesignCon delegates. Events include open studios (including Mike Randall Design, shown above), stops along a “design trail” featuring the must-visit Malahat SkyWalk, and other well-designed destinations, workshops, and more. For more info: designvictoria.ca
After party
Thomas and Birch Kitchens + Living invites delegates to its showroom for a jubilant mixer produced by Villeneuve Creative Consulting. The party will feature a selection of wine, beer, spirits, and non-alcoholic beverages, plus dancing, mingling, and bespoke installations by renowned regional designers and luxury brands including Atelier Dimopoulos, Bidgood, Cosentino, Mike Randall Design, Montauk Sofa, Robert Blaney Design Inc., and Shape Design.
COURTESY B&B ITALIA
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Orange County Museum of Art
©MIKE KELLEY
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The new Orange County Museum of Art, in Costa Mesa, California, was designed by renowned architecture firm Morphosis, with lighting by TM Light (the lighting arm of New York–based architectural practice Taylor & Miller). A spacious roof terrace serves as an extension of the interior galleries and includes areas that can be configured for installations, film screenings, and events. »
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The new Orange County Museum of Art—a hulking structure defined by architecture firm Morphosis’ signature curves and angles—has opened to mixed reviews. The building boasts a reconfigurable open-plan exhibition area complemented by mezzanine, black-box, and jewel-box galleries that provide flexible art display space. Working to highlight different aspects of the building, TM Light (the lighting arm of New York–based architectural practice Taylor & Miller) collaborated with Morphosis to illuminate the galleries, interior public spaces, and the museum’s exterior. »
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©MIKE KELLEY
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©MIKE KELLEY
ABOVE AND OPPOSITE: TM Light worked closely with Morphosis to light the museum, creating a gradient of light intensity that spans
the building, illuminating the art while providing visitors with a striking visual experience as they move through the galleries.
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FURN IT URE
Hay Crate Collection
LAUNCHED
In 1934, Dutch architect and designer Gerrit Rietveld set out to create modern and functional furniture from surplus wooden crates. The result was a low-profile chair and side table that embody the aesthetics of modern design. Now, nearly 90 years after its initial release, Rietveld’s collection is making a comeback through Hay. Based on the designer’s original Crate chair, the line includes a lounge chair, a dining chair, a coffee table, and a side table, all made from FSC-certified solid pinewood.
F UR NI T U RE
Hem x Philippe Malouin
F U R N IT URE
Stella McCartney x B&B Italia In celebration of its Le Bambole armchair’s 50th anniversary, furniture brand B&B Italia partnered with fashion designer Stella McCartney to release a three-piece capsule collection featuring the Fungi Forest print from McCartney’s Summer 2022 runway collection. In keeping with the designer’s strict commitment to sustainability, the upholstery is 100-percent biodegradable (lab-verified to break down in compost and soil without harming the environment) and toxin-free. » 28
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COURTESY HAY; COURTESY HEM; COURTESY B&B ITALIA
Swedish design brand Hem has released its first outdoor collection, created by London-based industrial designer and longtime Hem collaborator Philippe Malouin. The Chop collection—which gets its name from the chop saw that Malouin previously used when working on the design for a gallery—is made from stainless-steel pipes to ensure maximum durability, even during the harshest winter months.
07-11 SEPT. 2023
PARIS
WWW.MAISON-OBJET.COM GRAY
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F AS H I O N
In 2022, fashion brand Golden Goose unveiled its first Forward Store in Milan. In addition to selling new merchandise, the retail space helps lengthen the product lifecycle with its focus on four pillars: Repair, Remake, Resell, and Recycle. Last fall, the first U.S. Forward Store opened in New York’s SoHo neighborhood; in keeping with the brand’s mission to make sustainability fashionable, the new outpost offers on-site cobblers and tailors, a unique personalization program, and the ability for customers to resell select items. »
COURTESY GOLDEN GOOSE
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Golden Goose Forward New York
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Barovier&Toso Milan Showroom
I N TE R I O RS
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After a closure lasting more than 18 months, London’s historic Belvedere restaurant has reopened, revealing an extensive renovation by Archer Humphryes Architects, who chose furnishings by Fratelli Boffi for the project’s interiors. The restaurant, which occupies the site of the former stables built for Holland House in 1638, features a two-story dining room with a colonnade that opens onto Holland Park. Dark wood furniture mingles with lush greenery to create escapist interiors with an elegant air. h —Rachel Gallaher
COURTESY BAROVIER&TOSO; KEITH COLLIE
Located in the heart of Milan’s Brera design district, Barovier&Toso’s newly renovated showroom captures the elegance and artistry of the brand’s storied lighting creations. Designed by Vandersandestudio, the expanded interiors—decorated in blue and cream tones with brass and wood detailing—serve as a complementary backdrop for the company’s handblown glass works.
MODULAR WOOD WALL SYSTEM
submaterial.com | new mexico, usa
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LMN Architects has released renderings for its design of the Seattle Aquarium’s new Ocean Pavilion, expected to open in 2024. The project— the first substantial addition to the aquarium since 2007—includes 50,000 square feet of immersive exhibits, back-of-house spaces, and views of the surrounding landscape and urban waterfront. A series of pathways will link new public plazas on multiple levels, connecting the waterfront to the downtown core and affording pedestrians easier access to Elliott Bay.
FASHIO N
Louis Vuitton x Yayoi Kusama In March, Louis Vuitton released the second collection in its newest collaboration with Japanese artist Yayoi Kusama (the first drop happened in January). Known for her signature polka dot, pumpkin, and flower prints, Kusama brings these whimsical motifs to a fresh batch of clothing and accessories just in time for the changing season.
COURTESY LMN ARCHITECTS; COURTESY LOUIS VUITTON
COMING SOON
Seattle Aquarium Pavilion
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ABOVE: Part of the upcoming exhibition Garden Futures:
© HOWARD SOOLEY, 1990–1994
Designing with Nature, this photograph by Howard Sooley, shows the Prospect Cottage Garden (designed by Derek Jarman in 1986) in Dungeness, Kent, United Kingdom.
EXHIBIT IO N
Garden Futures: Designing with Nature Germany’s Vitra Design Museum debuts its latest exhibition, Garden Futures: Designing with Nature. Running March 25–October 3 and designed by Italian studio FormaFantasma, the show will explore the concept of the modern garden. Addressing topics including sustainability, style, and a garden’s relationship to architecture, Garden Futures highlights examples ranging from community vegetable patches to urban vertical farms. h —Rachel Gallaher
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IDS Returns This September. Hold the date!
IDSVancouver.ca
Vancouver Convention Centre Sponsors
Opening Night Party Sept 21
Trade Day & Conference Sept 22
Trade & Public Days Sept 23-24
DISPATCH
DESIGN DNA
Design stays true to itself in this Pacific Northwest city. By Grace Moen
As the Rose City’s creative community emerges from the recent pandemic, its members are showing up—on local and global stages— with their most vibrant and original ideas. Here we spotlight the best and brightest from the city’s design scene, from a wellestablished interiors firm thoughtfully introducing contemporary design to historic contexts, to a new female-owned boutique designed to bring back in-person shopping, to a lighting designer whose work is everywhere right now. »
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DESIGN DNA
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Kann and Sousòl Kann glows like a beacon in oftendrizzly Portland. Upon passing through the restaurant’s front door, guests are bathed in a warm glow. But just downstairs, in Kann’s subterranean sister bar, Sousòl, revelers are dipped into darkness. The two unique projects are united by chef Gregory Gourdet’s vision for community, taste for Haitian flavors, and commitment to excellence. Upstairs, an illuminated gold ceiling sparks an energetic atmosphere that’s fed by the culinary choreography playing out in an open kitchen that spans the length of the dining room. Pendant lamps—inspired by the baskets Haitian women carry to and from the markets—float above custom concrete tables and whiteoak seats. Downstairs, Sousòl is wrapped in a moody wallpaper, its lush foliage print punctuated by Rejuvenation wall sconces that light up inviting banquettes upholstered in plush magenta velvet. For both interiors, Gourdet relied on the talent of local, woman-owned Fieldwork Design—a firm widely known for its residential work—which has made quite the splash on the hospitality scene with this, its first restaurant project. »
The interiors of Kann, designed by Fieldwork Design, are warm, minimal, and inviting.
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STEVE FREIHON
DESIGN DNA
S TAY
Portland may be an unexpected place for the Ritz-Carlton’s first hotel property in the Pacific Northwest, but for the storied brand, the locale provides an opportunity to reimagine a five-star experience for a contemporary context—and for a city famous for its “keep-it-local ethos,” says Mary Alice Palmer, global practice director of hospitality interiors at design firm HKS. Palmer led the design team for the hotel’s interior architecture, furniture, and finishes, ensuring that the aesthetic and guest experience would feel contextual, inclusive, and celebratory of what makes the Pacific Northwest
a revered region. The 35-story tower, designed in partnership with local firm GBD Architects, will begin a phased opening in summer 2023 and will include hotel accommodations, office space, residences, a spa, and a restaurant with design and cuisine inspired by the Pacific Coast and the bounty of the Willamette Valley. Views from the 20th floor will stretch all the way to Mount Hood, while a ground-floor bar will entice guests with an enchanted woodland design conceived as an extension of the forests surrounding Portland.
HKS HOSPITALITY INTERIORS
DISPATCH
The Ritz-Carlton, Portland
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ORIGIN STORY
Origin Story With its assortment of Moroccan textiles, lush houseplants, and sustainable apparel styled to evoke an immersive art showroom, Origin Story is the shopping experience of every Portland design lover’s dreams. The concept was born at a time when the future of its three founders’ respective businesses was uncertain. Audrey Merwin of Soluna Collective, Cynthia Valenti of Wildehaus, and MacKenzie Duffy of Modern Myth met on the pop-up shop circuit in the summer of 2021, during the brief window of time when masks came
off and the pandemic seemed to be subsiding. There, the trio discovered that they shared complementary design aesthetics, aligned business values, and a spirit of innovation. The natural next step was to unite under one roof with a shop committed to fostering community and connection while showcasing eye-catching finds for the home and wardrobe. Origin Story, located on North Williams, has quickly become a destination for daytime shopping as well as after-hours events, including art openings, product launches, and workshops. » GRAY
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INTER IOR DES IG N
Bright Designlab project, Bright Designlab’s knack for creating unique, nuanced spaces shines through. “We saw a niche for modern, playful, unusual design that still makes sense in a historical context,” says Pulcrano, who is especially fond of her firm’s recent residential redesign called Greenleaf Romantic (pictured). Led by design director Katie Dahl, the project interprets romanticism with interiors—complete with custom, locally crafted furniture—that are as fresh as they are timeless. »
GEORGE BARBERIS
DISPATCH
Many of the recent renovations undertaken by interior design studio Bright Designlab illustrate striking new lifestyle trends. According to founder and interior designer Alissa Pulcrano, the pandemic has given clients a newfound appreciation for distinct and purposeful spaces; in other words: Open floor plans are out, and privacy is in. They’re also asking Pulcrano’s team for spaces that work harder—think: outdoor rooms designed to accommodate large gatherings and indoor niches equipped for self-care respites. In each
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WEST OF WEST; CALEB GASKINS
West of West In response to the skyrocketing demand for housing in Portland, West of West is reimagining infill housing one single-family lot at a time. Helmed by architects Jai Kumaran and Clayton Taylor—who lead design teams in Los Angeles and Portland in a practice that cultivates community through the built environment—the firm is working to create efficient housing that nestles into neighborhoods with ease and style. Zoning laws that went into effect in Portland in 2020 permit multifamily
housing units on single-family lots—a change that makes possible such creative new residential projects that maximize both space and design. One example still under development is West of West’s Portland Twenty, which will feature 20 units with a natural materials palette. What makes a project like this special, Taylor says, is that it’s “super contextually driven, neighborhood-specific, and addressing a much-needed [solution to the housing scarcity] issue.” » GRAY
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Current Collection Nash Martinez has a form-forward approach to lighting design that makes his fixtures desirable across the market and around the globe. After years working as a curator of decorative objects and art deco vintage goods for private and commercial clients, he began developing his own designs, which celebrate minimalism. “Simple forms coming together is what speaks to me the most,” he says. “They’re the things we see on a daily basis: the sun, the moon. We’re in Bridge City, [where] all the columns, all these basic shapes, inform who we are.” For spring 2023, Martinez and his wife and business partner, Kora, are launching a refreshed look for his brand, Current Collection. He describes his new approach as more personal and reflective of the makers and local businesses that contribute to the creation of each piece. The newest design, Sfera— which means “sphere” in Italian and will debut at the International Contemporary Furniture Fair in May— is also Martinez’s most interactive piece to date. Featuring a sphere that swivels atop a stationary base, the unique table lamp achieves its creator’s aim of inspiring curiosity and delight. h
RYAN GARBER
DISPATCH
DESIGN DNA
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Driven by curiosity, Iga Węglińska and Valdís Steinarsdóttir are two young creatives who share a passion for playing with new materials—often with surprising outcomes. Węglińska is a Polandbased multidisciplinary designer and researcher who specializes in tech-driven materials and interactions between humans and garments. Nearly 3,000 kilometers away in Iceland, experimental designer Steinarsdóttir focuses on environmental issues by repurposing organic matter to create functional materials, such as biodegradable meat packaging made from animal skins. Here, GRAY draws them together to compare what makes each designer tick.
Iga Węglińska INDUSTRY:
Industrial design, fashion design DESIGNS WHAT:
Fashion-tech, footwear STUDIO LOCATION:
Posen, Poland
FIRST PRODUCT:
Footwear with concrete heels PRODUCT MOST KNOWN FOR:
Emotional Clothing CURRENT PROJECT:
NFT & 3D-printed footwear MOST MOTIVATED BY:
New technologies, material experiments DREAM COLLABORATION:
United Nude, Y-3 FROM TOP: Emotional Clothing consists of two
polysensory silhouettes that use the phenomenon of biofeedback to signal psycho-physiological changes in the user’s body; conceptual concrete footwear inspired by the Japanese aesthetic wabi-sabi; Shifted Shoes were designed to be self-assembled at home with simple everyday materials. Download the pattern and instructions at tinyurl.com/shiftedshoes.
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BEST ADVICE RECEIVED:
“Don’t compare yourself to others.” FUTURE OF DESIGN:
New methods of clothing manufacturing that reduce harmful environmental impacts and the need for human labor
COURTESY IGA WĘGLIŃSKA; MILA LAPKO
VITALS
MATERIAL OBJECTIVES
FROM TOP:
Just Bones is a natural material ground from animal bones with a strength similar to MDF; instead of cutting out patterns and sewing, Shape.Repeat is a zero-waste fashion material created by molding a natural liquid into a twodimensional shape.
Valdís Steinarsdóttir INDUSTRY:
Industrial design DESIGNS WHAT:
Material objects STUDIO LOCATION:
Reykjavík, Iceland FIRST PRODUCT:
Vessels created from repurposed animal bones (shown at top, left) PRODUCT MOST KNOWN FOR:
Bioplastic Skin, Just Bones, and Shape.Repeat (shown at left) CURRENT PROJECT:
New clothing manufacturing using two-dimensional molds with natural liquid material MOST MOTIVATED BY:
Finding substitutes for toxic materials DREAM COLLABORATION:
COURTESY VALDÍS STEINARSDÓTTIR
Working with people who make good coffee BEST ADVICE RECEIVED:
“Fortune favors the prepared.” FUTURE OF DESIGN:
Less focus on trends, more emphasis on sustainable solutions. h GRAY
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BOOKS
As the season turns, so do the pages of a crop of new design books covering topics that range from architecture and interiors to landscape design. Here are the titles we’re adding to our shelves in anticipation of longer days filled with abundant creative inspiration.
These days, everyone has an opinion about working in an office. Whether you’re on team Work from Home or you’ve been back at your desk for months, The Office of Good Intentions. Human(s) Work will inspire an appreciation for good design in the workplace. Marrying a collection of 12 essays with images by Iwan Baan, the title explores office design from the 1970s into the future.
Hitting bookshelves in April, Piet Oudolf At Work digs into the career of the acclaimed Dutch garden designer. Released through Phaidon, the monograph showcases Oudolf’s projects across the globe, from New York’s High Line to the newly planted Vitra Campus in Germany, and includes the largest collection of Oudolf’s drawings ever published.
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Portland-based interior designer Max Humphrey is known for a modern Americana aesthetic—think: classic plaids and tree motifs—that feels perfectly at home in the Pacific Northwest. This April, he shares a look at some of the inspirations of his signature style with the release of his newest book, Lodge (through Gibbs Smith), which spotlights the architecture and design of 10 rustic National Park lodges.
At Morphosis, the architecture office founded by Pritzker Prize–winning architect Thom Mayne, each project begins with the process of modelmaking—an approach that has become less common since the advent of computer drafting programs. M3: Modeled Works, released by Rizzoli, celebrates these miniature masterpieces, offering an in-depth look at the models that have expressed Mayne’s concepts over the years.
In the wake of the COVID-19 pandemic, architect and educator Blaine Brownell talked to leaders in the design field—as well as materials scientists and health officials—about the virus’ influence on buildings and cities. His findings, published through Princeton Architectural Press in The Pandemic Effect: Ninety Experts on Immunizing the Built Environment, propose solutions to protect manmade structures from the impacts of future pandemics. h —Rachel Gallaher
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NO. 68
Seattle State of Mind Interior designer Susan Marinello reestablishes her firm in the heart of her hometown. FIELD NOTES
By Susan Marinello Photographed by Aaron Leitz
I
celebrated the 25th anniversary of Susan Marinello Interiors in 2021—smack in the middle of the pandemic. Thanks to lockdowns, the commemoration only happened in my head, but there I began mulling ideas for a new studio space that could usher in a new era of design for my firm. The COVID-19 pandemic hit Seattle hard, pushing the city’s residents into isolation. Like most people, I rolled through all of the emotions: anger, fear, protectiveness of my team. But despite the sad realities that faced us—less work, sick friends and family members, a jarring loss of peace of mind—Seattle remained
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a city that represents everything to me, and I was not going to leave. My former office was located in a neighborhood that had become too dangerous for me and my team to safely navigate, so I started looking for a new space that would feel like a comforting home away from home. I wanted my team of 16 to feel proud of the office they worked in, and I had a few requirements: It would need to be in the heart of the city, and have abundant natural light and flowing energy. I envisioned an open loft, washed in light, that would become a “home” filled with antiques, art, and music. I found just the space in the »
THIS PAGE: The office entryway features a Jacobean Refectory table from England, 1970s chrome arch lamp, vintage Oushak rug from Turabi Rug Gallery in Seattle, and disco ball by Canal Sound & Light in New York City. OPPOSITE, FROM TOP: In the library, Ethel (the office support dog), sits on a vintage wingback chair amid midcentury arm chairs and an antique mercury glass lamp. An art piece by Matthew Wetschler hangs above a vintage bar cart from Sweden. Ceiling lighting throughout the office was sourced through Visual Comfort; Susan Marinello working in the office.
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Alaska Trade Building, a historic spot set between Le Pichet bistro and the all-too-famous Biscuit Bitch in the Pike Place Market neighborhood. The building was constructed in 1909 and is 100-percent concrete. At the turn of the 20th century, it was advertised as the first fireproof 54
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building of its kind. As a team, we opted to fully gut our 4,700-squarefoot space and start with a clean slate. Planning and construction took five months, and it was a push. Balancing my vision and budget with the reality of what products were available to ship felt like a
never-ending challenge. In late September 2022 we moved in, and by that November, we were fully operational in the new space. Just as I had envisioned, the interiors of our new office feature light and art, which foster creativity, wellness, and joy. Each morning,
“I INTENTIONALLY REDUCED THE SIZE OF OUR LIBRARY WITH THE IDEA THAT WE NEED T O GO OUT INT O THE WORLD T O FIND OUR SPECIAL INGREDIENT S.” —Susan Marinello, Susan Marinello Interiors
when I walk through the door, I feel a sense of calm. And meeting clients here is a treat: Not only do they get to experience our design firsthand, but they also have the opportunity to discover the best of Seattle and what makes it such a desirable place to live. The new Seattle office celebrates
the best of our town: striking views of Elliott Bay and the bustling energy of tourists. I had no idea how rich Pike Place Market is until we moved in—and I am a Seattle girl! We shop it daily now, and I can say that the city doesn’t feel quiet at the market. It feels alive and vibrant. h
Vintage Oushak runners by Turabi are paired with skirted table fabric by Pierre Frey in the west side of the studio. In the distance, Eames task chairs encircle a conference table.
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SFELAB
DESIGN DNA DESIG
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CHRISTOPHER ROGEL BLANQUET
G N DNA DESIGN DN
Chapter
INTERVIEW
DESIGN DNA
GRAY talks to Maria Porro and Roberta Silva, two women changing the face of leadership in the design industry. Written and transcribed by Rachel Gallaher
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EMILIO TINI; ALBERTO STRATA
LEFT: Roberta Silva, CEO, Flos. RIGHT AND PREVIOUS SPREAD, LEFT: Maria Porro,
president, Salone del Mobile Milano.
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INTERVIEW
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ew things test leadership like a global pandemic. For Maria Porro and Roberta Silva—who stepped into their respective roles as the president of international furniture fair Salone del Mobile Milano and the CEO of lighting manufacturer Flos in 2021 and 2019—the challenges of helming two of the biggest brands in the Italian design industry would have been significant without the effects of COVID-19. But add in global social and travel shutdowns and a changing approach to how and why we design places and products, and even the most seasoned leaders felt uncertainty about the future. Instead of playing it safe and staying the course, Porro and Silva—the first women to hold their current roles—pushed forward, proposing innovative ideas and processes while recognizing the decades of history underpinning each institution. Neither woman is new to leadership or design. In 1925, Porro’s great-grandfather, Giulio Porro, founded the Italian brand Porro S.p.A., and Maria now serves as the company’s head of marketing and communications. In 2019, she was elected by the general assembly of Assarredo, the Italian trade association for furniture manufacturers, as its first female president. Silva, who was previously the global retail director at the Bose Corporation, was handpicked by Piero Gandini—whose father founded Flos in 1962—to take over as CEO when he stepped down. In the lead-up to Salone del Mobile Milano 2023, GRAY spoke with Porro and Silva about breaking the glass ceiling, balancing personal life (and motherhood) with a high-powered job, and what they are looking forward to at this year’s design fair. The following interview has been edited for length and clarity.
GRAY: Maria, you are the youngest
president to ever lead Salone del Mobile Milano, an organization with decades of history. How do you view your role? MARIA PORRO: I’ve been visiting
Salone since I was a child, and my company [Porro] is one of the few that has participated in all editions of Salone, so I am really rooted in it. I know how important Salone is to the design community. We have to remember that there is a strong heritage behind the fair. That means staying connected to the values that make it so important—first and foremost, the quality of the companies involved—and looking toward the future by involving younger generations of designers. GRAY: Roberta, you are the first female
CEO of Flos, which has a 60-year history and a reputation for innovation. How do you balance a respect for the brand’s past and future?
ROBERTA SILVA: I came on immediately
after the second generation, so it was a big role to fill, but Piero [Gandini] selected me, and I hope to carry on the company’s legacy for excellence. As Maria said, to move forward quickly and grow, you need to understand your roots and keep the recognition of heritage. That way, you don’t dilute the brand but can strengthen it with new products, designer collaborations, and innovative ideas that are attractive to a larger number of people. GRAY: The design industry in Italy
is historically male-dominated. What do women bring to the table, and why is it important for them to assume more leadership roles? MARIA PORRO: If you think about the
past, we have women like Gae [Gaetana] Aulenti, Lina Bo Bardi, and even Marva Griffith, the creator of the SaloneSatellite [a Salone del Mobile Milano event dedicated to the work of designers under age 35]. There have always been women leading design forward, but maybe the light hasn’t been as bright on them. » 60
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“The power of a woman in a position like CEO is the ability to engage and understand but also to be resilient. I say, never be brutal, never be arrogant, but be assertive.” —ROBERTA SILVA, FLOS
COURTESY FLOS
Designed by Patricia Urquiola for Flos, Almendra is a modular lighting system with shapes and colors reminiscent of the almond tree.
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Now, women are more in the spotlight, so they can have more influence and make more widely visible decisions. I think that women can bring a more inclusive approach to design, including a more open approach to balancing life and work, which is one of the most important changes. ROBERTA SILVA: I think that women
bring to the table a different viewpoint than men—this is the power of a woman. We are different, and proud to be different. The power of a woman in a position like CEO is the ability to engage and understand but also to be resilient. I say, never be brutal, never be arrogant, but be assertive. In the late 1980s, when I started at Kraft Foods, there were no women in the driver’s seat. I had to create my own [leadership] style and way to interact effectively with my coworkers. It’s important to support other women in the industry. Maria has changed Salone and is evolving it for the [time] we live in, and I am working on strengthening the Flos brand around the globe. We have been together on this adventure! GRAY: Speaking of Salone, what are
each of you most looking forward to at this year’s fair? MARIA PORRO: We will finally have
all the world coming again! It will be so nice to hug people I haven’t seen in years, and I look forward to seeing the reactions to our new ways of interpreting a design fair and business event. ROBERTA SILVA: Maria and I started
a wonderful conversation two years ago about ways to transform Euroluce [the biennial lighting trade exhibition that is part of the Salone fair] into a truly international and innovative experience. Rather than doing just another presentation of products, we suggested an event that conveys the magic, relevance, and culture behind lighting, diving into the history and technology behind it.
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GRAY: Why is it important to approach
design with a business mindset? ROBERTA SILVA: When I started [at
Flos] four years ago, we created a two-sided process for developing products. One side is very creative, and the other is business-oriented. You need to have a mix of both elements to create a successful product. We’ve figured out a way to work at both elements at the same time, and in this way, we’ve been able to speed up the development process. In the past, when Flos presented at design fairs, the products we brought were prototypes that would launch after 18 to 24 months. Now, what we present will be sold by the end of the year, thanks to our intersectional approach. GRAY: How do you both balance
motherhood with your careers? Can women have it all, or is there always a sacrifice to make? ROBERTA SILVA: I have a wonderful
husband, wonderful kids, and a wonderful job. I can’t be the perfect mom, but I’m there in the evening when my kids need to speak to me, and I’m there to watch their sports practices, speak with their teachers, and provide advice. Making choices to achieve that balance is very important. MARIA PORRO: I am very lucky to have
my mother and a lot of support at home. Family is a community, and everybody has to play a role. I think that for women to have the same possibilities as men, men have to take on the same role at home and within the family as women do. When it comes to spending time with my children, I don’t think the amount of time matters as much as the quality of time. It’s important to find the right balance between work and life and to do what you can to preserve your peace.
GRAY: What are you most hopeful
for when it comes to the future of design? MARIA PORRO: We are always talking
about sustainability, but the next generation of designers is embracing the idea that good design does not exist if it’s not sustainable. I like to use the metaphor of climbing a mountain when talking about an approach to something: When you prepare to climb a mountain, you pack a backpack. When you prepare your backpack, you need to know what to bring and what to leave behind. As the new generation of designers moves forward, I think they are much clearer on what to keep from the past and what to leave behind. h
COURTESY SALONE DEL MOBILE MILANO, DIEGO RAVIER; COURTESY SALONE DEL MOBILE MILANO, LUCA FIAMMENGHI
FROM TOP: A booth by Spanish furniture manufacturer Sancal at the 2022 Salone del Mobile Milano
furniture fair. Products from Zucchetti at Salone’s International Bathroom Exhibition.
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ON THE RISE
DESIGN DNA
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Designer Alfonso Verduzco stands in a field of agave plants in Oaxaca, Mexico. Each tile in his Akamba pattern includes five 12- to 15-year-old agave spikes hand-picked by a local grower at one of the area’s mezcal distilleries.
MOLDED IN MEXICO
Alfonso Verduzco’s contemporary tile collections honor traditional Mexican materials and craftsmanship. By Rachel Gallaher Photographed by Christopher Rogel Blanquet
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he COVID-19 pandemic took more from the world than we can possibly comprehend. Lives, jobs, time, and talent were lost. But amid the tragedy, hope bloomed, and creativity flourished. Some artists and designers pivoted to new fields or disciplines, while others used the time to push their craft to a new level. Mexican designer Alfonso Verduzco, who released a line of artisan wall tile last year, did a bit of both. After studying architecture, then embarking on a decade-long career in the field of interior design, Verduzco took a pandemicsparked leap of faith and launched his own product design studio. “COVID-19 pushed me out of my comfort zone to pursue my dream, the vision I have had for many years,” Verduzco says. “Creating wallcoverings with tile was my first [big] idea. I’ve never seen anything like what I am creating—art in tile form.” Verduzco’s creativity emerged at a young age. As a child in Michoacán, Mexico (a state just west of Mexico City), he loved to draw and paint, and when he was just 7 years old, he was invited to design the posters his school hung in the hallways to announce news and special events. “I remember lying down on my grandma’s kitchen floor with these big posters in front of me and just drawing for hours,” he says. “I’ve always been creative, always been making things. For me, it’s a way to engage with the world around me and share my ideas.” After high school—and a four-year stint in California, where he took classes related to design and architecture—Verduzco moved to Colorado, where he enrolled in the architecture program at the University of Colorado Boulder. He graduated in 2014 with a degree in environmental design. “Right after I graduated, I realized that I wanted to pursue interior design,” he recalls. “Any time I worked on an architecture project, I was more interested in the furniture, the light, the textiles. People don’t live in the [shell] of a house—life happens in the kitchen,
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the living room, the hallways.” With a new direction, Verduzco started looking for jobs in the interior design field. He landed a position at a high-end European design firm— which he credits with teaching him the importance of technical details, from how joinery works to the ideal thickness of cabinetry components.
Two years and more than 60 projects later, Verduzco was hired by Denver’s Studio Como furniture showroom as the lead designer working with Poliform products. “I felt like I had reached a point where I needed to move on to keep growing,” Verduzco says of the shift. His interest in high-end design and appreciation for European brands created opportunities for him to travel around the world, both for design projects and to learn the craft of furnituremaking with Italian giants including Minotti, Cassina, and B&B Italia. After a decade in the industry, Verduzco began contemplating his next step. Hoping to expand his creative output, he was mulling over ideas for his own wallcovering designs, which, he felt, could fill a void in the market. By 2020, when the pandemic was declared and the world shut down, he saw his opportunity. “When I was a designer attending Salone del Mobile, I always looked »
THIS PAGE AND OPPOSITE: Verduzco
works with artisans in Oaxaca who employ a centuries-old method to create clay tiles. Using local natural materials— such as agave spikes, crushed volcanic rock, and dried corncobs—they apply embellishments and patterns to the tiles before hand-polishing and firing them.
“I WANT O THER DESIGNERS T O SEE SOMETHING MADE IN MEXICO THAT IS UNLIKE ANY THING THEY’VE EVER EXPERIENCED BEFORE.” —Alfonso Verduzco
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at the booths full of product and thought to myself, ‘I’m going to have one of those someday,’” he says. “At some point you either go all in or you’ll think about it forever. During [the pandemic], I decided I was going in 110 percent.” Looking to his native country for inspiration, Verduzco homed in on barro negro (black clay) pottery as a starting point for his first collection of wall tile. “There is one small town in Oaxaca where you can find this clay,” he explains. “[The unique pottery it yields] is made using a centuries-old method.” To create the tiles, artisans fit the clay into plaster molds by hand, then allow them to dry to a specific consistency before they apply embellishments (including agave spikes, crushed volcanic rock, or imprints from dried corncobs). The tiles are then handpolished and put in an underground firepit that is filled with smoke. As the tiles bake at a high temperature, the smoke gives the clay a dark-black color with an almost metallic sheen. 68
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The handcrafting process is timeconsuming—creating one tile takes as long as a week and a half, but a dedication to craftsmanship is important to Verduzco, who won a 2022 Editors Award for Best Material at New York’s International Contemporary Furniture Fair + WantedDesign Manhattan. Currently, he’s working on a new collection of tiles and dabbling in furniture and lighting design—still sketching out ideas as he did years ago in his grandmother’s kitchen. “The main focus of everything I’m doing is to show the world what people in Mexico can do at an elevated level,” he says. “Using materials and methods rooted in Mexican culture that have historic value is important to me. I want to represent the country in a sophisticated, elegant way.” h
The tiles are baked in a firepit filled with smoke, which gives the clay a signature, almost-metallic black color.
Verduzco’s Tsiri tile has unique patterns created by stamping the clay with dried corncobs.
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FACTORY
DESIGN DNA
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THIS PAGE: The French brand Fermob is known for high-quality outdoor furniture. OPPOSITE: Manufactured in
Thoissey, France, Fermob products still receive a human touch throughout the production process.
FRENCH CLASSICS
A look behind the scenes at Fermob, manufacturer of iconic outdoor furniture By Rachel Gallaher Photographs courtesy Fermob Known for colorful outdoor furniture— which populates public spaces from New York’s Bryant Park to Seattle’s Occidental Square—the Fermob brand has become synonymous with classic French design. Originally a manufacturer of metal tables and chairs, Fermob has evolved significantly since French businessman Bernard Reybier purchased the company in 1989, and now offers international distribution and product lines including lighting and soft goods. In the late 1980s, Fermob’s factory—which is based in Thoissey, a small commune in central France— employed just a dozen people, most of whom were blacksmiths and
craftsmen, and produced furniture in just two colors: white and green. Reybier arrived with innovative ideas, including the goals of global distribution, partnering with international designers, and adding colors to the product line. He set up an in-house design team, a research and development office, and qualitytesting facilities, positioning Fermob as a global leader in the outdoor furniture market. “Why would you want to hide a chair?” Reybier says of his vision. “We wanted to bring color to the garden and to give people the opportunity to express themselves as they would with indoor furniture.”
Fermob now offers an annual palette of 22 to 24 unique colors developed in partnership with industrial coating company Axalta; each year, a color is retired and another is introduced. Each new hue takes more than a year to develop, and the company has a special team dedicated to the process. The new shade for 2023 is Lapilli Grey, which has a finely textured and speckled appearance inspired by lava stones. “Color is not just about sales or trends, but about telling a story,” says Mathilde Rousseau, visual merchandiser at Fermob. “We want people to be able to envision themselves in the stories.” » GRAY
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Fermob produces 650,000 pieces of furniture, lighting, and accessories each year; 150,000 of them are the brand’s famous Bistro chair (shown in production at top right).
Fermob designs have the distinction of being prominently placed in public spaces in several major cities. Visitors to Paris’ Jardin du Luxembourg and Jardin des Tuileries can rest on the Luxembourg chair, a reimagined version of the classic Senat chair created by the Ateliers de la Ville de Paris in 1923. Designed by Frédéric Sofia in 2004, the Luxembourg remains a popular choice for public and private settings. In New York City, Fermob’s most iconic piece—the folding Bistro chair, developed from the original design patented in 1889— populates Bryant Park and Times Square, providing a place for people to gather while facilitating a feeling of community in areas that were once avoided because of neglect and crime. GRAY recently visited Fermob’s Thoissey factory and witnessed the production of the Bistro chair; the company makes 150,000 of these seats each year. “We can produce one chair per minute,” says industrial 72
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project manager Anthony Pochon, who led the factory tour. “We haven’t rethought the design [of the Bistro chair], but we’ve rethought the technical approach.” This includes employing new machines that help speed up and synchronize parts of the production process. Eight years ago, Fermob purchased a machine that bends the chair’s gently curved steel slats, creating better uniformity among products. “It allowed us to decrease the price and increase the quality,” Pochon explains. Throughout the factory, which is remarkably clean and quiet for an industrial production facility, the collaboration between humans and machines keeps things running smoothly and efficiently. Rectangular tabletops get their rounded corners from a machine, then an employee finishes the edges and punches the center parasol holes by hand. A powder paint finish is also applied
manually, and employees package the final products for shipping. As the company stated in a 2021 promotional video, “There’s no match for the human eye.” Since 1989, Fermob has doubled in size about every five years and now employs 400 people, most of whom live in the area. “About 48 percent of our employees are women,” Pochon says. “We have more women at the end of the factory line because they are more detail-oriented and better at quality control.” As the company evolves in the decades to come—Reybier recently announced that he is stepping down as CEO but will remain involved in the design process; his son, Baptiste, will assume the role—its leadership plans to continue to balance innovation with respect for craft and heritage, while supplying public (and private) spaces with iconic French designs meant to bring people together. h
Over the past decade, Fermob’s product line has expanded beyond outdoor furniture (which can also be used inside) to include home accessories and lighting.
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DESIGN DNA
STRONG FOUNDATIONS
Seattle nonprofit Sawhorse Revolution is using carpentry workshops to teach high schoolers the benefits—and joys—of working with their hands. By James Burton “With carpentry and architecture, you can teach almost anything,” says Sarah Smith, co-founder of Sawhorse Revolution. For more than a decade, the Seattle-based nonprofit afterschool program has been teaching high school students carpentry and design skills through inspiring building projects. To date, Sawhorse students—and their professional architect and carpenter mentors— have built a social-justice-oriented library, a wooden boat for an organization that cleans up the Duwamish River, and dozens of tiny houses for Seattleites experiencing homelessness, among many other projects. It all began in 2008, as a collaboration among Smith and friends Adam Nishimura and Micah Stanovsky. The job market was stagnant—and Smith’s degree in English literature with an emphasis on 18th-century poetry wasn’t helping matters. So, the friends began working as cooks and carpenters, finding joy in working with their hands while reflecting on the lack of experiential learning in their formal educations. “Most people leave school without having touched a tool,” says Smith, who notes that in the past 30 years, Seattle high schools have collectively lost at least 13 out of 17 shop classes. 74
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“If you’re a young person in Seattle, you probably don’t leave school understanding [that working with your hands] can be a creative and rewarding career.” With this in mind, the trio founded Sawhorse in 2010. Initially situated on a farm north of Seattle, it was a sort of summer camp that used carpentry skills to foster students’ creativity, confidence, and personal development. During the first summer, attendees discovered what they could accomplish with their own hands as they built an octagonal treehouse in the forest canopy. “Experience is a very important form of how we learn,” Smith says. “[At Sawhorse,] you’re in a world where you’re learning all the time, and there’s immediate feedback about whether you’ve learned something or not. Did that nail go in straight? Did you strip the screw? The feedback is your own and there’s no judgment about whether you’re good or bad at it. For students who have experienced trauma in schools, [it’s a place that] allows the power they have within themselves to come out a bit more easily.” In 2012, Sawhorse moved to Seattle,where it became an afterschool program committed to
ABOVE AND OPPOSITE: Estelita’s
Library—a project from Sawhorse Revolution and Seattle’s Office of Arts & Culture—houses a collection of socialjustice literature and serves as a hub for cultural events. Design mentors from local architecture firm Olson Kundig helped with the project.
RAFAEL SOLDI
educational and social justice. With a student body that’s more than 50 percent female or nonbinary and 75 percent youth of color, the nonprofit is confronting the fact that the design and carpentry industries are overwhelmingly male and white. “A sea change needs to happen, because our world should be designed by the people who live in it,” Smith says. Working alongside professional carpenters and architects from firms including Gensler and Olson Kundig, Sawhorse students have designed and built a range of structures dedicated to intersectional justice. Currently, they’re supporting the design of an outdoor kitchen for outdoor education center the Heron’s Nest and a retreat facility and gallery for arts organization Deaf Spotlight, among other projects. Sawhorse was part of the founding team that developed Seattle’s first tiny house village in 2013. Even as Seattle’s unhoused population has ballooned during the pandemic, Sawhorse has remained steadfast in its commitment to conferring a sense of individuality and dignity by creating unique tiny homes—iterative expressions of designs that have proven successful in the past—rather than churning
out as many identical dwellings as possible. “Residents of the villages often talk about how the pain of being anonymous—of not mattering— is one of the worst pains of being homeless,” Smith explains. Today, approximately one in 15 Sawhorse students pursues further education or work in architecture or construction. Others explore policy or community engagement, while some enter entirely different fields. “Sawhorse is this amazing model in which carpentry and architecture are at the center, but [it’s really about] developing critical thinking skills and starting to think beyond the world that’s in front of your nose,” Smith explains. “We’ve always been inspired by [19th-century poet] William Blake to see the world in a grain of sand.” After all, the simple act of hammering a nail can build an entire home, which can provide the stability, safety, and dignity that all humans require. “Yes, you can make a difference,” Smith says. “If you can hammer a nail, you can [change] a community.” h
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OME HOME HOME
HOME HOME HOM
©JOÃO GUIMARÃES
Chapter
MODERN MAXIMALIST
Inspired by historic Italian architecture, interior architect Greg Natale follows a more is more mantra when designing a contemporary villa in Australia. By Alyn Griffiths Photographed by Anson Smart
Interior architect Greg Natale designed a contemporary villa in Brisbane, Australia, for an art-loving couple who live parttime in Italy. Natale took cues from the historic buildings of Florence and Rome when creating the home’s arresting architectural details, which contrast against contemporary furnishings in bold colors and textures. In the living room, a curved Hamilton Conte sofa upholstered in mustard-colored velvet pairs with black marble Firenze nesting tables designed by Natale.
It’s a long way from Italy to Brisbane, Australia, yet here, on a prime site overlooking the Brisbane River, sits a contemporary Italianate villa inspired by the great palazzos of Florence and Rome. The three-story, five-bedroom home was created by Sydney-based interior architect Greg Natale for property developer Leticia Francini and her artist husband, Stephen Ninnes, whose passion for la dolce vita is translated into the home’s luxurious, maximalist interior.
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Natale joined the project as the home was being designed. To honor the clients’ request for tallerthan-average ceilings, he reworked existing plans to achieve more classical proportions. In the glasswalled entry, black and white marble floors and fluted black timber walls make a striking first impression.
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THIS PAGE: Gold de Gournay wallpaper sets a luxurious
tone in the dining room, where brick-red, velvet-upholstered Saarinen Executive chairs gather around the table, and a Conley & Co. chandelier brings an art deco vibe. OPPOSITE: Concrete arches separate the rooms, creating a strong visual connection among them.
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Natale designed a curved, three-story staircase that dominates the double-height entry hall. On this landing, an Eyeshine mirror by Wiener GTV Design hangs over an Occhi console by Fornasetti. Black and white Teranova floor tile pulls the space together.
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rancini and Ninnes live in Brisbane but spend much of their time in Tuscany, where they run a foundation dedicated to teaching and fostering an appreciation for Renaissance-style painting. In late 2017, they purchased a riverfront lot in Brisbane that held a drab noughties house with amazing views of the water and the city skyline. They quickly decided to demolish the existing building and replace it with a residence tailored to their personal style. “We’re very much influenced by European architecture,” Francini explains from Florence, as the bells of a nearby church toll in the background. “We love that many European buildings are made to last for generations, and we wanted our Brisbane house to be of that quality.” The couple approached Natale early in the project—after coming across his studio’s collection of marble tiles, which they wanted to feature in their home. They were also impressed by his previous residential work—in particular, his ability to create dramatic yet comfortable interiors. “Greg has such confidence in mixing colors, patterns, and textures; he really nailed the maximalist look we wanted,” Francini says. “He is also a perfectionist and really brought an extra level of finesse to the project.” Natale’s first job was to refine the basic proposal Francini and Ninnes had already submitted for a zoning permit. This included re-engineering the existing plans to achieve the classical proportions and generous ceiling heights the couple requested. He also designed a spectacular curved staircase that dominates the double-height entry hall. The stair provides access to three floors, including four bedrooms on the upper floor and a lower level containing a fifth bedroom, along with a home theater and poolside terrace. The proposed exterior included arched openings that give the building the appearance of a modern palazzo. Natale brought this distinctive motif inside the home, creating arched doorways among the spacious rooms and adding niches in the dining area that frame an eye-catching gilded wallpaper from de Gournay. “Arches are really in vogue at the moment, but that’s not why we used them in this project,” Natale points out. “Leticia
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and Stephen wanted this Italian look, so I came up with the idea of using arches to evoke amazing buildings like the Uffizi Gallery in Florence and the Vatican in Rome.” Another element that links the interior to Italy is the extensive use of marble, a material that Francini and Ninnes are extremely passionate about. The couple have a holiday home in the Carrara mountains, and they picked out the Paonazzetto marble used for this residence’s kitchen island, backsplash, bar top, and main living room fireplace during a visit to the local caves. This particular marble also appears in one of Leticia’s favorite buildings, the Pantheon in Rome, creating a pleasing historical connection. The Nero Marquina marble used for the flooring contributes to the home’s dark and moody atmosphere, which is lifted by brightly colored furnishings and warm details such as brass accents. Texture and contrast play a key role throughout the interiors, with polished stucco used liberally instead of painted surfaces and dark fluted Tasmanian oak panels adding visual interest to walls and ceilings. The furniture is a mix of contemporary and vintage pieces chosen to bring a layered, eclectic feel to the spaces. A mustard-hued velvet sofa adds a pop of color in the main living area, which also contains brickred armchairs that are echoed by the dining chairs and kitchen bar stools. Francini describes the capacious and versatile living room as her favorite space in the house. “We like to entertain and there are just so many places there to sit and enjoy talking with people,” she says. In 2022, Francini and Ninnes made the difficult decision to sell the house in East Brisbane so they could continue developing other projects, including properties in Greece and Manhattan, which Natale is also designing for them. The new owner bought the property with all the existing furnishings, demonstrating that although it was made to reflect Francini’s and Ninnes’ specific interests, good design can transcend personal taste. “The house is an expression of who we are and wasn’t meant to appeal to everyone,” Francini points out. “But everything was executed to the highest possible standard, so I know it will be a beautiful place to live for years to come.” »
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The kitchen’s minimalist aesthetic highlights materials, specifically Paonazzetto marble and black fluted timber. The light fixtures are by Apparatus, and the stools are Verner Panton designs.
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Neither Natale nor his clients wanted to shy away from dazzling maximalism. The rich, brick-red color employed throughout the house appears in the primary bedroom in curtains and upholstery for the bed. Conley & Co. lamps flank the headboard, and Gucci’s Heron wallpaper adorns the walls.
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THIS PAGE: The primary suite includes a makeup
room; beyond it is the main bathroom, which features a sensual black marble tub. Brass-lined archways and brass mirrors bring Old Hollywood glamour, and a feminine fringed stool is quirky yet refined. OPPOSITE: Custom shelving in the dressing rooms ensures everything has a place. A vintage lamp from 1stDibs hangs from the scalloped ceiling like a cluster of pearls. h
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THE ART OF INTERIORS
Designer Diego Burdi pairs contemporary art with custom furnishings to create timeless interiors for a well-traveled Toronto couple. By Paola Singer Photographed by Doublespace Photography
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The walls in the great room of this Toronto residence, designed by Diego Burdi, are clad with wool-upholstered panels. Elegant oyster-colored chairs from Christophe Delcourt play well with custom furniture in various shades of gray. The 14-foot-tall doorways are cased in blackened bronze.
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A second seating area in the great room is anchored by a large silk rug designed by Burdi; its spectrum of gray tones ranges from dark charcoal to silver.
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hen speaking about their projects, interior designers will often say they had “dream clients.” Sometimes it’s just a polite quip, and sometimes they truly mean it. When recounting the process of designing this Toronto residence, Diego Burdi, co-founder of the Canadian interiors studio Burdifilek, gushes earnestly about the clients and the project—a new build for which he was given the freedom to create something completely custom. “They’re so amazing,” he says of the homeowners, a philanthropist couple. “They’ve become dear friends.” After living for many years in a traditionally styled home, the couple was “ready for a new point of view,” Burdi says of his design. “We endeavored to create a space with an understated, elegant [style] that you can’t really put your finger on.” Indeed, the quiet, rather spartan interiors don’t reference any specific time period or trend. What stands out instead is the inherent luxury of noble materials including limestone, marble, and oak, seen in nearly every surface in the home, and the sculptural quality of the rooms themselves: grand spaces with detailed finishes and perfectly placed doors that frame views of lush gardens and patios. Then there’s the great centerpiece of the home, a sculptural spiral staircase displaying organic curves. This three-story pièce de résistance twists around a slender 30-foot hanging light installation comprising hundreds of glass fragments shaped like gemstones (a bespoke collaboration between Burdifilek and Vancouver-based Matthew McCormick Studio). “This level of design is not for the faint of heart,” says Burdi, adding that the project encompassed 25,000 square feet of living space. “You don’t understand the square footage from the outside—there’s an element of surprise when you walk in.” Over the five years it took to construct and decorate the home, the designer and his clients traveled together to Paris, London, and New York City in search of special furnishings and objets d’art. The finished residence has two main levels with five bedrooms and several reception rooms, including a 1,500-squarefoot grand salon. To make the scale more approachable, and to encourage »
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THIS PAGE: The entry’s minimalist
fireplace is clad in the same French limestone used for the hallway floors. In the firebox, a sculpture features a series of bronze forms that resemble logs standing on end. OPPOSITE: The fireplace’s materials palette continues into the house with French limestone moldings and blackened-bronze door frames.
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THIS PAGE AND OPPOSITE: A sculptural,
hand-carved stone staircase serves three floors. Visible from the dining room, it spirals around a 30-foot-tall, cut-glass pendant light designed by Matthew McCormick. To create its bejeweled look, the lighting designer employed a gemstone-cutting technique used by jewelers.
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THIS PAGE: A dedication to
materiality continues in this marble-clad bathroom. OPPOSITE: Modern furniture shapes mix with art and antiques in every room of the house.
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THIS PAGE: Adjacent to
the dining room, the solarium displays limitededition furnishings and 20th-century works by artists including Donald Judd and Vincent Dubourg. OPPOSITE: The family room walls are clad in blackstained Baltic pine panels.
intimate conversations among guests, Burdi created three distinct seating areas. The central parlor has clean-lined oyster-hued sofas, light-cognac-colored armchairs, and twin bronze coffee tables by Eric Schmitt for Ralph Pucci. On one end of the room, a grand piano sits alongside a set of aubergine-colored club chairs from New York’s KGBL; at the other end, a curved sofa by Christophe Delcourt is paired with a round side table displaying an antique marble sculpture. A large ombré silk rug and wool-upholstered wall panels add a sense of harmony and warmth. “[My clients] entertain frequently, but above all, it’s a home,” the designer says. “When you look at the room, it’s all very cohesive.” Throughout the residence, neutral hues of ivory, beige, and taupe provide a gallery-like backdrop for the couple’s collection of vibrant contemporary artworks, including a monochromatic ocean-blue painting by Pat Steir, a multicolored, textured work by Larry Poons, and a black-and-white op art piece by Victor Vasarely. On the basement level, there’s another impressive collection: 3,000 bottles of wine, for which Burdifilek created a system of thin metal shelving that, when viewed from a distance, makes the bottles look like they are suspended in space. In the center of the room, a plump, curvilinear limestone island is used for tastings among friends. “There was a lot of customization, along with a collection of unique pieces from different parts of the world,” says Burdi, who found the island’s stone in France. “We wanted the interiors to be elegant, not loud, but also to stand out.” h
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MOUNTAIN The kitchen in this British Columbia vacation home reinterprets conventional cabin style with sleek, elevated finishes. By Rachel Gallaher Photographed by Ema Peter
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ranite isn’t typically on the list of materials associated with an alpine aesthetic. Light wood tones, a palette of warm brown finishes, and soft leather upholstery more often fall in line with a traditional cabin interior. But in the deft hands of Vancouver-based interior designer Gillian Segal, dark slabs of granite became the focal point of this kitchen in a mountain getaway in Whistler, British Columbia. Segal designed the vacation home for a large, multigenerational family, and according to her, “they wanted something contemporary, but also timeless. They [requested] a neutral palette and gravitated toward grays instead of taupes or camels, so we focused on materiality to bring in a lot of textured warmth.” The clients also requested a wood beam detail for their fir timber ceilings, and Segal opted to stain the beams black to keep the space feeling fresh and modern. “I think they were a bit unsure at first, as it is an unusual finish for beams,” she says, “but it turned out to be a favorite feature. We worked on finding a warm finish for the tongue-and-groove paneling between the black beams to ensure [the space] still felt warm and wasn’t too high in contrast.” According to Segal, the clients are passionate about food, so a chef’s kitchen was a top priority, as were lowmaintenance, durable materials that would stand the test of time—which is how granite countertops and a matching backsplash came into play. Light gray paint paired with putty-colored cabinetry and Ann Sacks limestone flooring bring depth to the room while preventing it from feeling oppressive. The plaster hood was designed to match the cabinetry, its color and lightly curved shape helping “add softness to the space,” Segal notes. Finishing touches include a trio of lantern-like pendant lights over the sink and cozy shearling-upholstered stools at the island. The kitchen is the clients’ favorite gathering space, and a project highlight for Segal, who notes: “I love how harmoniously all the materials came together to create something that feels very textural and warm while still being neutral and modern.” h
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HOME
Take it back to the basics with furniture and accessories crafted from a timeless material that has been a designers’ choice for thousands of years. By Rachel Gallaher
Wood can’t say a word, but a simple glance at its color, grain, and texture yields a wealth of information about its species, environment, and unique history. One of nature’s great communicators, this ancient material has fascinated humans for thousands of years—and we, in turn, have used it to shape tools, build shelters, and craft furniture. Although furniture styles—and the technologies used to produce them—have evolved over the centuries, the beauty of this natural resource hasn’t. Whether you prefer a rustic style, something whimsical and artistic, or a streamlined modern look, the latest collections of furniture and accessories are sure to offer designs that will speak to you. » 108
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JASON VAN BRUGGEN
OBJECTS OF DESIRE
PRIME CUTS
Vancouver-based artist and designer Brent Comber has worked with wood for more than 30 years. “I’ve always been drawn to wood because of its connection to place,” he says.
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Crafted by Mexican artisans, the Carrinna table lamp from Arhaus is available in three sustainably sourced wood species (Mexican palografico, guanacaste, or bleached aged oak). The wood base and white linen shade tap into a rustic sensibility that’s elevated by a modern, faceted form.
Making its debut at the January 2023 edition of Maison & Objet, the L’Atelier collection by L’Objet celebrates the techniques craftspeople use to work with porcelain, wood, linen sateen, and wool. The Picanto salt-and-pepper mills feature hand-carved natural European oak and smoked oak forms inspired by the shapes of salt flakes and peppercorns.
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New from Chicago-based design studio Refractory, the Holotype chair collection is an exploration of the forms solid wood can take. First shown at the Alcova show during Milan Design Week 2022, the Holotype occasional chair (shown here in solid white oak) features textured bronze detailing cast from a woven arrangement of porcupine quills.
YUSHIIN LABO; JONATHAN ALLEN; COURTESY L’OBJET; COURTESY ARHAUS
OBJECTS OF DESIRE
Brent Comber’s Daylily chairs are an evolution of his Nest chairs. Available in four material and finish combinations (the Western red cedar with clear hard-wax oil is seen here), these seats are reminiscent of spring flowers about to bloom. Each chair is crafted from a single log, making every piece a one-of-a-kind creation.
JOYCE PARK
A stunning collaboration between interior designer Kelly Wearstler and Israeli artisan Hagit Pincovici, the Third Nature collection was born from Pincovici’s desire to reconnect with nature during the pandemic. At that time, she began collecting dead plants from her surrounding urban environment, then casting them in bronze at her studio in Milan. The Third Nature series of sculptural, everyday objects for the home includes two benches, a chair, a mirror, and a sculpture. The Phoenix console (shown here) is handmade with wire-brushed stained oak and a striking cast-bronze date branch. »
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ABOVE, LEFT: In late 2022, artist and designer Adi Goodrich returned to her roots as a woodworker with the debut of Sing-Thing, a brand offering a small-batch line of sculptural furniture. The first collection, titled The Frunchroom, features playful silhouettes, exemplified by the Sketti-A side table (shown here). ABOVE, RIGHT: Founded by father-and-son duo Tres and Nate Scheibe, the Nashville-based furniture studio Scheibe Design debuted its inaugural collections, Roebuck and Cumberland, in January. Inspired by the vertical support structures of park playground equipment, Nate gave the Cumberland coffee table (shown here) a monolithic quality.
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ADRIAN GAUT; COURTESY MITCHELL GOLD + BOB WILLIAMS; FOR ADI GOODRICH: CHANTAL ANDERSON FOR SCHIEBE DESIGN: SOPHIE FABBRI
In March 2023, interdisciplinary designer Rafael de Cárdenas released his first commercial furniture collection through Mitchell Gold + Bob Williams. Comprising 19 pieces (11 upholstered and eight case goods), the collection features silhouettes that harken back to classic modern furniture designs, with functional details that elevate them for contemporary life.
COURTESY LAENGSEL
Inspired by Danish architecture, Laengsel’s Akvavit bar cabinet is a sophisticated, space-saving design that embodies the Scandinavian hygge aesthetic. Made from sustainable birch plywood, the piece is assembled with natural, nontoxic glues and paint. h
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FG+SG_FERNANDO GUERRA + SÉRGIO GUERRA
WAY AWAY AWAY
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YOSHIHIRO MAKINO
Chapter
FIELD WORK
The simple lines and humble materials of this Portuguese youth soccer facility combine to create a surprisingly elegant municipal project. By Natalia Torija Nieto Photographed by FG+SG_Fernando Guerra + Sérgio Guerra
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he recently completed soccer training complex in Aveiro, Portugal—a roofless grandstand building overlooking four practice fields—stands in stark stylistic contrast to the nearby Municipal Stadium. A modest structure designed by Porto-based architecture firm Summary, the new build could almost go unnoticed next to its early-aughts postmodern counterpart—which is what the architects intended. “The simplicity of the design and the sobriety of its materials aim for a more reduced presence,” the firm says. Founded in 2015 by architect Samuel Gonçalves, Summary aims to minimize its structures’ environmental impacts by optimizing design processes to use as little material, and generate as little waste, as possible. Past projects include their award-winning Gomos prefabricated concrete house system (each module leaves the factory completely assembled, with all interior and exterior finishes, insulation, window frames, water and electricity systems, and fixed furniture pieces included), which has been successfully adapted beyond residential use and provides a new standard for the practice. According to the firm, its new project in Aveiro, which is 75 km south of Porto, is “indirectly influenced by historical experiments in prefabrication and modularity, like those of Jean Prouvé, Buckminster Fuller, and Archigram.” The grandstand and training complex were built for youth soccer teams and offer open-air stands, locker rooms, adjacent parking facilities, and amenities including a public bar. The main access point resembles 118
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an ancient ziggurat in its simplest form, with the stands sloping inward on either side of a prominent, central set of stairs. The stairs and other primary circulation areas are painted a bright zinc yellow, which creates a bold swath of color that slices across the rectangular building. A signature color for projects by Summary, it’s also a hue sported by Aveiro’s home team, Beira-Mar. “Color is used sparingly but intentionally to create a strong effect in the circulation areas and to symbolically identify all public access areas,” the architects note. “Materiality, specifically the use of concrete in its natural color, is simultaneously an aesthetic choice, as well as a cost-effective one, as the off-site construction provides a high level of quality control that ensures the good finishing of the external surfaces.” The roof is lined with solar panels that harmonize with the design’s overall rhythm. The ground floor façade, as seen from the fields, comprises angled concrete slabs that seemingly support the grandstand above as they allow natural light to penetrate the structure. For this government-funded project, saving time and money were key, but so was honoring the spirit of the sport. Aveiro, known historically for its fishing and seasalt extraction industries, is also famous for Beira-Mar’s past championship wins. “We were aware of the importance of [this type of] building as a social connector,” the architects say. “In our country, football is more than an event—it is a social ritual.” h
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GOLDEN STATE OF MIND
NeueHouse’s fourth location captures the laid-back vibe and creative culture of midcentury California. By Michael Wilson Photographed by Yoshihiro Makino
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n the 1970s and ’80s, the storied Venice Beach address 73 Market Street played host to a fascinating array of cultural linchpins, thanks to its landlord, Oscar-winning director and producer Tony Bill. So when its latest tenant, the private work and social club NeueHouse, set about transforming the 1922 brick building into its third Los Angeles location, the company’s primary aim was to draw on the locale’s legacy—and the neighborhood’s diversity—to create a buzzy beachside hub. “Venice is a melting pot of creative sectors, from film and TV to art, design, and architecture,” explains Jon Goss, chief brand officer of NeueHouse’s parent company, CultureWorks, “so we’re perfectly poised to serve as a gathering place for artists, entrepreneurs, and brands.” Cognizant of local antagonism toward the area’s recent shift from counterculture enclave to “Silicon Beach” tech hub, NeueHouse Venice Beach is positioning itself as a design-focused and communitycentered antidote to the encroachment of digital enterprise. A key to its success in this endeavor is the cultural programming spearheaded by vice president of programming
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and experiential, Martine Bury, which focuses on events at the intersection of art and innovation. Exploring themes from the entertainment and production industries alongside science and technology, all will emphasize sustainability. The space’s striking art collection includes David Hockney’s painting Four Blue Stools (2014); its inclusion nods to the past, when the artist’s works were shown at L.A. Louver gallery, then just a few doors down, at 77 Market Street. “The collection was inspired by the unique cultural and physical landscape of LA, where myth, storytelling, and life overlap,” Goss says. Anwar Mekhayech, founding partner of DesignAgency, is excited about his firm’s work on NeueHouse Venice Beach’s inviting interiors. “We set out to capture the grit and romance of its iconic location and artsy, entrepreneurial spirit,” he says. “We included nods to natural craft, the concept of an endless summer, and the chronicles of its legends.” The goal was to establish a laidback, approachable mood and riffs on midcentury style characterized by warm, textural materials—a city-meets-surf vibe that also incorporates verdant landscaping by local company Rolling Greens.
Mekhayech, an aspiring surfer, was also keen to include surfboard storage. “A discreet back entrance leads to showers and a lockable quiver,” he notes. “And for members so inclined, the legendary Venice Beach Skate Park is at the end of Market Street.” Having pioneered this kind of creative workspace back in 2013, NeueHouse considers its newest location the latest step in the evolution of an increasingly popular model. Additional facilities such as podcast production studios, as well as spaces conceived with collaboration and serendipity in mind—including meeting rooms that overlap with stylish social areas, and a restaurant with rooftop patio—help distinguish NeueHouse Venice Beach as a thoughtful and inviting destination. Goss characterizes it as a “multihyphenate” resource that appeals to a range of innovative thinkers and makers. “I’d be excited to have breakfast or lunch with any of our members,” he enthuses. “They each have such an interesting story to tell.” h
NeueHouse Venice Beach, the third Los Angeles location of the private work and social club, taps into the laid-back, 1970s California vibe. The interiors were crafted by Toronto-based studio DesignAgency, which doubled down on a warm palette of wood, soft lighting, and neutral tones.
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Tapping into the neighborhood’s storied creative past, NeueHouse Venice Beach celebrates art and design in spaces created to foster socialization and collaboration. »
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A communal workspace showcases midcentury-inspired design. h
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NATURALLY FORMED
Inspired by the Portuguese countryside, the new Pa.te.os resort emerges from the landscape like a set of concrete sculptures. By Rachel Gallaher Photographed by Francisco Nogueira
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“ THESE FORMS EMERGE AS MEMORIES OF CONSTRUCTIONS, PERMANENCIES, RUINS, AND LIMIT S. AS AN EVOCATION OF HOUSES, THESE BOUNDARIES ARE INHABITED BY CL OSED SPACES AND OUTDOOR AREAS.”
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—Manuel Aires Mateus, architect
ifteen years ago, hoteliers Sofia and Miguel Charters purchased a plot of land near the Portuguese village of Melides, intending to turn it into a vacation destination. The 200-acre parcel—which includes an idyllic oak grove and overlooks the Atlantic Ocean—is typical of the hilly Alentejo region, where mild winters and sunbaked summers provide the perfect backdrop for an unplugged escape. The couple, who had spent time in Alentejo over the years, wanted to share their love for the area with others through a unique hospitality experience. The result is Pa.te.os, four homes that sit like minimalist sculptures among the tree-studded hills. Envisioning a design that would respect the region’s history, culture, and landscape, the Charterses turned to close friend and architect Manuel Aires Mateus, who had designed their private residence nearby. During discussions about architectural vernacular, Aires Mateus and the couple gravitated toward a style—inspired by Islamic architecture and common throughout southern Portugal—that would employ a series of courtyards to foster strong indoor/ outdoor connections. “The design [of such houses] takes advantage of nature,” Aires Mateus says. “The buildings are integrated into the landscape like ruins lost in time.” The concrete structures that Aires Mateus created have gabled roofs and cutout sections that capture specific views of the property. Matching façades engage the four homes in a dialogue with one another, but the interiors are unique, giving guests an individualized experience. Master carpenters and stucco workers and specialized stonemasons completed the finish work—showcasing solid »
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woods, natural materials, and neutral, earthy tones—which complements Scandinavian and Italian furniture. “The project started from an understanding of living in this landscape alongside breezes, smells, colors, textures, mountains, and sea,” Aires Mateus says. “The color palette is composed of the natural tones of the earth’s materials, and the light [coming in from outside] fundamentally highlights environments, marking different experiences in spaces.” The interiors of each house merge with private outdoor patios that accommodate lounging and dining while providing peek-a-boo views of the surrounding landscape. To enjoy the full panorama, guests can gather at a centrally located, wedge-shaped pool that faces the ocean. “What we sought was to generate intimacy in each of the units,” Aires Mateus says. “This allows people to connect in the [shared] relationship spaces or to isolate themselves in the most intimate spaces.” For the Charterses, capturing a true sense of place is as important as good design, and it’s achieved by engaging all the senses to create in-the-moment experiences that can be elusive in our fast-paced, ultraconnected world. “We want our guests to see, understand, and feel the truth in this project,” they say. “With no hidden tricks, Pa.te.os reflects the authenticity of materials without disregarding comfort and function to offer a genuine sensory experience.” h
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NO. 68
Architecture + Interiors
DESIGN FIRMS
The following design firms are doing some of the best work in the world, GRAY is proud to call them our partners.
designsnorthwest
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A distinguished firm celebrated for its ability to deliver elegant, innovative, and livable design solutions across a diverse range of project categories.
coates-design
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firstlamparchitects
Multidisciplinary architecture and construction firm for custom residential, commercial, and multifamily. FIRSTLAMP.NET
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DESIGN FIRMS
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gathinteriordesign
Residential and hospitality interior design. GATHINTERIORDESIGN.COM
Guggenheim Architecture + Design Studio is an award-winning multidisciplinary creative atelier for architecture, interiors, and brand direction. GUGGENHEIMSTUDIO.COM
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theguggenheims
h2darchitects
A full-service architecture and interior design firm. H2DARCHITECTS.COM
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Luxury residential design of timeless quality and style. HYDEEVANSDESIGN.COM
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DESIGN FIRMS
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jpcarchitects
Workplace, healthcare, retail, and hospitality. JPCARCHITECTS.COM
minarik_architecture
Minarik Architecture is a design studio committed to projects that connect people with place. MINARIKARCH.COM
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risaboyerarchitecture
A boutique full-service architecture firm specializing in modern, timeless residences and creative environments. RISABOYER.COM
scottedwardsarchitecture
People First. Design forward. SEALLP.COM
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DESIGN FIRMS
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starkarchitecture
Modern Architecture & Interior Design. STARK.CA
gabe.headrick
Commercial and residential, net zero, LEED platinum, and Passive House construction. STEELHEADARCHITECTURE.COM
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tylerenglearchitects
Architecture, interiors, furniture. TYLERENGLE.COM
williamkaven
An award-winning multidisciplinary design studio working in architecture and interiors. WILLIAMKAVEN.COM
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S4 E1 | GRAY host Brandon Gaston (left)
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