isay weinfeld
A fine mix in S達o Paulo
jaime hayon
Parisian medieval makeover
missoni home 60 years with Rosita
ling jian
Human Nature
Richard Powers Defines Iconic
Daoust Lestage Swatt Miers Belgrade Paris X The Palombas and much more
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1215 Boulevard Cremazie Quest Montreal, Quebec H4N 2W1 maisoncorbeil.com - Tel : (514) 382-1443
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Collage Studio - Photo Tommaso Sartori
Adrian, the amateur botanist, could never part with his Toby or Charles.
Charles is designed by Antonio Citterio.
www.bebitalia.com
DESIGN PORTRAIT.
issue III 19 Left & CENTER ART, DESIGN and Culture 34 something from nothing scott gillen's master craftsmanship 38 Ludovica & Roberto Great Design comes in pairs 40 missoni home ceo & founder rosita missoni celebrates sixty years of dynamic design 44 cinespace The Captivating Urban Environments of Daoust Lestage 50 casa grecia Architect Isay Weinfeld’s Fine Mix in São Paulo 60 powerhouse the iconic photography of richard powers 70 le sergent recruteur a historical parisian establishment recruits design visionaire jaime hayon for a 21st century makeover 78 square 9 A Five-Star Debut In Belgrade 86 ling jian Questions Human Nature 92 paris x Within a former circus training base , the private realm of Diane von Fürstenburg ’s star creative has been revamped into a sleek and elegant modern space 102 tea houses swatt Miers creates a special blend for california’s silicon valley casa grecia PG 50
Photographer fernando guerra
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Photo Michel Gibert. Special thanks: Alain Cordier for Hortus Gallery.com
l’art de vivre by roche bobois
Manufactured in Europe.
Mah Jong modular seating in Domino rug, design
fabric, design Hans Hopfer. for Roche Bobois.
MONTRÉAL - 505 Avenue du Président Kennedy - Tel. 514-350-9070 - LAVAL - Quartier Laval - 660 Boulevard Le Corbusier, L7 Tel. 450-688-6000 - TORONTO - 101 Parliament Street - Tel. 416-366-3273
Showrooms, collections, news and catalogs www.roche-bobois.com
/contributers richard powers
Né au Royaume-Uni, le photographe Richard Powers a fait du monde sa maison. Ce nomade visuel parcourt le globe afin de capturer les intérieurs les plus convoités de la planète. Sa photographie a fait les pages du Elle Decoration UK, The World of Interiors. Vogue Living, plusieurs éditions de Architectural Digest, Dwell, Elle Decor Italia, Elle Decor, Wallpaper* et beaucoup d’autres. Powers a également photographié le contenu de plusieurs livres pour les maisons d’édition Thames & Hudson et Terra. Ses plus récents ouvrages, The Iconic Interior, New Paris Style et Living Modern Tropical, sont maintenant disponibles en librairie. Powers vit dans le sud de la France avec sa femme et leurs deux enfants.
Mirjana Milicevic
Mirjana Milicevic est architecte. Après avoir effectué sa maîtrise à la faculté d’architecture de Belgrade en 2009, elle a collaboré avec plusieurs firmes sur divers projets d’architecture, de design et de construction. Elle se passionne également pour l’écriture. Présentement, Mirjana est directrice du département d’architecture chez Groupe Abitar. Elle est également membre du Groupe A, une équipe formée de trois jeunes architectes et d'un designer graphique.
Lulu Berton L'italo-américaine Lulu Berton est écrivaine, journaliste et présentatrice de télévision. Armée d'une solide expérience internationale en radio, télé et presse écrite, Berton se spécialise aujourd'hui dans des sujets liés à la culture populaire et aux célébrités. Elle travaille actuellement à Los Angeles en tant qu'éditrice senior pour les éditions italiennes de Rolling Stone, Cosmopolitan, Flair et Panorama, ainsi que pour le magazine Style, publié par le quotidien Corriere della Sera. En 2010, elle a publié sont premier roman, Lick, une comédie érotique en six actes (Sonzogno editori, Rizzoli Group), dont le titre a été donné par son mentor, le célèbre auteur Philip Roth. Le travail de Berton est consultable sur www.luluberton.com
Kevin Chan Présentement basé à Montréal, Kevin Chan vient de compléter sa maîtrise en architecture avec une spécialisation en design urbain à l’Université McGill. Pendant ses études, il a étudié le potentiel de revitalisation de zones post industrielles grâce à l'aménagement de jardins communautaires sur des sites réhabilités par phytoremédiation. Kevin croit en la capacité de l'environnement bâti à faciliter la cohésion des différentes couches sociales présentes dans les métropoles contemporaines. Son travail vise à découvrir de nouvelles manières de développer des villes durables, dynamiques et accueillantes. Plus récemment, Kevin a participé à une variété de projets allant de l’animation graphique à l’agriculture urbaine. Pour en savoir plus sur ses travaux, visitez www.definedesigncreate.net.
danielle miller Danielle Miller est journaliste, spécialisée dans le style de vie et le design. Son travail a été publié dans des magazines tels que The World of Interiors, Vogue Living, Belle, Elle Decoration, The Telegraph et Architectural Digest; elle est également l’auteure du livre New Paris Style (Thames & Hudson, 2012). Née au Danemark et élevée en Australie, elle a longtemps vécu à Paris, et réside à présent dans le sud de la France avec sont mari et leurs deux enfants.
DISTRIBUTOR: Aquadesign Inc. 101A Roytec Road - Woodbridge, Ontario L4L 8A9 - CANADA Tel. 905.851.4915 - 905.851.7438 - info@aquadesign.ca
/LETTER FROM THE EDITOR
Welcome HOME Montreal! After a long-term love affair with this beautiful and inspiring city it felt natural to bring something new, different, and unexpected to our Montreal readers. - HOME MTL. While this first issue may be bit "Franglish" there is no question that creativity is global and a universal language we all understand. It's seven minutes after midnight -- night owl? Yes. As I'm sitting here at my computer writing this letter, the group Major Lazer is firing a song out of my speakers called Get Free. I don't know what it is about this song but I seem to keep playing it over and over - and those words “get free” seem to be very appropriate for this issue of HOME. When traveling I've always been the type to go off the beaten path. Organized tours, obvious accommodations and expected locations have never really been my thing. I tend to prefer random spontaneity and the unexpected. I'm beginning to realize this is the same way I approach each issue of HOME; striving to bring our readers the unexpected. Before starting this issue I thought “At this moment where we would go, what we would see, who we would want to talk to, -what creative minds would we like to explore and get to know better?” Let's start in California for a cup of tea with Swatt Miers Architects in Silicon Valley. Then let's jump on the red eye to the east coast and enjoy brunch in les Vitrines Habitées with Daoust Lestage in Montreal. We could then take the next flight to Paris to visit Yvonne Mispeleare's loft in Canal Saint-Martin in the 10th arrondissement, before meeting up with Jaime Hayon for dinner at his latest restaurant project Le Sergent Recruteur. Since we're in France we might as well take the TGV down to the Côte d'Azur for a picnic on the Mediterranean with photographer Richard Powers, and talk to him about one of his recent books The Iconic Interior. Speaking of iconic, we could go to Milan and sit down with Rosita Missoni who is celebrating 60 years of design. Then, we could stop-over in Belgrade and take a breather at the new 5 Star, Square Nine Hotel designed by Isay Weinfeld . Artist Ling Jian is currently showing at the Schoeni Gallery in Hong Kong, so let's go and see his work and get his thoughts on contemporary Chinese art and culture. And to finish our journey why don't we head down to São Paulo and sip caipirinhas poolside with Isay Weinfeld himself at the amazing Casa Grecia. Is this the amazing race? No. it's amazing creative talent, intriguing people, and stunning locations. Montreal we look forward to getting to know all of you better. This is just the beginning... Thank you to all our friends around the globe who helped bring this issue together. Get Free.
JEREMY GARRETT EDITOR-IN-CHIEF / CREATIVE DIRECTOR
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Après une longue histoire d’amour avec cette ville magnifique et inspirante, il me semblait naturel d’apporter quelque chose de nouveau, de différent et d’inattendu à nos lecteurs montréalais. Voici donc HOME MTL. Bon, ce premier numéro est plutôt « franglais », mais une chose est sûre : la créativité est un langage universel. Minuit passé de sept minutes. Oiseau de nuit ? Absolument. Je suis assis ici devant mon ordinateur, en train de vous écrire cette lettre, tandis que mes haut-parleurs crachent une chanson du groupe Major Lazer, « Get Free ». Je ne sais pas pourquoi, mais je ne peux m'empêcher de faire tourner ces mots en boucle, get free – des mots qui me semblent aller plutôt bien avec ce numéro de HOME. En voyage, j’ai toujours préféré m'aventurer hors des sentiers battus. Les circuits organisés, les hôtels typiques et les endroits touristiques n’ont jamais été mon truc. Je préfère plutôt la spontanéité et l’inattendu. Je commence à comprendre que c’est avec cette même approche que j’élabore chaque numéro de HOME afin de surprendre nos lecteurs. Avant de commencer ce numéro, je me suis demandé : « En ce moment, où ai-je envie d'aller voyager, que voudrais-je voir, avec qui voudrais-je discuter, quels esprits créatifs voudrais-je explorer et apprendre à connaitre ? » Notre aventure commence sur la côte californienne, où nous prenons le thé dans la Silicon Valley avec la firme architecturale Swatt Mier. Puis, nous embarquons sur le vol de nuit vers la côte est pour aller bruncher dans les vitrines habitées de Montréal en compagnie de Daoust Lestage. Nous nous envolons ensuite vers Paris pour visiter le loft d'Yvonne Mispeleare situé sur le Canal Saint-Martin dans le 10e arrondissement, avant de rejoindre Jaime Hayon pour souper avec lui au Sergent Recruteur, son dernier projet. Puisque nous sommes en France, prenons le TGV, direction la Côte d’Azur, pour aller pique-niquer sur la Méditerranée avec le photographe Richard Powers et discuter de son dernier livre The Iconic Interior. En parlant d’icône, nous pourrions aller faire un tour à Milan pour prendre un café avec Rosita Missoni, qui célèbre cette année 60 ans de design. Nous pourrions aussi faire escale à Belgrade pour nous reposer à l’hôtel cinq étoiles Square Nine, conçu par Isay Weinfeld. L’artiste Ling Jian expose présentement à la galerie Schoeni à Hong Kong ; allons donc y jeter un coup d’œil et l'écouter parler de culture et d’art contemporain chinois. Pour terminer notre voyage, pourquoi ne pas se rendre à São Paolo et siroter des caipirinhas sur le bord de la piscine de la sublime Casa Grecia avec Isay Weinfeld en personne ? S'agit-il d'une course autour du monde ? Non, juste d'un voyage inspirant à la découverte de talents créatifs, de personnalités intrigantes et de lieux magnifiques. Montréal, nous sommes heureux d’être parmi vous, et ce n’est que le début... Merci à tous nos amis et collaborateurs autour du monde qui ont fait en sorte que ce numéro puisse se concrétiser. Get Free.
RÉDACTEUR EN CHEF/ DIRECTEUR CRÉATIF
MissoniHome DDC Design Post - T&J Vestor America Inc - 181 Madison Ave - New York, NY 10016 - ph: 212-719-2338 MissoniHome at at DDC
MASTHEAD: December / January 2013 Publié par Published By
FIORE EDITIONS Rédacteur en chef/Directeur créatif, Editor-in-Chief / Creative Director
JEREMY GARRETT Rédacteur exécutif/Codirecteur créatif, Executive Editor / Co-Creative
Subscribe by email at subscribe@homemtl.com or visit www. homemtl.com Abonnez-vous par courriel à subscribe@homemtl.com ou visitez www.homemtl.com À nos lecteurs HOME MTL est intéressé par vos commentaires et réactions à nos articles et entrevues. Veuillez adresser vos courriers à: Reader Response Department, Home MTL, 315 Place d' Youville Suite #268 Montreal, QC H2Y2B5. Les lettres peuvent être publiées/To Our Readers HOME MTL welcomes your feedback and reaction to our features and stories. Please send your letters to: Reader Response Department, Home MTL, 315 Place d' Youville Suite #268 Montreal, QC H2Y2B5. Letters may be published. Questions appelez le 514.613.0383 ou écrivez à advertising@homemtl. com Inquiries call 514.613.0383 or email advertising@homemtl.com Copyright © 2012 by Fiore Editions. All rights reserved. Reproduction without permission of the publisher is prohibited. The publisher and editors are not responsible for unsolicited material, and it will be treated as unconditionally assigned for publication subject to HOME MTL's right to edit. Published bimonthly by Fiore Editions. 315 Place d' Youville Suite #268 Montreal, QC H2Y2B5 Application to mail at Periodicals Postage Prices is pending at Montreal, QC, and at additional mailing offices. POSTMASTER: Send address changes to [HOME MTL 315 Place d' Youville Suite #268 Montreal, QC H2Y2B5]. Abonnements/Subscriptions
Director
JASON ROUSE Rédactrice/Codirectrice créative, Editor / Co-Creative Director
MARIE-ÈVE WARREN Rédacteur/Codirecteur créatif, Editor / Co-Creative Director
JORDAN TAPPIS Directeur artistique, Art Director
JULIAN CHAVEZ Directeur artistique adjoint, Associate Art Director
DUSAN AVRAMOVIC Rédactrice, Editor
RONA NIX Rédactrice Design et Produits, Design and Products Editor
MARIE-ÈVE WARREN Rédactrice adjointe Design et Produits Associate Design and Products Editor
AZALIA SHAHIDI KAVIANI Rédacteur adjoint Design et Produits Associate Design and Products Editor
CHARLES P. WARREN Rédactrice correctrice, Copy Editor
SHARON KAPLAN Rédactrice correctrice (Français), Copy Editor (French)
FLAVIE HALAIS Rédacteur correcteur adjoint, Associate Copy Editor
ROBERT MENDEL Webmestre, Webmaster
TODD MOFFETT, HOLLOW TREES DESIGN, LLC Collaborateurs, textes, Contributing Writers
LULU BERTON, KEVIN CHAN, JEREMY GARRETT, SONJA MAGDEVSKI, MIRJANA MILICEVIC, DANIELLE MILLER, RONA NIX, MARIE-ÈVE WARREN Collaborateurs, photos, Contributing Photographers PIERRE BÉLANGER, MARC CRAMER, ANDRÉ DOYON, LEONARDO FINOTTI, FERNANDO GUERRA, TIM GRIFFITH, LING JIAN, KLUNDERBIE, STÉPHANE POULIN, RICHARD POWERS, MATTHEW SALVAING, PIERRE ZABBAL Stagiaires, département artistique, Art Department Interns
REBECCA HERRON, LINDSAY EVANGELISTA Stagiaires, département éditorial, Editorial Interns
ALEXANDRA GILA, AYANA WITHERSPOON, ALEXANDRA ENRIGHT, DANIELLE LEVINE, BAILEY WARNER Gérant de comptabilité, Accounting Manager ON THE COVER/EN COUVERTURE:
The Parisian Pad of Christian Lacroix's Creative Director Sacha Walckhoff/ L’appartement parisien de Sacha Walckhoff, directeur créatif chez Christian Lacroix Photographer/Photo par: Richard Powers
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HJB MANAGEMENT Directeur de la publicité, Advertising Director
CONNIE LEVINE
styling Studiopepe / photography Andrea Ferrari / ad Designwork
bathtub Vieques, design Patricia Urquiola taps Fez, extras Stairs, design Benedini Associati e-mail: info@agapedesign.it www.agapedesign.it
TIME OFF
Agent for Usa: Why Not Concept e-mail: andrea@whynotconcept.com
ATELIER
CUISINES - SALLES DE BAIN - FINITIONS INTÉRIEURES
OUVERTURE PRINTEMPS 2013 / OPENING SPRING 2013 Montreal www.atelierhoma.com
J'AIMTL
ART, DESIGN & CULTURE
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/accessoires Ajoutez une touche ludique à votre quotidien avec ces accessoires pour la maison.
GEORG JENSEN- ILSE
La nouvelle collection de verreries conçue par Anu Penttinen pour la co m pagnie Finlandaise Marim ekko donnera une touche de bonne humeur à votre quotidien. Ces jolis verres colorés en verre soufflé apporteront une originalité et un air de fête à votre table. Disponible en 6 couleurs. www.marimekko.com
La designer Ilse Crawford se propose de renouveler notre sens du rituel et d'améliorer nos habitudes quotidiennes avec cette nouvelle collection pour Georg Jensen intitulée « Collection Ilse ». Chaque pièce est dotée d'une fonction spécifique, comme la série de bols conçus pour accueillir des clés ou de la monnaie, ou le récipient précieux servant à y déposer ses bijoux ou sa montre avant d'aller dormir. Disponibles en cuivre massif, laiton et verre noir. www.georgjensen.com/us
ANTOINETTE FARAGALLAH-CERAMIC BOX
TOM DIXON -CAST SHOE
L’artiste céramiste Antoinette Faragallah se cache derrière cette belle collection d'œuvres d'art inspirées du monde océanique. Les teintes douces, le mélange de glacis et de minéraux, les textures et les formes organiques nous invitent à un voyage imaginaire dans les profondeurs de l'océan Pacifique. Découvrez les autres pièces de la collection, comme le plateau Maldives, la lampe Tentacules et la sculpture Grande Orbe. www.graygallery.com
On aime le coté insolite de ces videpoches en forme de chaussures. Faite en fonte d'aluminium avec une finition noire ou cuivrée, cette pièce moulée peut être utilisée comme un arrêt de porte moderne ou un objet de décoration ludique. www.tomdixon.net
MARIMEKKO-SOCKS ROLLED DOWN
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listed counterclockwise from top left
AQUAOVO-OVOPUR OVOPUR, de la compagnie Québécoise AQUAOVO, est un filtre à eau éco-design qui offre une alternative économique à l'eau en bouteille. L’unité OVOPUR emprunte la forme originale de l’œuf et les propriétés thermiques de la porcelaine pour conserver et revitaliser l’eau. AQUAOVO propose des modèles de différentes tailles et configurations, avec le choix d'une base en verre, en acrylique, en bambou ou en bois. www.aquaovo.com
NORMANN COPENHAGEN-BRICK Conçu par Britt Bonnesen, BRICK est le nouveau produit de Normann Copenhagen. Contrairement à son nom, BRICK est un coussin bien moelleux. Son jeu de formes géométriques jongle avec les couleurs et les matières, et dégage une ambiance moderne un peu rétro. Une façon simple d'ajouter une touche de couleur à la maison. www.normann-copenhagen.com
DETROIT BICYCLE COMPANY-MADISON Inspiré par les vélos vintage des années 1930, l'artisan et propriétaire de Detroit Bicycle Company Steven Bock fabrique lui-même à la main chaque commande de vélo personnalisé. Le Modèle Madison Street, ci-contre, allie de façon unique finition plaquée cuivre, pièces vintage et lignes classiques. www.detroitbicyclecompany.com
spin/
DOSNOVENTA-TOKYO Basée à Barcelone, DOSNOVENTA fabrique des cadres et des vélos sur mesure qui se démarquent par leur qualité, leur style et leur authenticité. Pour DOSNOVENTA, le vélo n'est pas qu'une simple affaire de mécanique; c'est aussi un mode de vie et un amour contagieux pour la culture urbaine. www.dosnoventabikes.com
Prenez la route avec style. De San Francisco à Barcelone, le monde est sans dessus dessous pour ces nouveaux vélos.
FARADAY-PORTEUR Le PORTEUR est le nouveau modèle électrique de la jeune compagnie FAR ADAY, basée à San Francisco. Conçu p our être innovant tant dans sa fonction que son design, le vélo PORTEUR change la façon de se déplacer en ville. Il s'agit du premier vélo électrique utilitaire automoteur construit autant pour les cyclistes urbains habitués que les amateurs ou ceux qui ont une phobie des côtes. Des batteries au lithium sont dissimulées dans le cadre et se rechargent pendant que vous pédalez. Génial! www.faradaybikes.com
ASTON MARTIN-ONE-77 CYCLE Fabriqué en Angleterre et limité à une petite production de seulement 77 exemplaires dans le monde, le ONE CYCLE-77 est dynamique dans sa conception et intelligent dans sa fonctionnalité. Construit en fibres de carbone de la plus haute qualité, il est disponible en sept combinaisons de couleurs inspirées des laques et des cuirs proposés dans la gamme de voitures ONE-77.
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/lounge Blottissez-vous dans le confort de votre salon.
ZANOTTA — ALTOPIANO Altopiano est une série de modules, linéaires et confortables, permettant de multiples solutions spatiales et jouant sur le lien entre les divers éléments tapissés et la variation de leur profondeur. Le canapé paraît suspendu, de par sa structure et le positionnement vers l’intérieur du piètement. Quant à sa courbure, elle garantit une ergonomie exceptionnelle. www.zanotta.it
MINOTTI — PRINCE
BAXTER — MONTREAL L’architecte et designer italienne Paola est la force créative qui se cache derrière le fauteuil Montréal chez Baxter. Disponible en différents cuirs doux, cette assise moelleuse et confortable est le parfait refuge où se blottir et se laisser aller à rêver. Le fauteuil monocoque est composé de fibres de mousse polyuréthane différenciée et d’un mélange micro/visco-élastique. Les couleurs présentées ci-dessus sont: Kashmir Nuage, Bo.Hemian Khaki et Nabuck Green. www.baxter.it
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Conçu par Rodolfo Dordoni, le fauteuil Prince présente une technologie moderne et des matériaux et formes des plus innovants; il est la meilleure expression du savoirfaire de Minotti. Prince réussit l’équilibre parfait entre design élégant des années 50 et modernité forte, ce qui lui confère un aspect sur-mesure. Disponible en une variété de finitions aux interprétations stylistiques sous-jacentes, Prince est un fauteuil très versatile qui se fond dans n'importe quel décor. www.minotti.com
B&B — THEO
ROCHE BOBOIS- MAH JONG MISONNI
La chaise Theo, suspendue, presque flottante, constraste merveilleusement bien avec sa base — structure en acier (chromé poli, chromé noir ou peint nickelé bronzé). Les finitions du fauteuil et du coussin sont coordonnables au revêtement, disponible en cuir enrichi de détails élégants, en tissu unicolore ou bicolore. Ces différentes versions créent un vocabulaire varié et contribuent volontiers à la personnalisation de Theo. www.bebitalia.com
Dessiné par Hans Hopfer en 1971, le sofa MAH JONG célèbre cette année son 40e anniversaire. Ce canapé modulaire aux coussins matelassés et capitonnés est l'un des classiques de la maison ROCHE BOBOIS. Révolutionnaire par ses configurations illimitées, il demeure un symbole d’innovation, de simplicité et de flexibilité. Cette nouvelle version habillée de tissus Missoni Home égaie instantanément le salon et lui donne un air de fête. www.roche-bobois.com
Couleur et formes dynamiques. Des à-côtés qui donnent du punch.
TABLES D’APPOINT/ B&B — MERA Polyvalente et compatible avec différents m odèles, cette nouvelle famille de petites tables rondes est disponibles en quatre tailles et hauteurs différentes. Le plateau, en marbre statuaire blanc à chant bisauté, est relié à la structure métallique circulaire disponible en finition chromée brillante, chromée noire ou laquée nickelée bronzée. Une version table/pouf a également été ajoutée à cette collection, avec plateau tourné en chêne laqué fumé. www.bebitalia.com
DONGHIA — ORIGAMI La dernière arrivée dans la collection Donghia est la table Origami. Inspirée par l’art du pliage de papier, la forme de cette table en laiton reflète un design géométrique audacieux et distingué quelle que soit son utilisation. Fabriquée à partir de plaques de laiton, la table Origami se distingue par une patine antique et des finitions intérieures en miroir poli, ce qui lui confère théâtralité et profondeur. La table Origami fonctionne aussi bien seule qu’en groupe de plusieurs tables. www.donghia.com
MINOTTI — CESAR Telle un coup de crayon, un zigzag fait matière et illumination multicolore, la table d’appoint Cesar est parfaitement auto n o m e — p ur m eu ble/sculptur e, performance de décoration contemporaine. Elle peut servir de table basse ou de pouf. Disponible dans de nouveaux coloris: céladon, moutarde et grenade. www.minotti.com
devorm-MUSETTE Musette s’inspire des tables asiatiques utilisées pour la cérémonie du thé. Ce design est un duo de tables à base conique et plateau circulaire généreux. Tout comme les tables de thé asiatiques, le plateau peut être retiré de la base, transformant celleci un élément de rangement. Essentielle et ludique, simple et pratique, seule ou en groupe, Musette s’intègre parfaitement dans tout ty p e d’e nvir o n n e m e nt. www.devorm.nl
PHILIPP MAINZER — ENOKI Jouant astucieusement sur les matériaux, les couleurs et les dimensions, ces tables d’appoint allient marbre ou bois massif avec acier coloré. Les tables CT09 Enoki sont disponibles en deux hauteurs et diamètres différents, et le plateau de 3 cm peut être combiné de manière harmonieuse ou contrastée avec le piètement d’acier laqué coloré, pour un rendu subtile ou inhabituel. Par ailleurs, des versions noir ou blanc intégral sont également proposées. www.e15.com
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/SUBMERSION
Les froides journées rendent un bain chaud encore plus invitant. Évadezvous en plongeant dans l'une de ces capsules réconfortantes.
1 BISAZZA — NENDO
Dessinée par le studio de design japonais Nendo, cette collection originale est la toute dernière nouveauté de Bisazza Bagno. Les lignes nettes et minimalistes, associées à la chaleur du bois de mélèze, saisissent l’essence de l’esthétique pure et de l’équilibre raffiné du style Nendo, ajoutant une touche de sophistication sobre et d’élégance à la salle de bain. Chaque pièce de la collection peut être présentée seule ou combinée avec un élément complémentaire, créant ainsi un environnement innovant, accueillant et serein. www.bisazzabagno.com
2 DURAVIT — SUNDECK
La baignoire Sundeck de Duravit, créée par l’agence de design autrichienne EOOS, est habillée de bois et peut être recouverte pour servir de banquette de relaxation à l’intérieur ou à l’extérieur. Dimensions: 220 cm de long par 90 cm de large. www.duravit.com
3 LAUFEN — PALOMBA
Cette superbe baignoire de 180 cm de long est la première baignoire en surface solide de LAUFEN et complète parfaitement la Collection Palomba. D’une hauteur hors tout de 90 cm, son galbe lui confère une grande douceur. Le dynamisme de sa géométrie asymétrique et son dossier haut rappellent un bassin naturel creusé dans la roche au cours des millénaires. Ces lignes naturelles ajustées aux contours du corps promettent un confort maximal, l’ergonomie du dossier incliné étant étudiée pour un soutien bénéfique. $11,150 www.laufen.com
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4 KOS — MINIPOOL
Créée par le duo de designers Ludovica et Roberto Palomba, la Minipool autoportante à débordement transpose le confort exceptionnel et la qualité primée des produits Kos à l’extérieur. Hydromassage, système idrocolore et spots LED immergés, ainsi qu’un dispositif unique de chauffage de l’eau, assurent un bien-être total des sens. Le système d’hydromassage s’adapte aux besoins de l’utilisateur, l’intensité du massage et l’orientation des jets pouvant être réglées. Chaque bec peut être configuré individuellement afin de choisir le type d’écoulement: linéaire, rotatif, doux ou rapide. Disponible également en version encastrée.www.zucchettidesign.it
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5 AGAPE — PEAR CUT
Dessinée par Patricia Urquiola, la baignoire Pear Cut est en Cristalplant® blanc et sa structure est métallique. Le contraste des textures et des couleurs apporte à la salle de bain une touche ludique. Les formes arrondies et généreuses sont mises en valeur par un rebord linéaire et géométrique ¬— encadrement idéal, qui, dans la version encastrée, repose parfaitement sur la surface d’installation. Finitions extérieures disponibles en blanc ou gris foncé. www.agape.com
6 ANTONIOLUPI — SOLIDEA
Initialement conçue en marbre de Carrare par Carlo Colombo en 2010, la baignoire Solidea comporte une base rectangulaire laissant subtilement place à une ouverture ovale. Cette nouvelle version en Cristalplant® marque un changement dans l’image de la gamme Solidea et la rend plus accessible en termes de prix et de poids, tout en conservant son design original. www.antoniolupi.it
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Illuminez/ 1 WASTBERG — SEMPE W103
Conçue par Inga Sempé, la suspension W103 peut être utilisée seule ou en groupe, et peut être fixée sur des rails pour créer des combinaisons linéaires ou des polygones. Proposées en sept tonalités très différentes, ces lampes peuvent être montées dans une seule teinte ou dans une combinaison de couleurs. www.wastberg.com
2 TOM DIXON — LUSTRE
LUSTRE est la première série de lampes en grès de Tom Dixon. Les nuances irisées sont créées en chauffant le grès à 1200°C et en utilisant un vernis dont la composition tenue secrète contient des minéraux et des métaux précieux. Le résultat final est tout à fait unique, et chaque client se retrouve donc en possession d'un objet différent. Disponible en quatre modèles géométriques inspirés des temples mayas et des édifices Art déco : rond, carré, triangulaire et plat. $615 www.tomdixon.com
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3 HAYMANN — MARIE LAMP
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La collection de lampes MARIE, créée par le designer Toni Grilo pour la jeune compagnie parisienne HAYMANN, se démarque avec ses conceptions audacieuse et simples. Proposées en cinq magnifiques versions, la série est entièrement fabriquée en Europe et conçue à partir de matériaux nobles tels que le liège, le chêne, l'aluminium et le marbre. Laquelle choisirez-vous ? marble. www.haymanneditions.com
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4 FOSCARINI — DOLL
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DOLL est née de la collaboration entre le spécialiste de l’éclairage italien FOSCARINI et la créatrice parisienne Ionna Vautrin. Inspirée de l’Orient, cette nouvelle lampe de table possède une tête de forme organique en verre soufflé qui repose sur une base circulaire en plastique proportionné. DOLL est disponible en quatre versions de couleur (ivoire, vert, gris et rouge), et dégage une lueur chaude et douce lorsqu'elle est allumée. www.foscarini.com
5 LIGNE ROSET — OLIVE
Équipée d'ampoules LED le long de l'intérieur de sa partie supérieure, OLIVE éclaire vos espaces en douceur ou donne une touche ludique à un bureau trop sérieux. Faite d'acier laqué mat, elle est disponible dans trois choix de couleurs: charbon, gris et turquoise. www.ligne-roset-usa.com
6 OLUCE — ATOLLO
Conçue par Vico Magistretti en 1977, la lampe ATOLLO de OLUCE a reçu le prix Compasso d'Oro en 1979. Depuis, elle est devenue une icône et fait partie des collections permanentes des plus grands musées de design dans le monde. Cette lampe aux formes géométriques est une pièce authentique et essentielle pour tout les mordus de design. www.oluce.com
7 FEDERICO CHURBA — ZETA
Ensoleillez la pièce avec l’une de ces créations originales.
ZETA est la nouvelle lampe conçue par le designer argentin Federico Churba. La lampe est fabriquée à partir d'une seule feuille d'acier pliée en forme de cygne à la façon d'un origami. Sa ligne en zigzag forme une silhouette moderne et minimaliste, telle une esquisse tracée dans l'air. La lumière chaude qui se dégage de ZETA en fera une parfaite compagne de lecture.a reading companion. www.federicochurba.com.ar
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/kid cool
Nos choix préférés au rayon des petits. Ces nouveaux jouets et accessoires vous donneront l'envie de retomber en enfance.
LIGNE ROSET – MINI TOGO
MOUSTACHE - TIGER
JAMES PEARSE - TRICYCLE
Un classique proposé ici à échelle réduite, le Mini Togo offre les mêmes caractéristiques de forme, de fonction et de confort que la version originale pour adultes. Sécuritaire, le Mini Togo est entièrement fabriqué en mousse et donc autant attrayant pour les enfants que pour les parents. www.ligne-roset-usa.com
Créé par l'Australien Dylan Martorell pour MOUSTACHE Paris, TIGER est un ami doux qui veille au chevet des touts petits pendant la nuit. Ce tapis 100% laine tissé à la main est disponible dans une dimension standard de 4' x 8', mais peut être commandé sur mesure dans n'importe quelle taille. www.moustache.fr
Inspiré des années 1970, ce nouveau jouet à la structure faite en acier à toute épreuve est un tricycle conçu par le designer James Perse. Avec son profil extra bas, son siège confortable et sa palette arrière en teck, ce tricycle fera certainement des papas envieux. Offert en quatre couleurs: vert kaki, orange foncé, blanc vieilli et noir mat. Fabriqué sur commande. LimitedEdition@JamesPerse.com
RESTAURATION HARDWAREOVERSIZED WOOL FELT ELEPHANT La nouvelle collection pour bébé & enfant de Restoration Hardware nous présente cet adorable éléphant surdimensionné. Solide sur ses pattes, ce toutou haut de gamme confectionné de feutre de laine et d’accents de cuir est tout aussi amusant que grandiose. Disponible sous la forme d'un éléphant ou d’une girafe. www.restorationhardware.com
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LEGO - VILLA SAVOYE Pour les petits architectes en devenir, le nouvel ajout à la collection « Architecture » de LEGO est la Villa Savoye, une villa française dessinée par Le Corbusier. Le jeu comporte 660 pièces qui répliquent les détails emblématiques de cette célèbre merveille moderniste. www.shop.lego.com
KENNETH COBONPUE LE PETIT VOYAGE LE PETIT VOYAGE enveloppe le dormeur dans l’univers des rêves. La collection Voyage, dont l'esthétisme rappelle celui des vieux navires, amène le rêveur sur une promenade en bateau dans le monde de l'imagination. www.kennethcobonpue.com available at www.twentieth.net
THE SWISS EXPRESSION OF ARCHITECTURAL DESIGN. Created with Swiss precision and high quality demands. Combined with the love for detail, exceptional bathroom concepts come to life: LAUFEN Palomba Collection 2012, design by L+R Palomba
LAUFEN Bathrooms North America 11190 NW 25th Street | Miami, FL 33172 USA 866.696.2493 | fax 866.264.7622 | usa@laufen.com | www.laufen.com/usa
/LIVRES
Voyage autour du globe dans le monde de l’architecture, du design et de l’art. Des lectures inspirantes pour nourrir vos idées. THAMES & HUDSON — LIVING MODERN TROPICAL
THAMES & HUDSON — THE ICONIC INTERIOR
Living Modern Tropical dévoile une nouvelle sélection d’images ensoleillées et de résidences qui font rêver. Complément de son prédécesseur, Living Modern (initialement publié en 2010), le livre nous plonge dans l’univers des maisons modernes en climats tropicaux où l'expression de la vie moderne a trouvé son habitat naturel. Organisées en 10 sections (nature, architecture, extérieur, éléments, fonction, lumière, mobilier, détails, matériaux et eau), ces 490 illustrations en couleurs offrent une évasion garantie. (Auteur: Phyllis Richardson / Photographie: Richard Powers) www.thamesandhudson.com
Le nouveau livre THE ICONIC INTERIOR des éditions Thames & Hudson présente100 des plus importants et influents intérieurs du monde entier. On y trouve des espaces inoubliables tels que The Mount, la célèbre maison de NouvelleAngleterre d'Edith Wharton, l’appartement parisien légendaire de Coco Chanel, le design de Billy Baldwin pour la demeure new-yorkaise de Diana Vreeland, la maison Hollyhock de Frank Lloyd Wright, le manoir californien de Tony Duquette et Dawnridge, et la Villa de Piero Fornasetti. THE ICONIC INTERIOR est un guide complet retraçant 100 ans de design d'intérieur tant original que marquant. (Auteur: Dominique Bradbury / Photographie: Richard Powers) www. thamesandhudson.com
BEI EDITORIA — ISAY WEINFELD Retraçant l'œuvre de l'un des architectes brésiliens les plus reconnus, Isay Weinfeld, BEI Editoria présente 33 projets commerciaux conçus au cours des 20 dernières années, incluant hôtels, boutiques, restaurants et plus. Couverture rigide, 244 pages. www.bei.com.br
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TASCHEN — GREEN ARCHITECTURE NOW Green Architecture Now! Vol. 2 de Taschen nous emmène en voyage autour du monde, à la découverte du côté chic, indispensable et inspirant de la durabilité. www.taschen.com
THAMES & HUDSON — NEW PARIS STYLE New Paris Style, le compagnon du populaire New London Style, présente un regard neuf sur les résidences privées de talentueux créatifs Parisiens. Destiné à un public urbain qui rêve de retaper un jour un pied-à-terre ou d'ajouter une dose de glamour à son nid, New Paris Style par Danielle Miller est rempli d’idées créatives et inspirantes, peut importe l'endroit où vous habitez. www. thamesandhudson.com
ASSOULINE
—
FERNAND
LÉGER
Ce très beau livre par Assouline présente le travail du peintre Fernand Léger qui, avant de devenir artiste, débuta sa carrière en tant qu'architecte. Publié en édition limitée, cet ouvrage de 144 pages, lié à la main, comprend 80 illustrations en couleurs. Enveloppé dans un emballage double coque en lin, il est livré dans un sac fourre-tout en toile signé Assouline. www.assouline.com
1OQ dix QUESTIONS POUR ZEBULON PERRON : OISEAU DE NUIT Créateur des intérieurs de nombreux lieux cultes de la vie nocturne montréalaise, du Philémon à la Buvette chez Simone en passant par le Plan B, ZÉBULON PERRON signe un nouvel espace, le FURCO, dans le Quartier des spectacles. Zébulon sait créer des environnements dans lesquels il fait bon se retrouver, comme cet univers chaleureux sans prétention qui associe l’industriel au génie recyclé. Récipiendaire de multiples prix Concours Créativité Montréal et Intérieurs FERDIE, celui qui a déjà laissé sa marque dans plusieurs de nos quartiers travaille présentement sur d’autres projets, qui feront bientôt apparition près de chez vous. On parie que ceux-ci s'ajouteront à notre liste d'endroits préférés.
1. Est-ce que Zebulon Perron est un oiseau de nuit ? À temps partiel. C’est un des risques du métier.
2. FURCO c’est ? Le Furco est un projet qui me tient à cœur. D’abord à cause des gens qui y sont associés dont JF Gladu qui est une figure connue dans le milieu, Simone Chevalot de la Buvette et la chef Joëlle Trottier. Tous des gens de talent qui font leur travail avec passion et intelligence. Mais aussi à cause des qualités du lieu qui m’ont beaucoup inspiré. Il y avait là des choses très intéressantes à révéler et à exploiter dans l’architecture et dans la matière. Et enfin et surtout, j’affectionne ce projet parce que nous n’avons fait aucun compromis.
3. Qu’est ce qui inspire Zebulon ? L’inspiration première vient de mes clients. Ce sont eux qui prennent le grand risque et qui donne le coup d’envoi. En générale il y a là beaucoup
de matière pour commencer à élaborer les contours d’un projet. Ensuite, pour moi, l’inspiration se trouve un peu partout. On doit prendre le temps d’observer ce qui nous entoure. Il faut savoir procrastiner efficacement. Pour jaillir l’inspiration doit aussi être protégée des pressions normales d’un projet. Le plus souvent celles du temps et de l’argent mais aussi des nombreuses distractions comme un cellulaire qui sonne constamment par exemple. Il faut lui aménager un espace. Une fois les idées pondues elles seront confrontées aux réalités/impératifs du projet. Celles qui survivent le choc pourront y être intégrées. Les autres seront écartées.
4. Dans une autre vie, vous seriez qui/quoi ? Je ne changerais de vie pour rien au monde. Les gens qui m’entourent me rendent heureux autant dans ma vie personnelle que professionnelle et mon travail m’apporte énormément de satisfaction.
5. Un projet de rêve serait. J’aimerais dessiner des parcs. J’ai de l’affection pour ces endroits accessible à tous et qui sont essentiels à la qualité de vie en ville. Dans bien des cas une ville peut se définir autant par
ses parcs que par son architecture. On ne peut pas s’imaginer Montréal ou New-York sans le Mont-Royal ou Central Parc.
6. Votre souvenir d’enfance le plus distinct : La nuit de vidéos
7. Quand je suis dans ma bulle j’écoute. Toutes sortes de musique. Fort.
8. Présentement je travail sur : Plusieurs projets dont le restaurant Grinder à Griffintown, le Pub Rosemont et un autre Pub dans le quartier Latin. Je travail aussi sur un autre projet avec mes associés du Furco qui verra le jour sans doute l’an prochain.
9. Le plus important dans un projet c’est … À mon avis il faut éviter de figer le projet dès le départ et ainsi se laisser de la place en cours de route pour y intégré de nouvelles idées et de se défaire des moins pertinentes. Je crois sincèrement que les projets bénéficient beaucoup de cette approche.
10. Chez nous c’est… En construction.
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VIA SAUVAGIA La montagne vous attend par Jeremy Garrett Si je vous disais qu'il existe une communauté privée et isolée, située à 45 minutes de Montréal, au cœur des Laurentides, dotée d'un parc de 112 hectares de forêt? Si je vous disais que 90% des résidences de cette communauté privée disposent d'un accès direct à plus de sept kilomètres de sentiers quatre saisons non motorisés pour la randonnée, le vélo, le ski de fond et la raquette? Si je vous disais qu'en tant que résident de cette communauté, vous auriez accès à votre station de ski privée, située sur l’une des plus hautes montagnes des Laurentides? Oui, vous avez bien entendu, une montagne pour vous tout seul, avec 10 hectares de domaine skiable, un dénivelé de 171 mètres, 3 pistes damées et 4 pistes tracées en sous-bois pour les passionnés de poudreuse, pour skieurs et snowboarders de tous niveaux. Imaginez qu'en vous réveillant le matin, il vous suffise de prendre votre équipement et de franchir le seuil de votre porte pour accéder à vos pistes privées. Cela semble trop beau pour être vrai, n'est-ce pas? Il ne peut s'agir que d'un rêve. Eh bien, si vous résidez à Via Sauvagia, c'est la réalité. Récemment, je me suis entretenu avec Yves Simard, Vice-président et associé chez Via Sauvagia Immobilier, pour en savoir plus sur ce projet unique en son genre. « Nous voulons changer la façon dont les gens conçoivent l'achat d'une maison. Nous ne voulons pas seulement leur vendre une maison, nous voulons qu’ils achètent un endroit pour vivre, une communauté pour s'épanouir, » explique Simard. Via Sauvgia a commencé comme un projet personnel entre Simard et ses partenaires de développement, Yvon Pilotte et Raymond Nadeau. « Nous voulions créer un refuge pour nous-mêmes et nos familles au Mont Sauvage », se souvient Simard. Au fil des années, l’occasion s'est présentée de concrétiser leur projet, et les partenaires ont décidé de partager leur vision avec le grand public. Et quelle vision! Via Sauvagia est unique, car elle offre tous les avantages de la vie urbaine dans un environnement maintenu à l'état naturel au cœur de la région des Laurentides. Son amour de la nature et de la randonnée sont ce qui a initialement attiré Yvon Pilotte au Mont Sauvage. « Amants de la nature, nous rêvions d’un projet ou nous pourrions habiter près de nos lieux de travail, mais dans une ambiance de villégiature et de vie urbaine tout en bénéficiant des plaisirs des vacances a l'année longue », explique Yvon Pilotte. Lorsque j'ai visité Via Sauvagia, je ne savais pas à quoi m'attendre. Il m’est souvent arrivé de découvrir des projets qui n'étaient pas à la hauteur. Mais Via Sauvagia a dépassé toutes mes attentes. Une fois arrivé sur ce terrain situé à cinq minutes de l'autoroute 15 (sortie 78, entre Sainte-Adèle et Val-Morin), j'ai eu l'impression que le reste du monde avait disparu, d'avoir trouvé un havre de paix et de tranquillité. Pas de voitures, pas de bruit, juste le silence et la beauté. Il n'y avait que moi, les grands espaces et un paysage époustouflant. Les terrains de Via Sauvagia sont
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disposés de telle sorte qu'ils soient totalement privés, car les maisons unifamiliales ne seront pas visibles depuis les voies d'accès. Le versant sud accueillera 84 résidences unifamiliales dessinées sur mesure, avec terrains boisés d’une superficie allant jusqu’à 5 acres, ainsi que 32 maisons jumelées dans le secteur de La Pinède, un boisé à feuilles persistantes situé dans la section sud-ouest du projet. Le versant nord hébergera quant à lui 115 maisons de ville le long des pistes de ski, ainsi que 48 condominiums répartis en 6 bâtiments. Chaque maison Via Sauvagia sera couverte par la garantie de maisons neuves Qualité Habitation, et certifiée « Novoclimat » par l'Agence de l'efficacité énergétique du Québec. L'emplacement est superbe, et Simard et ses partenaires ont pris toutes les mesures pour s'assurer que les résidences s'intègreront parfaitement à leur environnement. Afin de créer un mode de vie où l'architecture, le design et l'environnement ne font qu'un, les promoteurs ont travaillé avec l’architecte québécois de renommée internationale Pierre Thibault, bien connu pour son implication dans des projets à caractère écologique et pour son style permettant la mise en valeur conjointe du paysage et de l'architecture. Les promoteurs ont également conçu le projet dans une perspective de durabilité, en prenant soin de ne pas altérer le paysage naturel et de préserver la forêt autant que possible. Pour ce faire, ils ont adopté une politique de reboisement : pour chaque arbre coupé, un nouvel arbre sera planté. De l'évaluation de l'environnement par des biologistes aux mesures de conservation de la faune en passant par la protection des zones humides, aucun détail n'a été négligé. Très impressionnant! Allez explorer par vous-même, la montagne vous attend! www.viasauvagia.com
CRÉATEUR
D'INTÉRIEURS
DEPUIS
2003
/
CREATING
Montreal www.dentrodesign.com
INTERIORS
SINCE
2003
C0007-1
Bone Structure LA NOUVELLE MAISON MODERNE Précision chirurgicale et technologie aérospatiale s'allient à la passion de Marc A. Bovet
L
a passion est quelque chose de contagieux. Je n’en doutais déjà pas, mais me voilà absolument convaincu après ma rencontre avec Marc A. Bovet, l’un des individus les plus passionnés qu’il m’ait été donné de connaître. Je ne sais pas exactement quel est son secret, mais quelque chose me dit que son idée, qui est sur le point de révolutionner la manière dont nous concevons et construisons nos maisons, y est pour quelque chose.
Nous sommes dans la campagne québécoise. Je conduis avec prudence une petite route sinueuse, tandis que des flocons descendent lentement du ciel, tels les plumes d’un oreiller moelleux que l’on aurait secoué au-dessus de la Terre. À l’approche d’un virage, un panneau attire mon attention. Il est écrit : « Ici, on Construit Solide. » À quelques mètres de distance se dresse une structure de deux étages, visiblement une maison familiale en cours de construction. Ses lignes sont nettes et modernes, et son squelette est en acier. « Une maison familiale en acier? », je ne peux m’empêcher de penser. Je m’arrête sur le bascôté de la route afin de pouvoir m’approcher, comme tout bon voisin indiscret l’aurait fait. Assez vite, je remarque que le chantier est étrangement impeccable.
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PAR JEREMY GARRETT
Il semble que l’isolation extérieure soit en passe d’être terminée. La maison est loin d’être achevée, mais il n’y a ni déchets, ni conteneur à ordure, rien ! Juste une structure d’acier et un terrain parfaitement ordonné. Tandis que je reste plantée là, essayant de comprendre, j’entends quelqu’un s’approcher derrière moi. C’est Marc A. Bovet, fondateur et président de Bone Structure. « Ce qu’il y a de plus absurde, c’est qu’un stylo Bic à douze cents subit plus de contrôles de qualité que le plus gros investissement de votre vie. … Nous avons donc décidé de prendre exemple sur d’autres industries. Comment fabrique-t-on un produit dans l’industrie automobile ou aérospatiale? » Interroge Bovet. J’ai un peu de mal à saisir comment l’industrie aérospatiale pourrait avoir un lien avec la maison familiale... Mais Bovet se charge de m’éclairer. Selon lui, les procédures actuellement en vigueur sur les chantiers de construction ne sont pas assez claires, surtout pendant les toutes premières étapes. Quatre-vingt pour cent des personnes employées sur un chantier ne sauraient pas lire correctement un plan architectural. Le risque que des erreurs soient commises et que la qualité ne soit pas au rendez-vous est donc bien
La maison peut ainsi évoluer au gré des envies. Tout cela est bien intéressant, mais qu’en est-il du coût? L’ossature Bone Structure coûte, sans les fondations, environ 85$ par pied carré, incluant la structure d’acier, les portes, les fenêtres et l’isolation extérieure. Le reste dépend de chacun. Une maison Bone Structure entièrement terminée coûte en moyenne 180$ à 200$ par pied carré, selon la finition intérieure choisie. La compagnie développe actuellement une ligne de finitions qui viendra compléter le procédé de construction. Récemment, Bone a lancé sa toute nouvelle collection, la C007. Une sublime maison d’un étage qui incorpore lignes intemporelles et design sophistiqué. « Cette maison est exactement ce qu’il nous faut à tous, une petite maison avec de grands espaces, pour un style de vie raffiné et efficace », souligne Bovet. Avec des modèles allant de 1329 pieds carrés à près de 2000 pieds carrés, Bone offre ce petit bijou très chic a partir de 279 000$ clé en main.
réel. L’idée de Bovet, qui fait actuellement l’objet d’un dépôt de brevet, est de mettre en place un processus qui permette d’appliquer les directives avec une « précision chirurgicale ». Bovet a démarré sa carrière dans la mode, en tant que propriétaire et gérant de 45 magasins. Par la suite, il se lance dans la publicité en créant sa propre agence. Il collabore alors étroitement avec le géant de l’aérospatiale Bombardier, Inc., pour lequel il fait notamment la promotion d’une voiture électrique, la Bombardier NV, au milieu des années 90. C’est à cette époque que lui vient l’idée d’appliquer la technologie utilisée dans l’industrie aérospatiale à la construction d’habitations. « Il suffit de jeter un œil sur un chantier pour s’apercevoir qu’il y règne un désordre sans nom. … Imaginez acheter une voiture qui aurait été construite comme une maison! » Je ne peux qu’acquiescer. Peu importe le degré d’organisation d’un constructeur, les chantiers, qu’il s’agisse de simples rénovations ou d’un projet d’habitation plurifamiliale, finissent toujours par ressembler à un vrai cirque. « Voilà pourquoi nous avons choisi de travailler en suivant le modèle des industries automobile et aérospatiale. … Nos maisons sont faites de telle manière à ce que toutes les pièces puissent se fixer les unes aux autres, il n’y a donc pas de décision à prendre sur le chantier; tous les trous sont percés à l’avance. C’est comme un jeu Meccano pour adultes. » L’ossature des maisons de Bone Structure est faite en acier léger recyclé, ce qui la rend non seulement plus stable que celle des maisons en bois, mais aussi plus rapide à assembler. Une fois les fondations prêtes, l’assemblage s’effectue sur une période de quatre à six jours pour une maison de 3,000 pieds carrés. Les portes et les fenêtres sont installées en une journée, grâce à un procédé en instance de brevet, le Système de Mesure Intégré. Une fois l’isolation terminée, il faut compter deux jours pour installer le revêtement extérieur, ce qui complète l’installation de la structure. La construction toute entière, de la conception des schémas à l’achèvement des travaux, prend de 12 à 14 semaines.
Bovet se soucie également de l’environnement. « L’année dernière, un chantier produisait en moyenne trois conteneurs à ordure de 40 pieds. Les décharges sont remplies à 60% de déchets de construction, ce qui est totalement absurde. C’est un problème insensé. » Les chantiers de Bone Structure sont impeccables de propreté, je peux en témoigner. Il n’y a pas de conteneurs sur les sites, d’abord parce qu’ils n’y sont pas permis, mais aussi parce qu’ils n’auraient aucune utilité. Les documents de conception et de construction sont élaborés avec une telle précision que seuls les matériaux nécessaires sont acheminés sur le site. La politique de la compagnie implique que les revendeurs et les constructeurs de Bone Structure doivent impérativement maintenir le site en bon état. Si l’un d’entre eux ne respecte pas les standards de Bone Structure, il se voit retiré de la liste de constructeurs autorisés. De plus, l’acier est un matériau recyclable à 100%, contrairement au bois. Il peut être réutilisé à l’infini, sans se dégrader ou perdre ses propriétés. Avec un slogan comme « Si la perfection vous habite », Bovet peut être sûr de communiquer la passion et la foi qui l’animent à ses partenaires potentiels. Chaque semaine, il reçoit la visite d’un promoteur étranger venu étudier la possibilité de remporter les « os » avec lui. Présentement Bone étend son territoire en Amérique du nord à des villes telles que Vancouver, Toronto, Calgary, Ottawa, Winnipeg, Kelowna et Austin, TX. En 2012, Bone Structure aura bâti plus d’une centaine de maisons. Alors, s’agit-il vraiment de la maison parfaite, ou encore de la manière parfaite de construire une maison? Je ne suis pas sûre que la perfection soit de ce monde, mais le concept Bone Structure s’en approche pourtant de très près. Et puis, tant qu’un stylo Bic subira plus de contrôles de qualité qu’une maison, nous aurons besoin de gens comme Marc A. Bovet pour améliorer la qualité de l’endroit qui nous est le plus cher, notre maison.
Il n’y a ni clous, ni découpage, ni perçage. Les travaux d’électricité et de plomberie sont également accélérés, car les électriciens, les plombiers, et les spécialistes en chauffage et ventilation n’ont qu’à relier les fils et les tuyaux entre eux. L’ossature en acier donne également aux propriétaires la possibilité d’envisager des espaces beaucoup plus grands. Les pièces en acier du système Bone Structure leur permettent ainsi de concevoir des espaces mesurant jusqu’à 25 pieds, sans avoir à rajouter de colonnes ou de murs porteurs supplémentaires. Mais la flexibilité constitue sans doute l’un des aspects les plus impressionnants du concept. Contrairement aux maisons préfabriquées, dont la forme est définitive, le Système de Mesure Intégré utilisé par Bone Structure permet aux propriétaires d’ajouter des fenêtres, de changer le revêtement extérieur, de déplacer les murs intérieurs et de reconfigurer leur habitat à loisir, simplement en encastrant ou en dé encastrant les pièces d’acier.
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Le luxe dans tout son raffinement Tout designer aspire à développer sa propre identité créative, cela ne fait aucun doute. La capacité à créer des espaces qui émeuvent et fascinent est quelque chose de précieux, surtout quand ils portent la signature bien reconnaissable de l'esprit créatif qui les a conçu. En pensant aux intérieurs exceptionnels que compte le Québec, le travail de René Desjardins vous vient sûrement à l'esprit. Il y a quelque chose de bien particulier chez les intérieurs de René Desjardins. Quelque chose qui les distingue de tous les autres, et que l'on remarque immédiatement, presque instinctivement. Cette simplicité, ce côté chic, cette touche de retenue – c'est le luxe dans tout son raffinement. Fondée en 1986, la société Gestion René Desjardins a acquis, au fil des ans, une solide réputation, et se classe aujourd’hui parmi les agences d'aménagement intérieur les plus importantes. Récipiendaire du prix Pierre-Page en 2010, membre de l’Association professionnelle des designers d’intérieur du Québec (APDIQ) et des Designers d’intérieur du Canada (IDC) depuis 1989, René est un vétéran dans le domaine du design à Montréal. Depuis ses débuts dans le milieu de l’aménagement intérieur, René Desjardins a su se démarquer par son approche rationnelle du design. Fervent disciple du Bauhaus, il cherche à harmoniser forme et fonction dans
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André Doyon
RENE DESJARDINS
l’utilisation de l’espace, et privilégie les matériaux naturels. René Desjardins, par sa culture classique et sa grande créativité, a su échapper aux caprices de la mode ; ses travaux se caractérisent par leur simplicité, leur pérennité et leur fonctionnalité. Ses études en arts et en philosophie lui ont donné la capacité de créer des espaces qui laissent place aux émotions. Des espaces qui ne sont pas limités par le simple choix de couleurs ou de meubles, mais qui transcendent l'aspect strictement physique du lieu. Car l’ambiance qui se dégage de ces environnements interpelle leurs résidents par son confort et sa subtilité. Dans l’atelier de travail de Gestion René Desjardins, chaque projet est analysé avec soin par une équipe composée de designers talentueux qui, assistés par une technologie de pointe, s’emploient à trouver des solutions d’avant-garde pour chaque client. En misant sur des solutions réalistes, sans pour autant sacrifier à l’esthétique, le processus de création prend naissance avec la compréhension adéquate du contexte ainsi que des demandes du client. Parmi ses grandes réalisations, on compte les bureaux de l’agence BOS, la résidence Saint-Lambert et, la résidence Margaux et plus récemment le Penthouse Centre-ville et la Maison du Boisé. Avec de nombreux projets prévus pour 2013, HOME magazine anticipe avec enthousiasme à ce que la signature si particulière de Desjardins se retrouve sur ses pages à nouveau dans un avenir proche.
Pierre Bélanger
André Doyon
André Doyon
Marc Cramer
André Doyon
André Doyon
something from nothing Scott Gillen’s masterful craftsmanship honed from a lifetime of hard work.
Story By Lulu Berton
“I
like things that are timeless,” says Scott Gillen, taking a seat on a comfy white couch in The Carbon House, his ninth designbuild home project. One of the hottest designer-builders around, all his homes have sold in record time and at appropriately high prices. Gillen instills the essence of Malibu into big, open living spaces with spectacular views in home designs that are also easy, warm, and comfortable to live in. Gillen started out in the entertainment industry as a stunt driver and rigger on TV shows like The Dukes of Hazzard and quickly shifted to directing commercials – he’s done more than 100 of them to date. As is the case with most creatives, Gillen moved around, working with a number of production companies including Quentin Tarantino’s A Band Apart. He also credits his first four years with Coppos Films and director Mark Coppos as an inspiring experience that helped his design sense really flourish. Designing homes started as a hobby, but his abilities didn’t go unnoticed and now his projects (he designs everything from cabinets, to windows, doors, and huge wooden and steel beams) are highly coveted by Hollywood’s elite. He has a keen eye for finding diamonds in the rough. And this is in large part why his hobby has turned into a very lucrative business. A man of many talents, Gillen is gearing up to launch a furniture venture to his Unvarnished enterprise this coming year. Director/builder/creator, you are so multidimensional and have nailed it in every field you have pursued. What’s the secret to your success? Thank you. I appreciate it. I put a lot of passion, effort, heart and soul into my work. Like your latest project, The Carbon House in Malibu. I drove by this property countless times. It had burned out in the ’07 fire so there wasn’t much there besides trash. One day, I finally walked up on to the property and bought it. The day after we closed escrow, I cut down these 180-foot eucalyptus trees, and there it was, this picture-perfect view of Catalina. At that moment I knew it was a winner. But a lot of work had to go into making it so. This was a very extensive build: 41 caissons, 650 yards of concrete, 90 truckloads of dirt removal, repositioning the structure facing the Pacific and cultivating the breezeway. ... I could go on all day about it.
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"When I’m building a house, I build it with my sensibilities. All my style and value is based on how I live my life, how my family lives. We tend to love open-space living... It’s a much more communal existence when you share a kitchen, living room and dining room all in one area. It’s more social, healthier and intimate, but only if it flows properly. That’s a big part of it, bringing it all together – the lines, wood, metal, windows – it’s all got to vibe together in a way that feels good. I believe I hit a home run when it becomes seamless."
What’s your main approach when starting a new house? Same as when directing a car commercial. I ask myself how the viewer sees the car the same as how I ask myself how the homeowner sees the home. Where does the house sit? What is the position and projection of the home on the property? Where does the sun rise? And where does the sun set? I position it so I have a day full of sunshine, hence the amount of 10-foot windows we’re surrounded by now. How would you define your aesthetic? I don’t think I have an aesthetic. When I’m building a house, I build it with my sensibilities. All my style and value is based on how I live my life, how my family lives. We tend to love open-space living. Most people can’t live in open space. They want to, but they don’t know how. It’s a much more communal existence when you share a kitchen, living room and dining room all in one area. It’s more social, healthier and intimate, but only if it flows properly. That’s a big part of it, bringing it all together – the lines, wood, metal, windows – it’s all got to vibe together in a way that feels good. I believe I hit a home run when it becomes seamless. I don’t like any one thing to stand out. Who has been your main sources for inspiration? Frank Lloyd Wright was a genius. I do a lot of exposed beams within the structure, and, as of late, I’m using steel in conjunction with the wood to give it a more contemporary feel but with warmth. I also think Richard Neutra was ahead of his time and other architects. I’m inspired by spaces that have an easy, clean feel and are very livable. Simplicity is key. What prompted you to dive into the design field? When I was directing, I primarily did cars and a lot of performance work for Jaguar, Mercedes and BMW. A lot of that work is design oriented, and a lot of the stage work I did was on white sites, so there was a lot of negative space to fill. Design was key to the big picture, creating the flow and establishing what needs to go where to complement the focus of the frame. And then you transferred those skills into building homes. I stayed busy filming throughout the year, and it was great. But I had a disagreement with one of my executive producers, broke my contract, and we parted ways. By breaking my contract, I wasn’t allowed to work for a year, so I decided to build myself a new home. It was great. It was no holds barred. And there was no one to tell me what to do. Your first house project was on Abbot Kinney. Would you tell us a little more about it? It was the first live-work loft in Venice. Now, Abbot Kinney is known as the West Coast Soho, but it wasn’t like that back then. It was an old, dilapidated house built in 1928, a California bungalow. Over the next year, I gutted, redesigned and built it. It was the ultimate bachelor pad. Then I met my wife. I put it on the market, and it sold in the first day. It was great.
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That is when you realized that the property market could have been a side career for you? It was a side career. But after the year penalty, I went back to work. I did a couple of TV shows: Build or Bust then Set Up, but I had so much fun with the Abbot house I wanted to build another one, so yes, at that point it was a side project. And all your other projects sold very quickly too... Yes. All the houses sold in a few weeks from when they were listed. The Sandpiper, Case Study No. 8, was the highest-grossing sale on Malibu Road per square footage and it sold in 16 days. And the market was all the way back down when we sold Cross Creek Lane. That one also sold in the first showing. And you still haven’t sold this one on Carbon Canyon Road? Well, we did come to market and got an offer very close to asking but I have decided that this one fits me so well that I have taken it off market and will move in. Do you ever work on assignments? Rarely. I have only designed and built houses for two other people, friends of mine. I did them both as favors. But I learned that I don’t want to be responsible for other people’s design and color schemes, no matter how good friends we may be. I can’t be beholden to other people’s limitations. It stunts the creative process and the fun of it all. I have been lucky to work for myself my whole adult life, and I’m keeping it that way. I also feel that I've been extremely lucky with respect to being in the right place at the right time and having produced the work that I've produced. You said earlier you like to do things that are creative and fun. What’s next? Furniture. I decided to build my own furniture for this home. The size of a room dictates how it feels. Proportion is so important to a space, and when you miss that it screams mistake. These rooms call for very large furnishings. I wasn’t finding anything I liked that would fit just right. So, I went ahead and designed and built what I wanted. It’s becoming a whole other animal. I’m starting with a series of tables: dining, coffee, cube, console. Each piece is oversized with hand-spun, polished stainless steel legs and hand-rubbed black solid walnut. The next run will be all solid teak. My furniture fits well under the Unvarnished brand because of the clean lines and high-quality raw materials I include in everything I do. Do you have a motto you live by? I love to start with nothing and make something. But it’s got to have integrity. The whole creative process, how something feels, that’s got to stay pure for me at all costs. c
"Passion for design has always been in my DNA. In a sense, we could say it was born with me. Now, everything inspires me: Life, People, Love, Travel." CLOCKWISE FROM TOP LEFT: Designer duo Ludovica and Roberto / Palomba wall hung toilet by Laufen / Palomba Collection by Laufen / LAB 03 by KOS / Palomba Collection by Laufen
ludovica
& roberto
Great Design Comes In Pairs Story By Lulu Berton
T
he Italian architects and designers Ludovica Serafini and Roberto Palomba, have been creating modern, beautiful furniture and exquisitely functional housewares since 1994, when they founded Palomba Serafini Associati, to this day collaborating with the most prestigious design brands around the world. “Our goal is to design free projects that are able to interact in an evident and immediate way with people who choose them”— that’s the vision behind their success, which is “measured by the amount of persons worldwide who have chosen to share their lives intimately with our products.” Thanks to their elegant and urban designs, combining functionality and aesthetics, indoor and outdoor living, geometry and craftsmanship, the duo has won several awards including The Compasso D’Oro 2011 for their monolithic and compact Lab 03 (innovating the archetype of the washbasin by integrating the towel rail handle to the free standing structure) and The Green GOOD DESIGN Award for their sustainable Wall-Hung Toilet designed for LAUFEN. From the beauty and purity of the lines admired in their LAMA dormeuse, a painted-steel structure designed for Zanotta to the emphasis on the curvatures and the minimization of technical elements found in their Elica Kitchen Hood CLIP — which received the Red Dot Honorable Mention Product Design in 2012 — it is safe to say Palomba and Serafini are definitely at the top of their game. The design team is currently developing important residential architecture, contract, interior and yacht design projects worldwide. HOME recently met with Roberto Palomba in Milan, Italy, where the duo lives and works. What was the inspiration behind your new collection for LAUFEN? Nature was always behind the design of this collection. The inspiration comes from the coves and cliffs, and by studying the action of the sea on the rocks. Human beings are linked to primary shapes — there are forms that accompany us during our life or just remind us of our childhood. We wanted the products of this collection to deliver this message, through their soft touch and smooth shapes. The inspiration for Menhir, the new free-standing washbasin, which is a part of the Palomba Collection 2012 for LAUFEN, comes from a rock’s shape: a single block that enhances its visual impact. The hollow of the bowl recalls the rocks carved out of the water. Does working with new material, such as the solid surface used for the Palomba tub, allow you more design flexibility? Each material brings a kind of a shape inside itself and even an inspiration for a possible project. Sometimes new materials are comparable to “grassland to colonize,” while the old ones, such as wood or stone, can be considered as fertile fields already ploughed but which continue to grow creatively. What made you decide to collaborate with LAUFEN? Before our collaboration with LAUFEN began, we had already designed some pieces for other bathroom companies. When I met with LAUFEN, I was immediately struck by the way they approach projects: interpreting design and always striving to find superior technical solutions while never backing away from challenges. This makes my work as a designer easier and, of course, the results are wonderfully fruitful!
What or who inspired you to become a designer? And what or who continues to inspire you today? Passion for design has always been in my DNA. In a sense, we could say that it was born with me. Now, everything inspires me: life, people, love, travel. Is there a historical figure with whom you most identify? If I have to choose, let me say Alexander the Great, for his curiosity and his will to join and combine everything, like the East and the West. But of course, I am a man of peace. Your personal interpretation on the meaning of “a place called home?” My dogs’ kennel. The success of design teams usually depends on the “balance” they provide for each other. In what way do you feel your partner balances you when it comes to your design approach? We are a unique person divided into two bodies. You live and work in Milan. What do you find fascinating about the city and its culture? I’m fascinated with its continuous movement. It is the Italian city of fashion, finance, economics and design — the place where business and creativity meet and tell a new story every time. Who are your heroes in real life? All those people who give to others with anonymity and simplicity, such as blood donors. If you had a small budget and a big house, which accessory pieces would you buy first and why? I would create an empty space in Technicolor. With a small budget, I would prefer to use different and new colors for the walls and play on contrast with other elements, such as the sheets. I’m an architect, not a decorator, so I think it could be a good idea to create a right mood. Please describe the interior décor you have chosen for your home. White and natural tones are the fil rouge of the whole apartment. Than we added contemporary design furniture with some colored carpets and complements. An outstanding designer should always be? Always on holiday! What do you consider your greatest achievement? All the research conducted side by side with LAUFEN. We managed to reach important results with them together in regards to designing eco-friendly projects. What profession rather than your own would you like to attempt? The politician. Nowadays we need honest and creative people in power. Indeed, I think that sooner or later I could also do it. What do you like to do to unwind? When I can, I just run away from Milan and go to the south in Italy, in Salento, where we have a beautiful house. What are the most distinctive traits about your personality? I’m curious, eclectic and changeable. I change continuously. What do you see as the lifestyle trend of the future? Respect nature, otherwise there will be no lifestyle trends to invent or create anymore. Your motto, if you have one. Express yourself, not repress yourself. c
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missoni homE CEO & Founder Rosita Missoni c e l e b r at e s sixty years of dynamic design Story By Lulu Berton
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“M
y home has become an oasis of colors and moods, evoking emotions and curiosity,” says a very welcoming Rosita Missoni as she reflects on her family’s main residence in Sumirago, Italy. “This place is always open to encounters of people just passing through, the family’s comings and goings and for when friends and acquaintances unexpectedly drop in,” she adds with a bright open smile. Sitting at the foot of the Lombard Alps, the magnificent property, built by architect Enrico Buzzi, is also the elective backdrop of the Missoni business, a status symbol of Italian design, which in 2013 will be celebrating its 60th anniversary. Since the brand’s inception in the early ’50s, Missoni and her husband Ottavio (Tai), Italy’s most prominent fashion couple, began creating their unparalleled knitwear, fusing art and fashion “with museum pieces that you can wear” and introducing the world to a new way of dressing and living. Their mix-and- match style, which Americans define as “put together” is a unique patchwork of geometric and colored jacquards, zigzags and stripes morphing into an extraordinary kaleidoscopic effect, where colors blend into tones and imagination never underestimates simplicity. Missoni hasn’t stopped at clothing and fashion accessories. “I enjoy creating a habitat that is ordered yet informal, versatile and welcoming,” admits a self-satisfied Ms. Missoni, who in the mid-’90s launched Missoni Home, transferring the brand’s fashion iconography to the world of design. “I always loved home décor, and I thought that expanding my creativity into home furnishing was the most natural thing to do,” she recalls. Missoni Home’s latest collection, which was presented at Maison et Objet in Paris and Salone del Mobile in Milano, was received with universal acclaim; a collection of vivid pieces ranging from sofas and relaxed form ottomans to pillows and luxurious blankets and throws. Missoni explains, “The new and fascinating story interweaves nature and fantasy, passion and geometry, a fusion of inspirations and techniques: linear forms, sculptural volumes and great eclecticism in the use of the pictorial color palette. The color tones are vibrantly intense and rich in high notes. Polychromatic scales nuance into faded effects, they emerge from the shadows to snake into spatial flashes.” The Missoni brand and legacy has proved that the art form of great design can transcend market boundaries and be a success in any business sector. Over the years, the brand has expanded from fashion to furnishing and modern day living. After Missoni Home was born, which Missoni happily admits, “is now a very consistent collection,” a collaboration with architect Matteo Thun in 2006 gave birth to Hotel Missoni, which became another important part of the brand’s evolution. In 2013 you will be celebrating 60 years in the fashion business. What do you see as your greatest achievement? To have created a style with our fashion and a lifestyle with our home collection. How would you define Missoni’s style? Dynamic, colorful, geometrical and playful. The use of color has always been a very distinctive mark of the Missoni brand. What drew you and Tai into it? It was instinctive from the very beginning. Tai could have become an artist, as his sense of color is extraordinary. On the other end, I love gardens and flowers. During the years though, Tai has become a huge gardener, too. He started with a small terrace in our previous home, but now that we have a huge garden, he has definitely improved his abilities. You met your husband in London in the late ’40s, and since then you have started a very successful relationship and business collaboration. Was it love at first sight? Yes. Tai was running as a finalist in the Olympic Games in the 400-meter hurdles. When I first met him, I kept my fingers crossed. He was a very handsome man, but what I really loved was his sense of humor and his captivating philosophy of life. What would you say has been the secret to your long-lasting relationship in romance and business? Working together for so many years has certainly created a strong bond between the two of us. I also believe that the best choice in our life has been to decide to
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establish our headquarters here in Sumirago. I consider a privilege the possibility to live and work in a place where every day you can look outside the window and see something beautiful. All our children and grand children live here. It’s not far from Milan and you can still enjoy the city life. How has your brand evolved into so many fields, most predominantly Missoni Home? We started Missoni Home very early, at the end of the ’70s because Bloomingdale’s introduced us to Fieldcrest, for whom we made four bed and bath collections. My family, at that point, added bedspreads, rugs and upholstery fabrics to their production, and so they suggested starting our own home brand made in Italy. So we did, and at the end of the ’80s we launched a Missoni collection of rugs and upholstery fabrics, although it was not under my direction. What prompted you to take over the direction of Missoni Home? It was in ’97, when my daughter Angela decided to work on our main line. I felt a great relief, as I needed to step back from the fashion world and its craziness. I knew that the home was becoming fashionable and I must say, in a couple of years, I realized I had a very good idea. Which vision inspired your Home collection? The pleasure of being surrounded by excitement. My house is a nest where I bring back all the things I love. It’s structured but very informal, appealing but simple. It’s a game which I love to play. Very often, I build from the fashion collection and transform it. Could you please describe the philosophy behind Hotel Missoni? When Italian architect Matteo Tun approached us with the idea, I instantly thought it would have been a very good window for the Home collection and also a field of research. What are the main design elements you have chosen to define your private residence in Italy? I am fascinated by design and comfort, and I like simplicity in shape. There is one particular chair I chose for my home, the Wishbone chair by Hans Wegner. I decided to have it also in the hotels because it’s comfortable and easy to move. I hate heavy furniture. I love objects, and my house is full of them. What is your most treasured possession? A series of huge glass beads, which I bought in London six years ago. They are from Seguso, a factory in Venice, and made in the ’60s. I also used to collect handkerchief porcelain vases, knotted ones, but now I am tired of them. In my house in Milan I have a huge red chandelier made by Gio Ponti in the ’50s that looks like a big octopus. We have so many different homes, though…. What other homes? The big house, our main residence is in Sumirago. The house in Milan we mainly use to throw parties after our fashion shows. I have a house in Paris, on Rue du Bac, overlooking the Tour Eiffel, and one in Sardinia, our summer house in Puntaldia, on a long beach with pink sand and turquoise sea. Our house in Venice overlooks the bridge on the side of the Palazzo Ducale, and in the lagoon, we also have a flat boat where we throw very cool parties with up to 150 people. How large is your art collection and which pieces are the most important to you? I wouldn’t personally call it an art collection but a very intimate ensemble of pieces. We have a beautiful painting called The Birth of Venus by Savinio, De Chirico’s brother. Tai bought it 25 years ago. He came home with it and said to me, “This is your Christmas present for me.” For his 80th birthday, I give him another painting from Tancredi because it reminded me of how Tai designs his projects on knitted fabrics. Do you have a motto you live by? It’s never too late. c
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cine
The Captivating Urban
space
Environments of Daoust Lestage
rEnÉe daoust and rÉal lestage have truly found the “thread” that enriches the lives of Urbanites, Celbrating the relationship between people and their city. story by kevin chan
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Throughout the world, cities have become the predominant setting where people live and carry out the daily rituals that define their lifestyle. The urban environment has long been valued for its capacity to not only provide a strong propensity for social interaction but also access to valued resources such as universities and public gathering spaces. Coming from Los Angeles, I have mostly experienced the urban environment looking through the windshield of a car. However, since moving to Montréal, converting to active transportation has greatly improved my awareness of urban spaces. Since Montréal’s urban infrastructure and cultural attitude afford the opportunity for bicycling and walking, and moving through the city at a slower pace has allowed me to appreciate this divers metropolis in ways previously unimaginable. One aspect of urban design that enhances the experience of a city is the connectivity of spaces between districts, streets and even sidewalks. Places such as Place des Festivals in the Quartier des Spectacles have highlighted my experience of Montréal because of the way the project unifies the urban fabric through the provision of public space. The visionaires behind the design and development of spaces such as the Vitrines Habitées at Place des Festivals, are Daoust Lestage - located in Montreal. Daoust Lestage has contributed to the wealth of high-quality urban spaces in Montréal since 1988. Daoust Lestage Inc. was founded in 1988 to
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realize their dream of designing city spaces and architectural pieces with the comprehenseive approach that they currently employ. In an interview with HOME, Daoust Lestage gave insight to their firms approach to urban design, discussing how investment int the public realm ultimately leads to raising the socioeconomic value of the urban environment - producing a more inclusive and vibrant city. During the economic downturn in the 1990’s, Daoust Lestage saw an opportunity to refine the firm's urban design methodology in an era most would deem difficult to find business. Although the market for urban development was waning, the industrious nature of the partners did not allow them to stand idly, “we believed that we needed to do something,” said Daoust. The firm’s method was to design from “the city to the object”. This ideology allows their projects to be understood from various scales and ultimately establishes a thoughtful relationship between people and the public realm. Daoust Lestage postulated their firms methodology akin to "a thread", which connects the various disciplines vested in creating successful urban environments under a contiguous workflow. Acknowledging the importance of public space and its impact on property value, Daoust Lestage has played an intregal part in developing many urban environments, one of which being the socioeconomic capital of the area now
FIRST PAGE: Place des Festivals and Vitrines Habitées Photo by Marc Cramer / second page: Place Jean-Paul Riopelle — Quartier International Montreal Photo by Pierre Zabbal, CDP Capital Center Photo by Stéphan Poulin / Opposite: Vitrines Habitées at Place des Festivals Photo by Marc Cramer
known as the Quartier International. Through creating public spaces to trigger private developments, the firm has been able to give primacy to the public realm and therefore offer places tailored for attracting Montrealers. Urban parks such as Square Victoria and Place Jean-Paul-Riopelle provide much needed gathering spaces for people to engage the urban environment. Eventually, as these projects settled into the urban fabric of Montreal and the $90 million operation was complete, real estate investment in the area increased approximately 20 times the cost of the project itself. From the success of the Quartier International, Daoust Lestage continued its influence on Montreal’s public realm with projects such Vitrines Habitées and Place des Festivals, which won the 2012 Governor General’s Medal in architecture and urban design. Part of the Place des Arts and the Quartier des Spectacles, Place des Festivals and Vitrines Habitées have become iconic landmarks in Montreal’s central city neighborhood of Ville Marie. Providing a high-profile space capable of facilitating events with crowds as large as 25,000 people as well as an everyday public gathering place, Place des Festivals and Vitrines Habitées are the epicenter of activity during Montreal’s festival season in the summer. Place des Festivals — flanked by a duo of elongated, rectangular restaurants known as the Vitrines Habitées — is an equitably designed urban armature that has, again, triggered private investment through quality public infrastructure. Daoust Lestage is continuing to successfully intervene in this part of the city, currently in its fourth phase of development, by creating an urban ice rink and pavilion that will surely cater to the seasonal interests of Montrealers. There is no question that Daoust Lestage has become one of Montreal’s leading stewards of the urban environment. The firm operates within the complex union of architecture, landscape architecture, urban planning and other domains of knowledge commonly considered the framework for urban design. With a team of talented creative professionals from various backgrounds, the collection of talent is able to engage in a multitude of discussions regarding the diverse issues posed by urban design projects. Currently Daoust Lestage is spreading its influence across provinces and cities including Toronto, Calgary, Montreal and Quebec City. Projects involving York University, the George Brown School of Business and the PanAm Village are spaces and architectural pieces to look forward to in the near future. Daoust Lestage’s approach of designing from the city to the object has proved to be an effective method of creating robust urban environments — they have truly found the “thread” that enriches the lives of urbanites, celebrating the relationship between people and their city. c
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Architect Isay Weinfeld’s Fine Mix in São Paulo
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story by Mirjana milicevic photography by fernando guerra
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"Now, if you are walking, with the right person, on a sunny day, listening to Chris MOntez ... all of these together, mixed this way ... this might be happiness. Yet, if you prefer to ride your bike in the rain, with the wrong person, listening to Arvo Part in SÃo Paulo that also might be happiness. In Life, each of us mixes these ingredients as we please. That's where the fun lies." (Fine Mix, 2003)
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hen speaking about contemporary Brazilian architecture, most conversations inevitably lead to one man — Isay Weinfeld. I think it’s safe to go even further — out of Brazil and onto the world map, where, in the big picture of various international architectural works, Weinfeld’s work holds its ground. With confidence and calmness, he pulls from himself and lights up his designs. Weinfeld was born in 1952 in São Paulo, where he graduated from Mackenzie’s School of Architecture in 1975 and later became a professor there teaching the theory of architecture. He was also tenured professor at Penteados School of Communication, teaching kinetic expression. His career as an architect, teacher and moviemaker is closely related to the city of São Paulo. Most of his projects are realized there — both residential and commercial. He often held exhibitions and lectures focusing on the city’s architectural and urbanplanning problems, which were the focus of several of Weinfeld’s essays. His art direction and theatrical scenery has been displayed in Sao Paolo theaters, and his films are made there as well. One of them, 1988’s Fire and Passion, showcases a lot of São Paulo’s architecture, once again highlighting the important role this city has played in Weinfeld’s professional and personal life. “São Paulo is a city you cross. If you are by car, you’ll probably have your windows closed. Keep them rolled up and try to see the city or, in any case, what’s left of it, while listening to a soundtrack. ... Yet, if you really want to feel strong thrills, pump up the sound of your car stereo to full blast and play 4’33, by John Cage. Open all windows, step down on the accelerator, take a good look at our dear São Paulo and let in the fresh air and the morning sun. ...” (Musical Drive, 2007) Weinfeld’s architectural achievements have been rewarded numerous times by Institute of Architects of Brazil. He also gained the recognition of other organizations in country and abroad for his architecture, interior and furniture design, theatrical scenery and cinematography. His bookstore — Livraria Da Vila — won the Yellow Pencil Prize at the D&AD Awards in London in 2008 and the Spark Award in San Francisco the same year. Isay Weinfeld Architecture has been twice the Overall Winner of the MIPIM Architectural Review Future Project Award in 2009 for its apartment block, 360° Building, and this year for the Oka Building. Additional awards include the 2010 Numero Bar in International Design Award, and in 2011 the Good Design Awards in Tokyo for the Terra Nova House. What is it about Isay Weinfeld Architecture that makes it so special? One could say that no matter the purpose, different program, client or the plot scale, there is some link that brings the puzzle together. Going through all those beautiful pictures of the homes, hotels, bars and restaurants, shops and bookstores, one could not but notice his delicately designed atmospheres and carefully composed scenery. Rather than shock and overwhelm — Weinfeld’s architecture embraces and invites. When it seems powerful, strong and exact, it also conveys warmth at the same time. It does not compete with the human size. * * * * Casa Grecia is a single-family home located in a residential area of São Paulo. The house was built in 2009 and was completed two years after its commencement. Set on a 1.2-acre corner plot, it fulfills an extensive design program, realized in three levels with 20,450 square feet of living area. The
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upper floor consists of four cubes toward the rear of the property, consecutively distributed, which open to a huge garden from which you can approach the house through wide wooden decks. Each cube is individually identified and defines a certain area in the house. The living quarters consist of a four-bedroom suite for the family, and full living quarters for the house staff are encompassed in a pebble-blasted concrete-clad cube that hovers over the long swimming pool on one side. A home office is encapsulated in an exposed concrete module that merges fluidly with the wooden exterior siding of the entertainment area, which includes a TV room and indoor/outdoor lounge. Finally, everything comes together with another cube covered with sandblasted concrete plaques, where the dining room and service area located. The lower level was designed as the children’s recreation room, large fitness room, music studio and a large linear garage exposing an extensive antique car collection, ending with access to the basement level for the sauna. Often being described as a perfect mix of nature and architecture — which also can be seen in some other houses Weinfeld designed, Grecia became a representation of the modern “garden villa,” or as some call it “tropical modernism.” And indeed, the way the natural elements grow up and merge with Weinfeld’s simple shapes and built structure, it is as if Casa Grecia is a natural extension of the huge garden that surrounds it — it is a recognizable Isay Weinfeld design. Not wanting to remove old existing trees, Weinfeld made patios and gardens around them, incorporating them in the house envelope, providing a natural skylight, ventilation and temperature regulation, maintaining a constant connection with nature while one walks throughout the home. Open spaces glow with natural light that enters from frameless glass walls bordering a wide garden and atrium. Small palm trees and shrubbery reach for the rectangular skylights above. Elegant, carefully chosen interior finishes with accents of wood, are combined with chic timeless furniture pieces, leading to small intimate areas bringing the whole picture together. And — it’s amazing. What does Grecia mean? It means Greece, but it is really the name of the street where the house is located. It’s been said that you are Brazil’s best-known architect after Oscar Niemeyer. You have the luxury of turning away as many projects as you undertake, and you sign on only after listening to prospective clients describe how they wish to live. You’ve said these prefatory encounters can resemble therapy, or courtship. “It’s like a marriage ... we have to be a match.” So, then how did the Casa Grecia project begin? What was your design approach for this home, your vision, the end goal? The goal is always be happy and make others happy. And that’s why I’m always very careful taking commissions. If I feel, for whatever reason, this won’t be possible then I won’t take it. How was the “match” with the client on Casa Grecia? In the case of Grecia house, I had already worked for the client on many other occasions — including the flat he used to live in before moving to the house and some commercial venues — so I knew we were a good match. Did the client give any design constraints or were you given carte blanche? I don’t really like being given carte blanche, but I have to have the client’s trust. Casa Grecia commenced in 2007. What do you remember about that time in your life? Music, movies, art, state of mind — does anything in particular stand out? I can barely remember what I had for lunch yesterday much less what I listened to or watched in 2007. But whatever it was certainly influenced me in that project. A 1.2-acre single family home is no doubt a luxury. What is the main difference in designing such a large home compared to homes that are made in smaller scales? Designing a large house in a large plot is more difficult because you have many more choices doing it right.
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Open spaces glow with natural light that enters from frameless glass walls bordering a wide garden and atrium.
“São Paulo is a city you cross. If you are by car, you’ll probably have your windows closed. Keep them rolled up and try to see the city or, in any case, what’s left of it, while listening to a soundtrack... Yet, if you really want to feel strong thrills, pump up the sound of your car stereo to full blast and play 4’33, by John Cage. Open all windows, step down on the accelerator, take a good look at our dear São Paulo and let in the fresh air and the morning sun.” (Musical Drive, 2007)
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Do you have your favorite place in this house? The movie room. The design of this house incorporates many natural elements. How did that come to be? That was the idea starting the project: preserving the existing trees and creating patios around them so they could be spotted from different places and views in the house. I keep thinking of Fine Mix — an essay you wrote in 2003. It is very inspiring, very poetical and true. What was the “fine mix” of Casa Grecia? I think the setting of the house on the terrain was crucial for the sensations we wanted to rouse. SOUTH VIEW | SECTION
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What is tropical modernism? Do you relate to this architectural label? If there is one thing that does not interest me at all, it is style, or label, or trend. I don’t feel I belong to any architectural school. 1
Some people say their work is their life. Do you share the same view? How do you stay fresh as an architect? What fuels your creativity and keeps you going from one project to another? My work is my greatest pleasure. I am extremely curious in regards to infinite subjects. I think that is what makes me fresh and gives me the will to experiment, to not repeat a successful formula, to dare, to risk and to go wrong. That is what boosts my willingness to carry on. Do you relate to some contemporary architects’ or artists’ work? Is there anyone in particular whose work you admire — past or present? I love the works of Mira Schendel, Ingmar Bergman, Jacques Tati, Radiohead, Gavin Bryars and Carrilho da Graça. How would you describe the home of Isay Weinfeld? Is it similar in any way to the homes you design for your clients, friends, family? I once said I could never live in any of the houses I designed because they have nothing to do with me. My house is the collection of everything that crossed in front of me and, for whatever reason, stayed. What is it like to live in São Paulo these days? Where do you like to spend your time? What architectural mix does São Paulo offer now, and how has it changed through the years in your eyes? São Paulo gave me everything. It is the mother to all architectures. It is generous and allows for all. In the last 20 years, it has changed a lot. It is a vibrant, energetic, lysergic city. And ugly. At the present moment of your life, what is your “fine mix?" Keep on going after things that will make me mad. c 2
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1. MECHANICAL ROOM 2. RESTING ROOM 3. SHOWER 4. SAUNA 5. SECURITY BOOTH 6. GARDEN 7. EMPLOYEES’ KITCHEN 8. SECURITY LOCKER ROOM 9. GYM ROOM 10. GARAGE 11. RECREATION ROOM 12. STUDIO 13. STORAGE 14. CYSTERN 15. EQUIPMENTS 16. EMPLOYEE ROOM 1 17. EMPLOYEE ROOM 2 18. LINEN CLOSET 19. CLOSET 20. MASTER BEDROOM 21. BEDROOM 1 22. BEDROOM 2 23. BEDROOM 3 24. CINEMA 25. FAMILY ROOM 26. SITTING ROOM 27. DINING ROOM 28. BREAKFAST NOOK 29. KITCHEN 30. WALK-IN PANTRY 31. CHINA ROOM 32. LAUNDRY 33. SERVICE AREA 34. SWIMMING POOL 35. DECK 36. ENTRANCE INDOOR GARDEN
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Photo by Leonardo Finotti
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Tony Duquette, California
house The Iconic Photography of Richard Powers story BY jeremy garrett
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With three new books currently being released simultaneously, photographer richard powers sits down with HOME and defines iconic
t’s been said that a picture is worth a thousand words. If that’s the case, then photographer Richard Powers’ visual vocabulary puts him in a class shared by very few individuals. From the pages of Elle Decoration UK, World of Interiors, Vogue Living, Architectural Digests for Spain, France, Germany, Russia, China and Italy, Dwell, Elle Decor Italia, Elle Decor U.S., and Wallpaper* to the multiple bound editions of Thames & Hudson and Terra, Powers is a true visual nomad, jet-setting the globe to harvest “eye candy” for us all to taste. The word “essence” comes to my mind as I remember my introduction to and discovery of Powers’ work. The day was gray, the mist was thick, and the clouds above were so anxious to free themselves from their water-filled bellies, as if to remind the city of Montreal that summer was leaving — if not already gone. As I walked down the busy city street, I glanced at the display window of a local bookstore and something caught my eye: Summertime, the magazine cover read, and on it was a 1950s gem of a house in glass and wood designed by Craig Ellwood. The pool, the blue skies and the way the palm trees leaned ever so gently above the house — I could smell it. I could smell that salty Pacific air as it breezed gently by me while the summer sun warmed my skin. I was there! Or I wasn’t … or was I? I would like to believe I was. The essence that was captured in Powers’ photo gave me just the little escape I needed that day. If I couldn’t fly there instantly, I figured the next best thing would be to purchase the magazine and bring Powers’ summertime home with me. And I did just that. The first time I contacted Powers, he was relaxing in the Mediterranean on the Côte d’Azur (sounds so chic doesn’t it?). “Sorry I missed your call, Jeremy. I was just cooling off in the water. ... We’re having an afternoon picnic on the beach,” he said in his assured British accent. “Where are you?” I asked. “Antibes,” he responded. Antibes — good for you, I thought to myself. There is a noticeable understated confidence in Powers’ voice and demeanor. It is evident that he has found his flow, the sweet spot — the balance between, life, love, work, passion and enjoying it all. Youth is present in his voice. It may be due to the constant diversity that he is exposed to in his line of work or the fact that he is away from the daily madness of a major metropolis. “If you plunk yourself in a big capital city, the work will overtake you; it won’t be of your choice. I don’t have any clients directly here in Antibes, and that’s how I want it. I choose my assignments and my scheduling.” Powers chose his career on a bus in Guatemala — yes, you read correctly. “You’ll laugh when I say this, but I was on a bus in Guatemala. Yes, there were chickens and goats on it as well. It was back in ’91. I was traveling with my then-girlfriend. We were in Antigua, and each year they have the Semana Santa, which are the Easter celebrations, and they have these big processions. On that day, I photographed seven rolls of films. I was a passionate photographer then, but I had no idea I wanted to make a career of it. I just loved that day.” He chuckled boyishly as he reminisced of that day, which proved to be the genesis of an amazing career. To be published as a photographer is one thing, but to be in constant demand and commissioned on assignments all over the world is another. Powers’ eye has become an asset coveted by top publications around the globe, and Powers’ currently has three books being launched — three! Living Tropical Modern (Thames & Hudson), New Paris Style (Thames & Hudson), and The Iconic Interior (Thames & Hudson/Abrams). The Iconic Interior (the sequel to Powers’ The Iconic House), which he shot over the span of approximately two years, features 100 of the most spectacular interiors across the world, spanning
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the entire 20th century to the present day. It includes interiors assembled by artists and fashion designers, architects, interior and set-designers, bringing together diverse design talents from Piero Fornasetti and Coco Chanel to Alvar Aalto, Marc Newson and Matthew Williamson. Representing every style from minimalism, art nouveau and neo-traditional to Gesamtkunstwerk creations that defy definition, these iconic interiors are elegant compositions that endure as lasting creations. In addition to shooting large iconic spaces, Powers also finds enjoyment shooting small and personal spaces. New Paris Style, which was written and produced by his wife, Danielle Miller, captures 27 properties across Paris’ grooviest on-the-edge arrondissements. The houses belong to stylish creatives at the forefront of Parisian chic, including interior designers Pierre Yovanovitch and Florence Baudoux, fashion designer Corrado de Biase, jewelry designer Martha Bedoya, antiques dealer Florence Lopez, designers Ora-Ïto and Victoria Wilmotte, illustrator Jean-Philippe Delhomme and singer Marc Lavoine. When asked further about New Paris Style, you could hear passion and pride beam through Powers’ voice. “It’s her book,” he said, “I was just the photographer. She organized, she found all these places for the book. I just walked up to the places and took the pictures. It’s a beautiful book, done by us. It’s very close to us. It’s not the usual types of places I photograph — they’re very small and personal. I love it, it’s a great book.” Recently, I caught up with Powers’ in Antibes, where he took a little break from a retouching session to chat about his own journey from riding in Guatemalan buses with chickens and goats to picnics beside the Mediterranean. You are based in Antibes. How did that happen? Well, the digital age happened. Instead of being tethered to a lab as I was before, I’m now tethered to a computer. Wherever I go, it doesn’t matter now. I travel with a couple of hard drives. It’s a mobile office. We live in Antibes, and my wife is a bit of a Francophile. She loves French and is fluent, so it was the natural destination that when we live in Europe, we should choose France — close to the sea, good weather. And when you’re in the south of France, you need a good airport. Nice is a great airport to fly in and out of, very user-friendly and gets me to most places direct. If it’s not direct, it means it’s a long haul, and I don’t care if I have to change planes. I started my career in London then moved to Sydney. It was about seven years in each. When the kids were like two and four, we took them on a roundthe-world trip for a year. I had a book to shoot in Sri Lanka, and I thought, “Let’s just keep going.” The kids were young enough and didn’t have school. On that trip we found ourselves renting a villa in the south of France. Then I got a big job that meant we’d be staying here seven months. That was our testing ground. At the end of it, I said to Danielle, “If you want to live in France, we can do that quite happily.” I think she’d already packed her bags by the time I finished speaking! When you’ve lived in Sydney seven years and have done some heavy, long-haul work, it’s great to live in this kind of culture. There are other reasons: With my career, I’ve always wanted to direct it myself. If you plunk yourself in a big capital city, the work will overtake you; it won’t be of your choice. I don’t have any clients directly here in Antibes, and that’s how I want it. I choose my assignments and my scheduling. Do you think living away from it all has helped your career? Absolutely! I’m very independent. Whenever I photograph something, nine times
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Adler / Doonan, New York
Marc Newson, UK
â&#x20AC;&#x153;On that day, I photographed seven rolls of film. I was a passionate photographer then, but I had no idea I wanted to make a career of it. I just loved that day.â&#x20AC;?
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IMAGES FROM NEW PARIS STYLE
Piero Fornasetti, Milan
out of 10 I’m there because I want to photograph it. When your head is in that space, you’ll get the best results. Do you remember the moment you decided to make photography a career? Where were you? What were you doing? Yeah, you’ll laugh when I say this, but I was on a bus in Guatemala. Yes, there were chickens and goats on it as well. It was back in ’91. I was traveling with my then-girlfriend. We were in Antigua, and each year they have the Semana Santa, which are the Easter celebrations, and they have these big processions. On that day, I photographed seven rolls of films. I was a passionate photographer then, but I had no idea I wanted to make a career in it. I just loved that day. There was so much to shoot; it was a sensory overload. On the bus on the way back, I had almost an epiphany, and I turned to my girlfriend and said, “I know what I want to do with the rest of my life!” She turned to me and said, “Oh, my ex-boyfriend wanted to be a photographer. He was an assistant for ages and never made it.” She was basically done at that point! What is your definition of iconic? I think as a photographer, you start out shooting everything, and then your eye is lead to where your passion is. In the beginning, I traveled a lot to Third World countries and did a lot of work for stock companies. I could see with the way I was shooting I was either going to go down the photojournalistic line or I’d do something more home based — pardon my pun. My first gig was with a friend who was an interior home designer. Then you get from one magazine to another, and sometimes your contacts move to better magazines and bring you with them. It’s like any career. What did you do before you became a photographer? I had a bit of a mantra when I left college. I studied business there. I wasn’t sure what I wanted to do, but I knew what I didn’t want to do. I don’t want to waste any life. Basically, I just wanted to enjoy it while I had it. Do you feel interior photographers receive less attention and/or credit for their work compared to other photographers, such as fashion photographers? If so, why? Yeah, I guess so. It’s the same as how architects and designers receive less attention than fashion designers in the public domain. Fashion is always so “new” all the time, so the media love to promote it. [You’ll also find more characters] are [drawn] to fashion photography. A fashion photographer would probably find the quiet aspects of nature boring. Also with the design, it’s a slower-paced process that’s not glamorous at all. Your most recent book, The Iconic Interior, was just released and is the sequel to The Iconic House. What is the inspiration behind your Iconic series of books? The Iconic Interior was out in September. It’s a follow-up to The Iconic House. It’s a collaboration — as are most books — between the publisher, the writer and the photographer. I worked very closely with [author] Dominic Bradley and my commissioning editor at Thames & Hudson, and we’re very passionate about documenting these influential houses from the last century. To me, I’m playing catch-up. I was too young to photograph most of these great houses, and to have that opportunity is incredible. With Iconic Interior, I photographed 42 [interiors]. Sixty houses. It’s very daunting starting on the first house of 60, especially since they’re in all corners of the world. The shooting spanned about 18 months to two years — pretty standard for a book. You’re not working on them full-time of course. But when you put up a map and plunk down 60 pins, and the first house is in Australia, it’s a lot of traveling. The pioneering houses that are iconic in the sense of our book are the ones that helped shape 20th century architecture. Some of the projects were chosen because they defined an architect — Falling Water with Frank Lloyd Wright, Kaufmann House with Neutra — some of them aren’t as famous
as others but no less defining within that career, groundbreaking work that stands the test of time. In general, my work is inspired by all the brave homeowners, architects and designers who continue to push the boundaries of design in the home. Without them, I would be lost ... and of course my family!” The most difficult interior you have ever photographed? That was a house in Marrakesh. I didn’t expect to shoot it on the day. I was photographing another house, which is pretty crazy. It was the house of another artist, Jean Francois Fourtou. Basically, we had gone to photograph his holiday home in Marrakesh, and he took us to a field where there was an upside-down house. It was the most difficult thing I’d ever shot because I was so disoriented! Everything your head has known since being on the planet was discarded. I felt nauseated and had to go outside and look at the horizon after each shot. And not only is the house upside down but also at an angle! Ever since I was small, long before I picked up a camera, I was taking pictures with my eye, in my head. I still have memories of these “images” I took in my head. Do you have a camera close by at all times? Most of the time I have some kind of camera with me — whether an iPhone or my daughter’s point and shoot or a Nikon. I’m no camera snob. For me, it’s just a box. You have mentioned before that you are self-taught. Photography is an art form. While the technicalities of photography can be taught through formal education, do you feel the “art” of photography can be taught or is an innate talent tangible only to those born with it? I believe I was born with it, because throughout my childhood I was never really exposed to the arts. When I first picked up a camera, it was like picking up a pen, very natural. I’d been putting these “boxes” around everything, ever since I was small, but I didn’t really understand what I was doing until I finally picked up a camera. My first roll of film looked pretty good compared with my other friends'! We can all drive cars; it doesn’t make us Formula 1 drivers. I can go from a blackout studio using multiple flashes to working out in the field with natural daylight and everything in between. It never really fazed me. Light travels in straight lines — just by applying common sense, really, you can master these kinds of techniques. You started your career before the days of digital. What are your thoughts about shooting digital? I went from one day shooting film to the next day shooting digital — it didn’t faze me at all. I still use the same techniques, though I don’t use any filters now, just Photoshop. If there was no digital, and you could only shoot one last roll of film, what type of film would you choose, and what would your last 36 frames capture? The type of film would I choose ... I used to be a Fuji RDP — Provia, I think it’s called now. I would take my last 36 frames of my family, because I couldn’t think of anything better to use it on. Who is your muse? I don’t know, really. The obvious answer would be my wife and family. They’re my inspiration, the reason why I get up in the morning. Without them, there’d be nothing. The kids really inspire me with their imagination and their ideas we discuss every night over dinner. What’s next? I’m working on more books — one now about modern mountain houses. There’s a Brazil book I’m about to sign on and two or three others that are in the talking-about stage — then just my general tour of the world, taking pictures of beautiful houses. c
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a historical parisian establishment recruits design visionNaire jaime hayon for a 21st century makeover photography by klunderbie
When the inventive and playful chef Antonin Bonnet, whose culinary style was shaped by his mentor Michel Bras, set out to create a culinary experience founded on quality, simplicity and beauty, he turned to design visionnaire Jaime Hayon to help complete his new cuisine destination. Flexibility, excellence, comfort, invention, simplicity â&#x20AC;&#x201D; from the interior design to the plate, Le Sergent Recruteur gives Paris a new understanding of sophistication. From the bar to a private room to the dining room, which seats 30, where you can enjoy irresistible comfort food, the Sergent Recruteur promises to become the new culinary heart of Paris.
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The restaurant is comprised of three areas. At the entrance, the bar, in a welcoming spirit, invites you to dine with an eclectic selection of drinks and dishes from around the world. The passage from the bar to the restaurant is a glass honeycomb curtain. The dining room is a place of sharing, where the chefs invite guests to sample their creations. Finally, the private dining room is hidden in the basement: A table for ten, in the midst of an exceptional setting, reveals a collection of dishes from different meats, fowl and a choice of fine wines and liqueurs.
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Located in the heart of Paris — 41 Rue Saint-Louis en l’Ile / 75004 — Hayon has respected the history of one of the oldest restaurants in Paris. This historic address was the first place where Napoleon’s soldiers found themselves conscripted to fight. It has become a world famous feasting place known today for transforming the dreamlike ambience of medieval times to the 21st century. The restaurant is a veritable culinary bridge between the cuisines of the Rive Droite and the Rive Gauche. The furniture, the bar, the lights, an Aubusson-style tapestry woven by the Museum of Textiles in Amsterdam, masks, vases — all are unique pieces created by Jaime Hayon exclusively for Le Sergent Recruteur. c
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A Five-Star Debut In Belgrade Story by Mirjana Milicevic Photography by Matthieu Salvaing
The Hotelâ&#x20AC;&#x2122;s street facade respects Belgrade's existing surrounding architecture with its building height and color palette while remaining simple and unpretentious. The exterior materials of golden brown marble, which cover the entire entrance area, and dark colored-wood cladding in contrast with creamy white walls, give one a hunch of whatâ&#x20AC;&#x2122;s happening inside: refined design merging hand-in-hand with refined materials, all composed with special care to host a world traveler.
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fter building completion in February 2011, gaining prestigious awards in both foreign and local venues, Square Nine Hotel established itself as the best hotel in Belgrade. A five-star boutique hotel designed by Isay Weinfeld and located in the core of the city center, it attracted the public and attention from numerous international publications. At ForbesLife Magazine, Square Nine made the short list of the best new hotels of 2011 and Condé Nast Traveler included it on its own hot list of the best new hotels of 2012. Weinfeld’s recognizable, elegant style can be experienced throughout the property. Masterful usage of high-class materials, especially wood and stone (reminiscent of Weinfeld’s Fasano Hotel) are interpreted in a new and special manner. “Born from the owner’s desire to be part of Belgrade’s renovation, impressing a luxurious but more familiar character to the city,” Weinfeld says. The Hotel’s street facade respects Belgrade’s existing surrounding architecture with its building height and color palette while remaining simple and unpretentious. The exterior material of golden brown marble, which covers the entire entrance area, and dark-colored wood cladding in contrast with creamy white walls, give one a hunch of what’s happening inside: refined design merging with refined materials, all composed with special care to host a world traveler. And the mix of materials found here combines numerous international ingredients: Cumaru wood and rosewood for flooring and paneling shipped from Brazil, a Portuguese limestone in bathrooms, hand woven Turkish rugs, vintage Scandinavian and North American furnishings from mid-20th century and sepia vintage postcards of Belgrade on the walls to remind you where you are. The hotel encompasses nine levels, two of them underground, along with a gym, spa, naturally-lit enclosed swimming pool and a garage. On the ground floor is the lobby, the restaurant and a little lounge area between the two. Above, there are five stories with 45 rooms ranging from 345 square feet to 505 square feet, and double rooms to 970 square feet suites. The presidential suite is on the sixth floor with its own roof terrace. Finally, a 50-person rooftop bar/restaurant awaits guests with a terrific view of the city. Rooms feature Brazilian Cumaru wood, linen wallpaper and spacious limestone bathrooms with deep tubs and rain showers, and other accessories such as comfortable Treca de Paris beds, select vintage furnishings, built-in workspaces, flatscreen TVs, complimentary Wi-Fi, cashmere throws, Nespresso machines, Hermes toiletries, and electronically controlled lights, curtains and blinds.mThere is no question Square Nine hits all boutique hotel assignments with a beautiful design. c
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LING JIAN
Questions Human
NATURE As China continues to expose its culture to the world, artists such as Ling Jian undertake a pivotal role in providing commentary regarding contemporary Chinese culture through their own intimate journey of self-expression.
Written by Kevin Chan
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races of cultural identity are often embedded in commonly used objects. The ergonomics, materials, fabrication techniques, or simply the imagery of an object, allude to certain cultural idiosyncrasies. Although familiar objects such as vehicles, technology or buildings embody significant societal values, there does not exist a more powerful representation of a culture’s identity than art. Shortly after the conclusion of Mao Zedong’s Cultural Revolution, Ling Jian graduated from Tsinghua University Art College in 1982 and moved to Europe to allay the stringent pedagogy of traditional Chinese art. While living in Austria and Germany, he studied the works of storied European artists and pursued different perspectives on creative expression. These experiences enabled him to develop artwork inspired by introspection — commonly regarded as taboo in traditional Chinese art. Through developing paintings with a more personal motive, Ling Jian’s work has adhered to intimate revelations that have provided insightful commentary on contemporary Chinese culture. Ling Jian’s current work reflects the conflicts between traditional and contemporary cultural values by depicting figures — often women — with politically charged undertones. During his formative years in the Cultural Revolution, the portrayal of people — especially women — as sensual, vulnerable figures was prohibited in an attempt to fortify the image of a strong and capable Chinese society. However, throughout Ling Jian’s stay in Europe and upon his return to Beijing, China’s willingness to import and export cultural media has muddled the self-perception of the Chinese people. With the influence of international media and its penchant for promoting glamour, the amalgamation of traditional conservative values and contemporary ideals of beauty have provoked a crisis of identity.
The introduction of international media has elicited a contradiction between what is reality and what is fantasy. Ling Jian’s work illustrates this notion through the realistic portrayal of idealized figures on painted canvases, which have subtle hints of culturally provocative elements. Although his artwork touches upon contemporary Chinese affairs, the manner from which these topics are unraveled and designed are intimate insights into his personal thoughts. In an interview with HOME, Ling Jian described his relationship with art akin to “cleaning a mirror” — the more labor put forth ensures a clearer vision of one’s self. Moreover, he believes the creation of artwork is a liberating activity, where the most important notion is not only moving the audience, but also stimulating one’s own spirit by listening to his or her inner voice. Ling Jian’s impression of contemporary art in China is that the discipline is relatively young because its development was forged alongside recent shifts in cultural values. Regardless of this notion, however, he emphasizes that contemporary Chinese art is a revolutionary aperture from which China’s cultural concerns can be acknowledged. With a bevy of works in progress and some already completed, the future of Ling Jian’s career is much anticipated. What is your relationship with your work? How would you explain your relationship with art? The relationship between me and my work is my means of living. To me, my work is a mirror of life: I constantly clean it. During these cleanings, I can see myself more clearly. Art to me is the same as a hunter to his prey. You cannot own it every day, but once you do, you may be cruel, but at the same time elongating your life.
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“Sexy, vain, vulnerable women do not exist, or [they are] not allowed to exist. But the reality of today in a commercial society, all of which shows in front of you, the ideal values and the practical values have conflicted greatly, causing the vanity, vulnerability and sexuality.” The majority of your work focuses on young female figures that evoke a certain sense of vanity, fragility and sexuality. Why do you choose to portray your subjects in this light? Young women are a very ancient and eternal art topic. During my return to the Chinese culture in recent years, great changes have taken place there. I grew up during the Cultural Revolution period. Sexy, vain, vulnerable women do not exist, or [they are] not allowed to exist. But the reality of today in a commercial society, all of which shows in front of you, the ideal values and the practical values have conflicted greatly, causing the vanity, vulnerability and sexuality. The creative process is often laborious and turbulent. Have you ever experienced failure while painting? If so, how have you coped with it? Creation is an independent behavior. In fact, it is a self-moving process. You have to learn to listen to your heart, slowly cause its sublimation. Therefore, failure is a part of creation. Only going beyond it will one be able to produce more exciting work.
environment, for example, in a driving compartment or the corner of a bar. Life and love are the biggest factors that drive my creation. How do you feel contemporary Chinese art fits into the development of China’s art history? Chinese art history is a revolutionary art history. It is chaotic and unstable. I hope that we pay more attention to China’s past and present as an ancient Chinese saying called “the mirage.” How many new works have you completed in 2012? A few. Some are still in the process of creation. Do you have a muse that inspires you? Yes, but it changes with time and mood, which are constantly changing. What inspires me is not only my muse, but also my life. In other words, my heart is my true muse. c Ling Jian’s answers in Mandarin below:
With greater international acclaim, many artists embody a critical perspective that is indicative of their culture. How do you represent Chinese culture through your work? In fact, criticism and praise are like devil and angel: They have things in common, consistent with cultures that have grown in the presence of criticism and praise. How will I express Chinese culture through my work is a great question. I am searching for the answer, and I will continue to paint to find out. The work of creative individuals often represents themselves. How did moving to Austria and Germany influence or change the way you view art and painting? Living in Europe for many years enabled me to have the chance to appreciate the works of great masters, and I had a comprehensive understanding of the relationship of an artist with his culture and time. The artist must withstand the limitless challenges time gives to art. Do you find that the majority of Chinese artists operate as singular entities? With whom do you speak about art? Are you in contact with other Chinese artists? Art is the best media. Chinese contemporary art is very young. In a specific environment and time, they must coexist with each other, support each other and mutually influence each other. Nature in aesthetic and representation is similar. In such a social environment, individual ideology finds it very difficult to exist independently. I and some of my contemporary friends, whom I have known for more than 20 years, don’t talk about art when we are together, and we do not give each other strong criticism. This is perhaps because of the Confucian Harmony. What is your fascination with portraiture? The expressions on your subjects’ faces are noticeably subtle. Why do you choose to portray them this way? The selection of portrait painting is because it is the most direct manifestation of the human nature. In the face, you can see all of the emotions and the background stories. During the course of my creation, I will slowly enter people’s deep ends, comprehend them, inspire them, understand them and then communicate with them. Every time this makes me question the human nature. The face that inspires many thoughts takes me to an indescribable world. Where do you seek inspiration? What drives you to continue working on your paintings? As far as I am concerned, inspiration mostly appears in a private
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我与我的作品的关系是我生存的手段。对我来说是我生活中的一面 镜子，我在清洗它，面对这种清洗也使我更清楚的看清自己。艺术 与我是一种猎取与猎物的关系。你不可能每天拥有它，一旦你拥有 它，你可能是残酷的，同时延续了你的生命。年轻女性是一个非常 古老，永恒的艺术话题。在我回到中国文化的近几年，这里发生了 巨大的变化，在我生长的文化革命时期。性感，虚荣，脆弱的女性 是不存在的，或者说是不允许存在的。而现实的今天，在一个商业 社会里，所有这些都袒露在你眼前，这种理想的价值观与现实的价 值观有强烈的冲突，从而造成了虚荣，脆弱和性感。创作是一个自 由的行为，事实上是一个自我感动的过程，你要学会聆听自己心灵 上的声音，将这一种声音慢慢升华。所以失败是创作中的一部分。 越过它，才会产生让你更激动的作品。实际上，批判和赞扬就像魔 鬼和天使，有着共同性，跟文化发展中存在的批评和赞扬是一致 的。我如何通过作品来表达中国文化。这是一个非常大的课题，我 在寻找中，所以我继续创作下去。在欧洲生活多年，让我有机会欣 赏艺术大师的作品，全面了解到艺术家与自己文化，时代信仰之间 的关系。艺术家必须肩负住时代对艺术无限度的挑战。艺术是时代 最好的媒体。中国当代艺术的形成非常年轻。在一个特定的环境和 时代，他们必须要共存，相互支持，相互影响，自然在审美和表现 方面有相同之处。在这样一个社会环境里，个体的意识形态很难独 立存在的。我与一些当代艺术家是二十多年的朋友，在一起时，我 们并不多谈自身的艺术，也不会给对方强烈的批判。这可能跟中国 儒家所说的“以和为贵”有关。选择肖像绘画是因为这是最直接表 现人性的手段。在他的脸部，你可以看到所有的喜怒哀乐或背后的 故事。在我创作的过程中，我会慢慢进去他们的深层，感悟他，启 发他，理解他，跟他沟通。每一次都会让我思考人性的问题。这种 让人遐想的脸，带领我进入一个不可言喻的世界。对我而言，灵感 大多出现在一个私密的环境里，比方说驾驶中的车厢或者酒吧的一 个拐角。生活和爱情是驱使我继续作画的最大因素。中国艺术史是 一个革命性的艺术史。是杂乱和不稳定的。希望大家多关注中国的 过去和今天。就像中国一个古老的成语叫做“海市蜃楼”。几张。 有些作品还在创作中。有的，但这是与时间和情绪在移动，启发我 的不只是缪斯，还有生活。换句话说就是我的心才是我真正的繆斯。
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Within a former circus training base, the private realm of Diane von FĂźrstenburgâ&#x20AC;&#x2122;s star creative has been revamped into a sleek and elegant modern space. Story by Danielle Miller Photography by Richard Powers
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pon visiting the Parisian second home of New York-based fashion designer Yvan Mispelaere, guests are left with the feeling that they have slipped into an intriguing, exuberant parallel universe. Inside the cavernous space, Mispelaere has paid the same attention to proportion, color and detail that he brings to the slinky, sexy shapes he creates for the runway shows and collections of international fashion legend Diane von Fürstenburg. The apartment, rising above a gated mews passageway, was discovered as a rustic loft inside a former stable block built in the late 19th century and later revived — briefly — as a circus-training base. It has now been reinvigorated in collaboration with Mispelaere’s friend, architect Stéphane Ghestem, who initially sourced the space, and who Mispelaere, despite admitting to being “very demanding,” entrusted with the structural plan and detailing in his absence. For guidance, Mispelaere put together a book of tear sheets, featuring inspirations that ranged from the colors and textures of a sunken Moroccan sitting room to the architecture of ancient Greece and the works of Le Corbusier. “All of these are reflected some way in the scheme,” Mispelaere says. “I wanted it to be chic and modern, with a more unconventional context and touches of the surreal.”
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“I wanted it to be chic and modern, with a more unconventional context and touches of the surreal.”
A cubic pod, faceted like diamond cushions in matte black, contains the kitchen and is set within an otherwise open-plan living area, bar, guest room and bathroom, which are partitioned off beyond the staircase. The angular design of the pod provides a striking contrast to the rest of the room with its cloud-white color scheme. Resting against it is an unusual bench, fashioned from a gargantuan tree root discovered in Bali. In the sunken living space, Ali Baba meets Boogie Nights in a high-glamour setting of sofas in burnished gold, by Italian design company Zanotta, and flowing fabric in shades of celadon and white. Anatomical sculptures, family heirlooms and jewel-colored opaline vases collected on travels are meticulously arranged on podiums or under glass domes. Above, a striking pair of chandeliers from the 1970s customized by Mispelaere with brass, evokes those that hang in the Blue Mosque in Istanbul. With plenty of room to entertain, Mispelaere likes to have friends and family over, and makes the most of the vintage Italian walnut dining table, which has been revamped with the addition of a white crown. Scattered about the apartment are brass objects that Mispelaere had made in Bali, including the ceiling lamps that shine down upon a trompe l’oeil cupboard, which opens up to a bar at one end of the dining area. Above are the master bedroom, a spacious dressing room and bathroom, the design of which is a nod to French artist Jean-Pierre Raynaud and features Mispelaere’s self-designed winking tiles, underlining his sense of fun. Mispelaere designed the wooden floor to resemble mosaic and is also responsible for the bedcover in geometric leather. The matching wall lights above it were sourced from L’Isle-sur-la-Sorgue antiques shops and flea markets in the south of France. “I like a modern space,” Mispelaere says, “but not necessarily the generic materials that go with it. I prefer finishes to be crafty, warm, textured.” The thriving scene around the Canal Saint-Martin, an area Mispelaere loves for its “authentic spirit,” is only minutes away, yet his home is a nucleus of calm that acts as an antidote to his hectic schedule, not least, Mispelaere says, “because it regenerates and inspires me.” c
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Tea h
swatt miers creates A Special
ouses Photography by Tim Griffith
Blend for California's Silicon Valley
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he idea for the tea houses originated years ago, when the owner and his young daughter explored the remote hills surrounding their Silicon Valley home, discovering an idyllic setting below a ridge, under a grove of large California Live Oak trees. At first, the family thought the setting would be perfect for a tree house. Years later, after the 6,000-square-foot main house was extensively remodeled, the vision was realized by architectural firm Swatt Miers as three individual tea houses, places where one could simply retreat into nature. Each tea house is designed as a transparent steel-and-glass pavilion, hovering like a lantern over the natural landscape. Cast-in-place concrete core elements anchor the pavilions, supporting steel channel rim joists, which cantilever beyond the cores to support the floor and roof planes. With its minimal footprint, the design treads lightly on the land, minimizing grading and preserving the delicate root systems of the native oaks. The three tea houses vary in size, each with its own unique purpose. The 270-square-foot “meditation” tea house, nestled under the canopy of the largest oak tree, is a place for individual contemplation. The slightly larger “sleeping” tea house, approximately 372 square feet, is a place designed for overnight stays. This structure is joined by a sky-lit bathroom core, which bridges to the largest tea house. At 492 square feet, the “visioning” tea house is for intimate gatherings and creative thinking. The notion of “quiet simplicity” is a consistent theme throughout — there are no phones, televisions or audio systems within these structures. The design emphasizes sustainability. Steel-framed doors and awning windows provide access and high/low ventilation, while custom-modified aluminum framed sliding doors, with custom steel interlockers and fixed glass panels mitered at the corners, dissolve the barrier between inside and outside. Natural cooling is enhanced by shading from strategically placed landscaping, including evergreen redwood trees and bamboo, and deciduous maple and gingko trees. Heating is provided by a radiant hydronic system below the flooring. Electricity is produced on-site by a photovoltaic array mounted on the roof of the main house. The interiors are executed with a simple palette of contrasting materials — crisply detailed steel and glass, and more “organic” unfinished concrete, board formed and wire brushed to expose the wood grain, and cedar boards recycled from the remodeling of the main house. As the sunlight and shadows move across the hillside, the tea houses take on different forms — at sunrise the structures disappear into the long shadows; the soft silhouette of the midday sun casts dramatic reflections off the glass; and by evening, the structures glow like lanterns in a garden. Viewed from afar or viewed from within, the tea houses appear at one with their sites, inextricably connected to the native California landscape.
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As the sunlight and shadows move across the hillside, the tea houses take on different forms â&#x20AC;&#x201D; at sunrise the structures disappear into the long shadows; the soft silhouette of the midday sun casts dramatic reflections off the glass; and by evening, the structures glow like lanterns in the garden c
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