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PONTI

FRANCESCA MOLTENI REVISITS A MASTER LE MAÎTRE REVISITÉ PAR FRANCESCA MOLTENI

ZAHA HADID

THE FUTURE NOW UN COUP D'OEIL VERS LE FUTURE

JOUIN MANKU

FINDING GRACE IN PARIS DÉCOUVRIR L’ÉLÉGANCE À PARIS

MAXIME FRAPPIER MOVING UP IN MONTREAL TOUJOURS PLUS HAUT

LANG BAUMANN

DREAM ON PLUS GRAND QUE NATURE

RICARDO LABOUGLE

7447 0 26235

ANNUAL 2013 / 2014 | U.S. $4.95 CANADA $5.95

LIGHTS, CAMERA, PASSION LUMIÈRES, CAMERA, PASSION

ANTHONY BARSOUMIAN’S HOLLYWOOD HILLS DEBUT, HALDANE MARTIN STATES THE TRUTH IN CAPE TOWN, JAMES BOYD’S PRETTY PIG, AND MUCH MORE.

Large sofa Ferruccio Laviani 505 system/ed.2011 Nicola Gallizia D.153.1 armchair Gio Ponti 45째/tavolino small tables Ron Gilad LessLess table Jean Nouvel

New York Flagship Store 60 Greene Street, Ph. (212) 673-7106

moltenidada.com

ISSUE IV 12 22 34 42 50 58 66 74 86 94 100

J'AIMTL ART, DESIGN AND CULTURE DREAMCATHER THE AWE-INSPIRING WORLD OF ZAHA HADID BAR NONE ANTHONY BARSOUMIAN’S HOLLYWOOD HILLS DEBUT PIG DESIGNER JAMES BOYD’S NEW BUENOS AIRES HOME DREAM TEAM LANG AND BAUMANN CREATE ART ON A GRAND SCALE PONTI FRANCESCA MOLTENI REVISITS A MASTER JOUIN MANKU FINDING GRACE IN PARIS PASSION PLAY THE WORLD RENOWNED PHOTOGRAPHY OF RICARDO LABOUGLE MAX THE ARCHITECTURE OF MAXIME FRAPPIER IN/OUT A PARISIAN PREMIERE FOR PATRICK JOUIN AND SANJIT MANKU TRUTH SERUM HALDANE MARTIN’S STEAM PUNK COFFEE HOUSE IN CAPE TOWN

PHOTOGRAPHER RICARDO LABOUGLE PAGE 74

/CONTRIBUTORS

RICARDO LABOUGLE is an Argentinian photographer who has lived in Spain since 1992. He is sent all over the world by some of the most prestigious publications to photograph the best in architecture and interior design. The majority of his work has been for The World of Interiors, Elle Decor Italia, AD España, AD Francia, AD Russia, AD India, AD China, Vogue, Casa Vogue Brasil, Maison Française, Ideat, The Sunday Telegraph, Le Figaro, El País Semanal o Monocle.

CARLO CARBONE is a professor of Environmental Design at Université du Québec à Montréal Design School. He has been a practicing architect in Montréal since 1998. Before joining the Design School as a full time professor, he was a part time faculty member at the Université de Montréal School of Architecture from 2001 to 2012.

ANTHONY BARSOUMIAN is an artist born and raised in Los Angeles. He has a degree in Fine Art Visual Communications as well as a Masters in Clinical Psychology. The subject matter of his art has always been based on different moments and periods of his life and others. He felt studying human behavior was much more inspiring for his work. Anthony finds the use of creative expression through many mediums in recent years. Interior design has been the focus which has inspired his newest outlet of art. He often tells a narrative with each space that is linked to his schemas from childhood to present experiences. Studying both art and psychology has allowed Anthony to create spaces that resonate with more depth and visual validity.

JONN COOLIDGE is among the still life and interiors most well established visionary and creative image makers. Known for his modern approach to varied styles of products and interiors, his work has appeared globally in the pages of the most important design magazines including Elle Decor, New York Times Magazine, Interior Design, Veranda and House Beautiful. Today he divides his time between New York and Los Angeles working with such notable clients as Tom Ford International, Neiman Marcus, B&B Italia, Gucci Group, Kravet, West Elm and Sony. He is currently working with the prestigious Atelier Fresson near Paris printing a series of large florals for an upcoming solo show.

SHANNA JONES’ love of travel has taken her from her home town of Cape Town to places as far afield as Lebanon, the Caribbean, India, and Europe. this year alone she has visited over 10 countries. with her camera constantly by her side, Shanna shoots every country she visits, as well as subjects ranging from fashion and architecture to portraiture. she was recently invited to document the Glastonbury Music Festival as a VIP press photographer. Shanna is a regular contributor to Conde Nast Traveller UK & Russia and National Geographic. She has also been published in The Guardian, MSN and This Is Colossal.

MIRJANA MILICEVIC is an architect. After graduating at the Faculty of Architecture, University of Belgrade in 2009, with a masters degree, she has been engaged as a collaborator with design studios in various fields of activities related to architecture, design, and the built environment; she also has a passion for writing. At the moment, Mirjana is Director of Architecture for Abitar Group. She is also a member of GroupA, a team consisting of three young architects and one graphic designer.

INNOVATIVE TRIPLE

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www.fiorelife.com

/LETTER FROM THE EDITOR

Here we are again — another issue of HOME has come together thanks to the collaboration of many creative and passionate contributors from around the globe. And what a globe it is! It’s 3 a.m. on my side of the world as I write this because a random course of events brought me to Morocco last minute. I’m typing this letter from an amazing space in Casablanca called Cabestan, and being here makes me realize that no matter where we may be in the world — big city, small city, a supper club overlooking the Atlantic ocean, or in the comfort of your living room, architecture and design are common languages we all understand. It is a form of communication that needs no translation and feeds a universal craving we all share — inspiration. In this issue we jet set to Malibu, Montreal, Burgdorf, Buenos Aires, Madrid, Paris, Hollywood and Capetown for a refreshing twist. Thank you to all our friends around the world who came together to make this issue possible. JEREMY GARRETT Editor-in-Chief / Creative Director

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 DIRECTOR

JASON ROUSE DIRECTEUR ARTISTIQUE, ART DIRECTOR

JULIAN CHAVEZ RÉDACTEUR/CODIRECTEUR CRÉATIF, EDITOR / CO-CREATIVE DIRECTOR

JORDAN TAPPIS DIRECTEUR ARTISTIQUE ADJOINT, ASSOCIATE ART DIRECTOR

DUSAN AVRAMOVIC RÉDACTRICE, EDITOR

MICHELLE MARCUS RÉDACTRICE DESIGN ET PRODUITS, DESIGN AND PRODUCTS EDITOR

MARIE-ÈVE WARREN RÉDACTRICE ADJOINTE DESIGN ET PRODUITS ASSOCIATE DESIGN AND PRODUCTS EDITOR

SARAH ZULKARNAIN RÉDACTRICE CORRECTRICE, COPY EDITOR

SHARON KAPLAN RÉDACTRICE CORRECTRICE (FRANÇAIS), COPY EDITOR (FRENCH)

FLAVIE HALAIS RÉDACTEUR CORRECTEUR ADJOINT, ASSOCIATE COPY EDITORS

ROBERT MENDEL BEN MARCUS GUY BLEWS WEBMESTRE, WEBMASTER

DENTRODIGITAL COLLABORATEURS, TEXTES, CONTRIBUTING WRITERS

JEREMY GARRETT SARAH NIPPER MIRJANA MILICEVIC KEITH OLIVER CARLO CARBONE COLLABORATEURS, PHOTOS, CONTRIBUTING PHOTOGRAPHERS

JONN COOLIDGE RICARDO LABOUGLE SABINA LANG DANIEL BAUMANN THIERRY LEWENBERG-STURM SHANNA JONES MAXIME FRAPPIER PIERRETTE CASTONGUAY

ON THE COVER

The Tuscan Residence of GIANCARLO GIAMETTI Interior Design by LORENZO MONGIARDINO Produced and Styled by NATY ABASCAL Photographer RICARDO LABOUGLE

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

ABONNEMENTS, SUBSCRIPTIONS

STAGIAIRES, DÉPARTEMENT ARTISTIQUE, ART DEPARTMENT INTERN

CHELSEA GEST STAGIAIRES, DÉPARTEMENT ÉDITORIAL, EDITORIAL INTERNS

ASHLEE BOBB ASHLIE BENSON AMANDA WHITE MEL RUDKIEWICZ

Copyright © 2013 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.

GÉRANT DE COMPTABILITÉ, ACCOUNTING MANAGER

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].

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CONNIE LEVINE

J'AIMTL

ART << DESIGN << CULTURE

10Q JAMAL DE JONG JAMAL DE JONG’S ARTIST STATEMENT IN WHITE PAINTING, LIGHTS AND SHADOWS PLAY AN IMPORTANT ROLE IN MY WORK. EVEN A FEW OTHER ARTISTS WOULD AGREE TO THAT BUT CREATED FOR A DIFFERENT PURPOSE. RONALD BLOOR, A CANADIAN ARTIST REFERRED TO HIS WORKS AS “SYMBOL-LIKE ELEMENTS”, GREATLY INFLUENCED BY ARCHITECTURAL FORMS; ROBERT RAUSCHENBERG’S PURPOSE WAS TO REDUCE PAINTING TO ITS MOST ESSENTIAL NATURE AND LEAD TO THE POSSIBILITY OF PURE EXPERIENCE; AND ROBERT RYMAN, KNOWN AS A “REALIST”, IS NOT INTERESTED IN CREATING ILLUSIONS, A PICTURE OR MAKING REFERENCE TO ANYTHING EXCEPT THE PAINT AND THE MATERIALS. BECAUSE MY PERCEPTION OF SOUND IS VASTLY INADEQUATE, I AM ADAPTED TO READING LIPS AND BODY GESTURES AT EASE. THEREFORE, I CONSIDER MY PAINTINGS AS A PRACTICAL VISUAL TRAINING TOOL TO HELP VIEWERS SEE A DIFFERENT VARIETY OF MOVEMENTS FROM JUST WHITE PAINT. IT IS AN ADVANTAGE TO IMPROVE EACH OTHERS’ COMPREHENSION WHEN SOCIALIZING AND KNOW WHAT THE OTHER PERSON IS TRULY FEELING. FROM COLORS TO NO COLOR TO PURE ACTION, MY CREATIVITY IS BROUGHT OUT FROM WITHIN, RETAINED FROM MY OWN PERSONAL EXPERIENCES, DEAFNESS AND BODY MOVEMENTS THAT I OBSERVED.

1. DESCRIBE THE ENVIRONMENT IN WHICH YOU PAINT While I’m painting, I love to blast my 80’s music to the max so I can feel its vibration tickling my spine and I’m more in tuned with my work. I prefer to paint during the night or at least when the lighting in my room is just perfect for me to see the details of what I am painting. 2. YOUR PREFERRED MEDIUM IS…. Incapable of hearing, a keen eye for all types of body movement is an aid to my perception of sound. In my work, no color represents no sound but pure action using just White oil as an attempt to clarify an artistic balance between motion and human emotion. With light and shadow in its wake, I hope open a door to that world for the hearing able viewers of my work. 3. WHAT MADE YOU START PAINTING? When I realized there is absolutely nothing else I can see myself doing, when I realized I have a talent and realizing how sad it’d be if I have never recognized my own talent and see it go to waste, knowing I had this talent but never used it. I know my talent, may as well use it now and master it to the fullest. 4. LIST THREE THINGS YOU CANNOT LIVE WITHOUT. Even though I am incapable of hearing, I still cannot live without sound. If there is no sound then there is no vibration which I cannot live without, and if there is no vibration, then there is no music which I definitely cannot live without. 5. WHAT IS THE BEST ADVICE YOU’VE EVER RECEIVED AND WHO GAVE IT TO YOU? It was in my last year of my undergrad when my final project was due and ready to be critiqued, professor Eliza Griffiths, an artist herself gave me the best advice ever and it was so simple, “why don’t you paint about your hearing”. I never really took it serious but it stuck to me until eventually I did. 6. IS THERE AN ARTIST THAT HAS BEEN A GREAT INSPIRATION IN YOUR LIFE AND HOW? There is an artist that has been a great inspiration in my work by the name of Robert Rauschenberg, who states, white oil reduces painting to its most essential nature and leads to the possibility of pure experience. With that in mind, I create “pure action” at its most essential nature. 7. WHAT TRIGGERS THE START OF A NEW PAINTING? New ideas that I feel are solid enough to give me a good start.

8. A PERFECT DAY FOR YOU IS… It’s 25 degrees in mid-summer, my window is wide open with fresh air circulating in and out, I got my awesome 80s music blasting and I’m high on the finishing touches of my best piece. After 8 hrs, feeling satisfied, a horror movie would finish off my day just right. 9. WHAT IS THE BEST THING ABOUT BEING AN ARTIST? Freedom 10. WHAT’S NEXT FOR JAMAL? I would like to one day own a gallery called CreativeSilence but first I must earn exposure to erase my invisibility.

ARTIST

KEEP IT LIGHT, PLAYFUL AND HAPPY WITH THESE CHARMING ACCESSORIES ALESSI — FIRENZE WALL CLOCK >> This clock is modeled after the original piece imagined by the Castiglioni brothers back in 1965 for the “La Casa Abitata” exhibition at the Palazzo Strozzi in Florence, Italy. First produced by Alessi in 1996, the Firenze clock is now offered in an updated color palette with the black/white and red/white versions. At only $86, this timeless piece is classic. www.alessi.com

CAPPELINI — CRYSTAL BALL Crystal Ball is a vase sculpture designed by Progetto Oggetto. Inspired by a childhood game of magic bubbles, the Crystal Ball gracefully combines the fragility of the glass with the strength of the wood. The softness of the contour is accentuated by the contrast created between the choices of materials—the wood represents fullness whereas glass represents emptiness. Available in three variations, ranging from $410-$650. www.cappellini.it

KARTELL — SHIBUYA >> Christophe Pillet is the creative mind behind the new Shibuya collection for Kartell. This multifunctional series features a perforated lid that enables the vase to transform into a bowl, vase or centerpiece. Made of transparent and colored PMMA plastic, Shibuya comes in four different versions with various color combinations. A stylish piece that is practical and beautiful. $177. www.kartell.ca

LIGNE ROSET UPSIDE-DOWN VASES These fun upside-down vases by Christian Ghion are a rebirth of a series that were on display at Galerie Néotù in the late 1990s. These mouth-blown glass pieces create an organic and sensual object that is functional and decorative. Used as a bowl or a vase, the pieces become a statement as much when featured on their own as when multiple vases are combined. Available in clear for $355 or turquoise for $378. www.ligne-roset-usa.com.

NORMANN COPENHAGEN — NOCTO >>

Designed by Pontus, this bold and modern minimalistic candlestick is available in six hues: white, black, bright green, blue, pink and mint. The colorful candleholders offer a modern take on a timeless accessory while still providing the comforting ambiance we all love. $27.50, www.normann-copenhagen.com

ACCESSORIES

LIGHT UP THE ROOM AS WELL AS THE CONVERSATION WITH THESE UNEXPECTED LUMINOUS CREATIONS << FLOS — AIM Aim is the latest project designed by Ronan & Erwan Bouroullec for Flos. This nontraditional chandelier floats away from the concept of centrality and offers endless configurations. Meant to be part of the design, the long wires add to the playfulness of the fixture and allow the lights to be placed at different levels. The unusual piece is sure to give any room graphical impact. $695. www.flosusa.com

FOSCARINI — TUAREG Unusual and graphic Tuareg designed by Ferruccio Laviani is made up of simple tubular elements combined together to create a delicate asymmetrical structure. The eye-catching light piece goes beyond traditional geometric shapes and offers a stable and harmonious balance making it a dynamic addition to any room. Available in 2014. www.foscarini.com

<< LEUCOS — REED Designed by Patrick Jouin for Leucos, this elegant lighting structure has glass tubes reminiscent of reeds shooting out of water. Jouin, who was inspired by nature, wanted to create a new versatile language — a fluid symphony of light. The different lengths of the hand-blown glass pieces can be placed in a variety of arrangements. These fixtures can be hung as individual pendants or can be combined as a cluster. Available in multiple sizes, prices vary from $495-$795. www.leucos.com

<< FONTANA ARTE — BLOM Just like a flower this table lamp designed by Andreas Engesvik for Fontana Arte brightens up the room. Small and convenient for contemporary tiny living spaces, the colorful lamp has petal-shaped blades that can rotate around the base for a dimming effect. Available in four colors, this bold light gives off good luminescence and offers low energy consumption. $270. www.fontanaarte.com

LIGNE ROSET — CONTAINER BY This playful lighting piece designed by Benjamin Hubert for Ligne Roset combines simplicity and innovation. Created with the idea that an object doesn’t need to follow current trends, Hubert fabricated this easy-to-assemble piece so that it can be put together without hardware or glue thanks to its stabilizing silicone band. Available in many lively colors, the lamp and power cords underline the neutral sculptural design. $850. www.ligne-roset-usa.com

LIGHTING

BOLD GEOMETRIC SHAPES AND VIBRANT COLORS OFFER A CHEERFUL ADDITION TO ANY ROOM CAPO D’OPERA - BOX >> The slender yet solid Box is a metal structure designed by Silvano Pierdona. From shiny to matte, sand blasted or even engraved, the numerous finishes and various color options make these great storage units an easy match for any kind of décor. The red chest of drawers featured above is $2,810. www.capodopera.it

KNOLL — WASHINGTON CORONA This limited-edition bronze coffee table takes David Adjaye’s architectural and sculptural vision to new heights. The Corona table has a rough, dull finish on the outside contrasting with a reflective polished interior. The custom crystal top adds a touch of luxury to the table. This $50,000 jewel marks Knoll’s 75th anniversary. Only 75 numbered tables are available, each delivered along with a miniature bronze signature plate as a celebration token. www.knoll.com

ATIPICO — A.NGELO Geometric and light, this versatile piece from Atipico can stand as a table or a stool. Simplicity and pure lines make A.ngelo an easy and functional addition to the home. Available in three versions in a variety of lively colors. $363. www.atipiconline.it

VITRA - COMPAS TABLE >> Originally created by Jean Prouvé, the Compas table truly embodies the designs of the ’50s. This new color version by Vitra features an oiled oak top contrasting with the compasslike narrow red metal legs. Ideal for small spaces, this compact table’s functional lines remind us of the principles Prouvé is known for and that practical usage isn’t lost over design. Starting at $3,380. www.vitra.com

1616

MINOTTI — RAYMOND TABLE Imagined by Rodolfo Dordoni, the Raymond tables are offered in a collection of shapes and proportions that subtly reminds us of classic designs of the ’70s. The elliptical form of the chromed metal bases mixed with numerous options of lacquered colors tops offer customizable bold statements to accent the living room. Starting at $6,100. www.minotti-la.com

SIDE TABLES

SIT ON IT, LOUNGE ON IT, LAY ON IT OR WALK ON IT - SOFT AND INVITING ADDITIONS FOR THE LIVING ROOM. << FLEXFORM — GUSCIO Guscio, the new banquette-curved sofa designed by Antonio Citterio showcases elegant and delicate lines balanced with sharp modern details. Its feather-wrapped crushproof insert seat cushion assures a pleasant seating experience making this graceful Flexform piece a nice complement to any lounge area. www.flexform.it

THE RUG COMPANY — MONARCH FIRE Inspired by a handcrafted feathered butterfly from Sarah Burton’s “folklore” collection, this Alexander McQueen handknotted silk rug captures the shimmering and hypnotic movement of the monarch butterfly. This stunning piece is available in the dramatic contrast of peppery hues with Monarch Fire (showed above) or in more subtle gentle tones with the Monarch Smoke. $15,120 for 9’x6’ or $280 per square foot. www.therugcompany.com

FRITZ HANSEN — RO Sculptural and elegant, the Ro chair, designed by Jaime Hayon for Fritz Hansen, marries past and future influences harmoniously. “Ro,” which means tranquility in Danish, is the idea behind the shell-like design of this chair and creates an inviting place to tuck yourself away and reflect. Ro is available in nine different colors and two textures for the cushion and seat allowing a contrast between the exterior and interior. $3,148. www.fritzhansen.com

ZANOTTA — GRANDTOUR Designed by Ludovica and Roberto Palomba for Zanotta and Maserati, the Grandtour armchair celebrates the history of the two Italian companies. Inspired by the softness of a racecar driver’s gloves, the two companies worked together to create a design that is original and timeless. This sophisticated and comfortable avant-garde design lounger is offered in a limited series. Don’t let it pass you by. $9,194. www.zanotta.it.

LOUNGE

ATTEINDRE LE BUT

Avec la panoplie de condos qui poussent sur le territoire de l’ile de Montreal depuis quelques années ont ne peut que se demander comment cela affecte le marche. Nous nous sommes entretenu avec le duo François Laprade et Olga Markina, tous deux courtiers immobiliers chez Remax McGill, histoire de sonder le terrain. 1. Vous cumulez ensemble plusieurs années d’expertise en immobilier et en commerce international, quel est votre domaine de prédilection ? Nous travaillons principalement dans la vente et l’achat de maisons et condos de luxe. 2. Que pensez vous du marcher immobilier Montréalais présentement ? M Laprade - On réalise que malgré l’augmentation de l’offre, le marché Montréalais se porte toujours bien avec une légère augmentation du délais de vente. Contrairement à Toronto et Vancouver ou on s’attend au redressement des prix, ici à Montréal les propriétés ne sont pas surévaluées. 3. Il y a beaucoup de spéculations sur le marcher comme quoi celui-ci est un marche d acheteurs plus tôt que de vendeurs, est ce le cas ? Dans la plupart des secteurs à Montréal effectivement le marcher favorise les acheteurs. 4. Quel sont les options qu’un vendeur peut considérer afin accélérer les ventes de leur propriété ? Pour optimiser la vente on doit penser a plusieurs points comme avoir le juste prix bien sur mais aussi avoir recours au home staging ou encore mieux aux services d’un designer professionnel peu contribuer a mettre en évidence les attraits et les plus importants éléments de la propriété et optimiser voir accélérer la vente considérablement. 5.D’aprèsvotreexpertise,qu’estcequirendunespaceirrésistibleauxfutursacheteurs ? Il y a plusieurs types d’acheteurs chacun ayant des besoins différents, mais en général une localisation stratégique, une bonne luminosité et d’autres critères comme une terrasse, un gym, piscine sont toujours appréciés. 6. Quel impact a l’esthétique d’un endroit sur une transaction immobilière ? Mme Markina – L›esthétique est très importante puisque la première impression crée le coup de cœur chez le client. 7. En quoi certains projets immobiliers se distinguent-ils de leurs concurrents ? M Laprade -Les finitions intérieures haut de gamme et les différents « amenities » offertes. 8. Olga, vous êtes diplômée en Psychologie, est ce que cela vous est utile dans la façon dont vous approcher chaque projet ? Mme Markina – Oui bien sure mais il faut simplement être en mesure de bien saisir le style de vie de chacun nos clients et d’être a l’écoute de leurs intérêts pour les aider à faire un choix éclairé. Ont préconise une approche humaine et personnalisée pour cibler leurs besoins. 9. Dans un marcher très concurrentiel avez vous adopter une stratégie particulière ? Mme Markina.-Oui nous voulons bâtir des relations de confiance avec notre clientèle et nous passons du temps avec eu pour les connaitre d’avantage notamment en mettant en place des soirées VIP avec champagnes et violons. D’ailleurs la plupart de nos clients sont devenus nos amis. Aussi, récemment nous avons organiser un circuit d’autobus pour des acheteurs chinois et russes sur l’île de Montréal, ce fut un succès. 10. Qui a-t-il on à l’horizon pour Olga et François ? -M Laprade; On a mis sur pied le programme de coaching FO. C’est un programme clé en main de 21 jours, soit une séance par semaine avec des devoirs à accomplir pour atteindre un objectif. Celui ci s’applique à nos courtiers, mais aussi à n’importe quel domaine d’expertise. Notre approche est de personnalisé le program en fonction des besoins de chaque personne et de rendre le client autonome le plus rapidement possible . Le but et de donner au client la bonne façon de penser et le meilleur chemin afin atteindre leurs buts et les résultats escomptés.

ATELIER HOMA

C’est de façon plus tôt inattendue qu’on découvre, perchée sur le coin de Jeanne d’Arc et Saint Catherine est, la minuscule enseigne de laiton qui lit « ATELIER HOMA ». Petit trésor pour rénovateurs en soif de design différent, la boutique offre une sélection de produits pour rénover la maison; items de salle de bain, planchers de chêne extra larges, magnifique collection de cuisines et électroménagers européens, le tout avec une approche originale et efficace. Derrière ce nouvel espace se trouve Marie Ève Warren. Ancienne habituée des podiums, de Chanel à Jean Paul Gauthier, qui après avoir travaillé longtemps comme modèle aux quatre coins de la planète, a accroché ses talons pour se consacrer a créer des intérieurs inoubliables. Rencontre avec une passionnée a l’imaginaire sans frontières. 1. COMMENT C’EST PASSÉ VOTRE TRANSITION DU MONDE DE LA MODE À CELUI DU DESIGN INTÉRIEUR? Il y a plusieurs similarités entre les deux mondes; le coté créatif bien entendu mais aussi l’importance du souci du détail, et le jeu de toutes les texture et des matières. Je dirais qu’au départ il y a eu beaucoup à apprendre mais le tout c’est fait plus tôt naturellement. Pour moi le design c’est avant tout une question d’inspiration. Les différentes cultures que j’ai pu découvrir en voyageant comme mannequin m’ont beaucoup influencées et elles m’ont aidé à comprendre les différents besoins de mes clients. 2. PARIS, MILAN, LOS ANGELES, MONTREAL.. DEPUIS DÉJÀ MAINTENANT PLUS DE DIX ANS QUE VOUS TRANSFORMER DES ESPACES, VOUS AVEZ EU LA CHANCE DE VIVRE ET DE TRAVAILLER DANS DE GRANDES MÉTROPOLES, POURQUOI CHOISIR DE REVENIR A MONTRÉAL? Ahhh Montréal a toujours resté pour moi mon point d’encrage, ma boussole. J’adore Montreal, je trouve que la qualité de vie y est exceptionnelle et plus que tout je m’y sens bien. 3. POURQUOI HOMA? HOMA c’est pour Hochelaga Maisonneuve mais c’est aussi un quartier que je trouve inspirant parce qu’il est encore authentique. HOMA c’est aussi en résonnance avec ‘home’qui représente le cœur de tout projet. 4. VOTRE ATELIER EST DE PETIT FORMAT COMPARÉ À LA TAILLE DE VOS PROJETS HABITUELS. POURQUOI UN ESPACE SI MODESTE? Ont réalise que rénover ou construire une maison peut être un bourreau de temps sans fin. Pas nécessairement au niveau du temps requis pour configurer l’espace mais plus tôt a tout le temps perdu a magasiner pour trouver les bon produits aux bons prix qui vont faire en sorte que notre rêve se réalise et non se brise. C est souvent un processus décourageant pour ceux qui s’y attaque. Les heures passées a chercher ‘LE’ bon produit a travers les centaines de choix d’un magasin a rayons ou a tenter de planifier sa cuisine idéale dans le brouhaha d’une grande surface c’est un marathon sans fin épuisant. 5. ET HOMA C’EST COMMENT? A l'atelier ont ne prend que quelques rendez vous par jours. C est un moment agréable, ont

s’assois tranquillement le temps de prendre un café, on discute et on guide le client vers les options adéquates pour leur projet. Ce n’est pas étourdissant. On n’a pas 2000 items mais on offre une sélection simplifiée de produits raffinés choisis en fonction d’une certaine esthétique. 6. LE DESIGN D’INTÉRIEUR EST UN SERVICE QUI EST SOUVENT VU COMME UN LUXE SUPERFLU. QUAND PENSEZ VOUS? Ont comprend que ce n est pas tout le monde qui peut se permettre ce genre de services habituellement. ATELIER HOMA c’est notre façon d’offrir une expérience différente par le biais d'une palette sélectionnée déjà réfléchie par notre équipe de designers. Non seulement ça sauve énormément de temps a nos clients mais en plus ça leur permet d’obtenir des finitions de meilleurs qualité a prix exceptionnels. C’est comme avoir son propre designer, en plus de faire des aubaines sans avoir a faire le tour de l’île au complet ! 7. COMMENT POUVEZ-VOUS OFFRIR UN SI BON RAPPORT QUALITÉ PRIX? ATELIER HOMA fait partie du Groupe Abitar, qui fourni des matériaux haut de gamme en grandes quantité aux projets immobiliers. Nous profitons ainsi du volume de ceux-ci et c'est pourquoi on peut passer les économies aux clients. 8. QU’EST CE QU’ON TROUVE CHEZ VOUS QU’ON NE TROUVE PAS AILLEURS? Une sélection de produits de haute qualité, sophistiqués et intemporels. Comme les cuisines FIORE avec des portes plus épaisses et des poignées intégrées. Cette ligne comprend des électroménagers élégants aux dimensions européens ainsi que des éviers et robinets de cuisine impeccables. Nous offrons aussi les planchers de bois d’ingénierie de chêne blanc de 7 ½’’ de large et de 6’ de long, des toilettes monobloc design sans oublier une collection de baignoires et lavabos 100% en résine matte. 9. LE FUTURE SE DESSINE COMMENT POUR MARIE-EVE? Ce n’est pas les projets qui manquent mais plus tôt le temps. J'adore cuisiner et je suis très fière de FIORE la ligne Italienne de cuisines et électroménagers. C’est une marque de grande qualité qui est magnifique et qui est offerte a prix tres intéressants pour tout ceux qui rêve d'une cuisine exceptionnelle. Je travaille aussi présentement sur quelques projets à Hollywood et une villa au Maroc.

Guangzhou Opera House

Photo by Virgile Simon Bertrand

DREAMCATCHER The awe inspiring world of Zaha Hadid Story by JEREMY GARRETT

“Z

AHA HADID, ZAHA HADID, ZAHA HADID.” Try it — you’ll like saying it, too. Other than being the first woman to win the Pritzker Architecture Prize in its 26-year history, Hadid’s approach and interpretation of architecture has transcended the expected, shattered the typical and given the world her very personal new definition of architecture — dream catcher, dream maker, transporter. When I see a Zaha Hadid project, I feel like at any moment Harrison Ford and Sean Young will be landing in slow motion on some type of futuristic space-mobile, hearing the theme song to Blade Runner playing in the background. Maybe that’s a crazy description that I should keep to myself, but there is no denying that the future is in the present in Hadid’s work. A prime example is the Phaeno Science Center in Wolfsburg, Germany (winner of the Royal Institute of British Architects European Award in 2006); the Guangzhou Opera House (2010) in China; the Stone Towers in Cairo, Egypt (currently in development); or the Maxxi Museum of XXI Century Arts in Rome, Italy (winner of the 2010 RIBA Stirling Prize). Hadid was born in 1950 in Baghdad. After getting a degree in mathematics at the American University in Beirut, Hadid enrolled at the Architectural Association School of Architecture in London in 1972. Upon graduation, she began working with her former teachers, Rem Koolhaas and Elia Zenghelis at the Office for Metropolitan Architecture, becoming a partner there in 1977. In 1980, she began her own London-based practice, and the ’80s would mark a new movement in architecture. Hadid and a

handful of forward-thinking peers (among them Frank Gehry, the team at Coop Himmelb(l)au, Peter Eisenman, Daniel Libeskind, Rem Koolhaas and Bernard Tschumi) were all taking strides away from the traditional “comfort zone” of architecture. It was at the seminal 1988 Deconstructivist Architecture exhibition at the Museum of Modern Art in New York where Hadid presented the future in the present. Her ideas about architecture’s new frontier were presented in impressionistic, abstract paintings rather than in conventional architectural drawings. When asked why, Hadid explained that conventional architectural drawings could never convey the “feel” of her radical, fluid spaces — but paintings could. It’s difficult to categorize Hadid’s work. A constant chameleon, she seems to break the traditional rules of the built environment. Where does it begin? Where does it end? Maybe it’s the uncertainty or insecurity one feels at not being able to quickly define her environments that stimulates our senses and keeps us wanting more. A Hadid environment supplies those who enter one with a highly addictive creative opiate: a space untouched or contaminated by status quo fillers. It is her rare ability to capture the future in her mind and make it a reality in the present that sets her apart from the rest; she is an architectural futurologist. Random fluidity collide with expansive open air and morph into what she calls “space.” It’s this “new fluid, kind of spatiality,” as Hadid describes it, which hooks the “users” of her space and keeps them coming back for their fix. It’s been said that falling in love is never as good as the first time, but Hadid’s elixir provides the first time every time.

While the future may be present in her work, Hadid’s journey from the past to the present has not been as fluid as her buildings. Beyond the physical difficulty of engineering and constructing one of Hadid’s creations, she has had to overcome the emotional lows of being rejected, neglected and even ignored at times. One of the most memorable instances was the competition for the 1994 Cardiff Bay Opera House in Wales. Hadid had won the competition. However, after her victory, conservative provincial lobbyists and local politicians caused funding to be formally rejected in December 1995, which in turn canceled the project altogether. It was a real blow to her and her team. Hadid has had to struggle more than most because of a “boys club” mentality within the architectural community. “Diva” has been used quite often in descriptions of her, and at first glance, this could be taken as an insult, but when I look up the Latin origin of the word diva, I get this: “via Italian from Latin: a goddess, from divus — divine.” A modern interpretation of the word (outside of opera contexts) comes from UrbanDictionary.com. Its No. 5 definition states, “A diva is a woman who has self-confidence, self-respect, and hella swagger. She knows who she is and exactly where she is going. Her style and attitude are on point even when she is not trying. People typically gravitate to her because they respect her swagger.” Yeah, you read correctly “hella swagger,” and if being a diva means Hadid has had to power through her obstacles using her self-confidence, self-respect and strong character, then maybe “architectural diva” is an appropriate description. When asked what best describes the essence of Zaha Hadid, she replied simply, “hard work.” And that hard work sure has paid off. In addition to being the first woman to win the Pritzker Prize, the list of Hadid’s awards and accolades goes on and on. She is a four-time RIBA award winner (2005, 2006, 2008, 2010), a recipient of the Praemium Imperiale Award (awarded by the Japan Art Association in 2009) and two-time RIBA Stirling Prize recipient (2010, 2011), among many other honors. Her firm of 350-plus employees, who share her futurist architectural vision, is working on current projects (too numerous to list all of them here) being developed in Europe, North America, South America and Asia. I spoke with Hadid recently, and she offered Malibu Magazine a glimpse of the future, today.

OUTSIDE THE PARAMETERS OF ARCHITECTURE AND DESIGN, WHAT SOURCES DO YOU DRAW ON FOR INSPIRATION? My ideas come from observation: of the site, of nature, of people moving in the city. A lot of my work was based on drawing research — looking at abstraction, geology, topography and archaeology. Our more recent work investigates organic morphology — cells and biology — but always looking through geometry. Science has been the most fruitful inspiration, in particular the whole paradigm of complexity and self-organization. We also look at lot at nature’s systems when we try to create environments, at her coherence and beauty. DURING YOUR CAREER THERE HAVE BEEN MOMENTS WHEN YOU HAVE HAD TO MAKE “A CONSCIOUS DECISION NOT TO STOP.” CAN YOU REMEMBER THAT MOMENT IN TIME WHEN YOU FELT THAT YOU HAD “MADE IT,” OR WHEN YOUR DETERMINATION AND PERSEVERANCE HAVE PAID OFF? WAS IT A PARTICULAR PROJECT, AN AWARD OR COMMENDATION FROM YOUR PEERS? When I was neglected or ignored, I always thought it would be a passing phase. There were moments when I felt extremely down, but my depression never lasts very long. I am fundamentally an optimist, and I knew I would eventually come out of that situation. In 1994, we entered the competition for an opera house in Cardiff, [Wales]. We submitted it; we got a call announcing we won it — and then the incredible jubilation in London that turned to great sadness when the project was canceled. It devastated us, and I had to pick up the pieces. And, actually, in that period in ’95 to the late ’90s, we did one competition after the other — and we didn’t win any. But they were great projects. In practice, I still experience resistance, but I think that keeps me focused. It’s not as if I just appear somewhere and everybody says “yes” to me; it’s still a struggle, despite having gone through it a hundred times. You have to constantly fight to get a better building.

Guangzhou Opera House Photo by Christian Richters

Riverside Museum

Photo by Hufton + Crow

MAXXI Museum Photo by Iwan Baan

IN 2004, YOU BECAME THE FIRST FEMALE RECIPIENT OF THE PRITZKER ARCHITECTURE PRIZE. WHILE ARCHITECTURE CAN BE CONSIDERED “GENDERLESS,” DO YOU FEEL YOUR FEMININITY HAS HELPED SET YOU APART FROM YOUR MALE COUNTERPARTS? Perhaps it was my flamboyance rather than being a woman that gave me such determination to succeed, but I have always been extremely determined. This determination was not only because I am female. I think it is so important to keep focused in any profession. As a woman, you need the confidence that you can carry on and take new steps every day. So, I really believe in hard work; it gives you a layer of confidence. You now see more established, respected female architects all the time — but that doesn’t mean it’s easy. Sometimes the difficulties are incomprehensible. It’s still very difficult for women to operate as professionals because there are still some worlds you have no access to. It’s not necessarily always great, but it keeps you in place, and it also makes you think and do things in a different way. In the last 15 years, there’s been tremendous change, and now it’s seen as normal to have women in this profession. I don’t believe that much remains of the stereotype that architecture should be a male rather than a female career. POST-1980S AND DECONSTRUCTIVISM, HOW HAS YOUR DESIGN METHODOLOGY CHANGED? HAS YOUR CURRENT BODY OF WORK MOVED AWAY FROM DECONSTRUCTIVISM? HOW DO YOU DEFINE YOUR PRESENT DESIGN PHILOSOPHY? The work started off as juxtaposition and superposition, then moved on to planar and then volume. Then I thought … of the building as a “landmass,” and that mass is like a landscape that meets ground creating no obstacles, giving ultimate mobility and ultimate fluidity. So, that’s how it developed. I think the layering and porosity was always there in my work, to layer everything many times. Some things flow through the project, some things disappear. I would say the designs became more extreme because they had to accommodate so many different needs in one solution, and it was obviously non-Euclidean geometry. People say, “Why are there no straight lines? Why no 90 degrees?” This is because life is not made in a grid. It could be interesting at times to have a grid imposed on a terrain, but if you

think of landscape, it’s not even and regular. But people go to these places and think it’s very natural, very relaxing. I think that one can do that in architecture, and it’s particularly appropriate for civic buildings because it has to do with movement, how you move from one space to another, how you understand a building. I think contemporary society has reached new levels of complexity that can no longer be adequately addressed in the compositional terms of orthogonal blocks. Consequently, our architecture is operating with new concepts, logic and methods. Space is being replaced by the notion of continuously differentiated fields. Space flows continuously from inside to outside and interpenetrates. Our architecture shapes space by composing volumes and planes in space. ARCHITECTURE IS AN ART FORM. WHILE THE TECHNICALITIES OF ARCHITECTURE CAN BE TAUGHT THROUGH FORMAL EDUCATION, DO YOU FEEL THE “ART” OF ARCHITECTURE CAN BE TAUGHT OR IS THIS AN INNATE TALENT TANGIBLE ONLY TO THOSE BORN WITH IT? Doing my early drawings was slow, as they required tremendous concentration and precision. This whole system of drawing led to ideas, putting one sheet over another and tracing, like a form of reverse archaeology. This precision can be taught, and it leads to the detailed research and experimentation that helps exciting projects to develop. But working on the computer is a very different process and less transparent. It’s incredible the savings in time computing has brought to architects, but I still think that the lack of the power of the hand by using computers has taken something away. Of course, a lot has been added in terms of complexity, but I think something is lost if we stop drawing or sketching. When you sketch, you are constantly discovering and experimenting with new ideas. IS THERE A LOCATION IN THE WORLD WHERE YOU HAVEN’T DESIGNED A PROJECT BUT WOULD LIKE TO? London always inspires projects that are unpredictable. There are still all these quirky situations within the city. We did a project more than 20 years

MAXXI Museum Photo by Iwan Baan

ago at the Architectural Association where we drew lines through the city on a map and then traveled along these lines documenting everything. It was a very interesting project because, first of all, it showed that certain things were aligned with each other but that other things — when you jumped from one level to next — were tremendously varied. These extreme adjacencies are what make the city so unique. It’s a great city that has become very layered. Unlike most European cities, there are still large gaps in the city that allow for a major urban intervention on an interesting scale. I still think that a lot could happen in London. There was an attempt in the postwar modernist period to change the urban geometry and the urban matrix, but these became ghettos. A key research project of the last 30 years has been the “ground” project — a critique of how the modernist era ignored the “ground” by lifting buildings off the ground. We could return to these areas now, not to fill them in, like in Brasilia, but to add another layer to them and animate them. There are enormous sites in London currently being demolished for the Crossrail rail link, so there is a question about how to deal with very large buildings on these sites. There is tremendous potential here. And in some situations in London, the more radical it is, the more appropriate. WHAT DOES YOUR HOUSE LOOK LIKE? CAN YOU DESCRIBE THE EXTERIOR AND INTERIORS? I didn’t design my apartment. It’s not one of my projects. My old home in West London had a f lood, and I had to move quickly. I decided to move closer to my office in Clerkenwell, East London. One of the benefits is this new space is much larger than my old home and can hold some of my own larger furniture pieces and paintings, including the Aqua table, Iceberg bench, “Moraine” sofa and a reproduction of Malevich’s Tecktonik painting we produced for my 2006 Guggenheim exhibition in New York. I would love to build a house for myself one day. Normally, architects build a house for themselves either early in their careers, when they have fewer inhibitions and can make mistakes without being judged too harshly, or when they’re about to retire.

YOUR SCHEDULE MUST BE CRAZY! HOW DOES ZAHA HADID UNWIND? Time is very important. Some people are very conscious of it, of not wasting it. But it can paralyze you. Time doesn’t stop when you’re trying to meet a deadline — and the intensity of working under such pressure can create great work, but you need to allow time for things beyond work. It’s important to keep focused to achieve in any profession but also to make time for your friends and family. MOST OF US DON’T GET THE OPPORTUNITY TO PHYSICALLY SEE AND TOUCH THE THOUGHTS AND IDEAS IN OUR MINDS. HOW DOES IT FEEL WHEN YOU VISIT ONE OF YOUR CREATIONS IN PERSON? It’s a great feeling and always fascinating. You always feel you know the project intimately, but no matter how long you work on a project, no matter how many times you draw the building, you cannot predict everything — and there are … fascinating moments in the completed projects that are very exciting and unexpected. YOU SEEM TO HAVE ACHIEVED MANY OF YOUR DREAMS AND GOALS. DO YOU HAVE ANY FANTASIES OR ACCOMPLISHMENTS THAT YOU WOULD LIKE TO ACHIEVE OUTSIDE OF ARCHITECTURE? I think I could have done many things — but maybe not all that well. I’ve watched architects become philosophers — bad philosophers — and others who wanted to become politicians, and then painters who wanted to become architects. It’s very fashionable now to become an architect. When I was younger, I used to make my own clothes. I bought silk from China and used it to wrap myself in it, and I experimented with different materials to make my own jewelry. I think that hopefully I would have been OK as a fashion designer. I have no idea what my designs would have looked like. I focused on architecture.

BAR

NONE ANTHONY BARSOUMIAN’S HOLLYWOOD HILLS DEBUT PHOTOGRAPHY BY JONN COOLIDGE

SECRETARY IN THE STYLE OF JACQUES-EMILE RUHLMANN CHAIR PAUL MCCOBB TRUNKS MILITARY AUSTRIAN TABLE LAMP CERAMIC (FRANCE) ART BY ANTHONY BARSOUMIAN

When the opportunity presented itself for artist Anthony Barsoumian to reinvent a Hollywood Hills residence, he gladly accepted the commission and assumed a new creative role as interior designer. Capable of expressing himself through multiple mediums, Barsoumian delved into the world of interiors with passion, producing beautiful results. HOME visited his debut project and sat down with the artist/designer to learn more about his approach to this special project. What made you want to make the transition from the fine arts to interior design? I don’t know that it was a transition rather than another form of expression. Being an artist is who I am; it is my core self. All things creative come from that place. In other words, I believe an artist is capable of creating and expressing with many mediums. It is all visual painting, sculpting, designing. Ever since I was a child, I was highly interested in interior spaces. I loved changing rooms around, constantly playing with different possibilities of the layout or setting. Do you feel your background as an artist helps you when conceptualizing new spaces and environments? I do feel that being an artist is the foundation of what I’ve learned as a designer. I see rooms done in my head the same way I see a painting finished in my head. I am not afraid of mistakes. In order to be a free artist you must not think of how it will go wrong. It is your creation, so therefore there are no rules as long as there is a visual relationship that makes sense to my eye. How did you approach this project? How did you develop your original vision? I believe all projects need to have a common thread or relationship with the owner’s personality. It is important to live in a space that tells your story, meaning the home or room needs to have a reason or purpose. Much like a painting, I always tell a story even with my abstract work. Otherwise, the space will have no life; it will not have an emotional connection to the person living in it. I find that to be a mistake. This project is personal since I live in it. It is a reflection of who I am. It tells my history, as all homes should. What was the biggest challenge of this project? The biggest challenge was not to overthink any of it. I wanted to remind myself that the process needs to be natural and organic. If something does not work, then move on and try not to force it. Being a lover of design and furniture, sometimes you fall in love with a piece, but it does not work in that particular space. And, of course, sometimes

DRESSER GILBERT ROHDE (’40s) CHAIRS MARCO ZANUSO FLOOR LAMP TOMMASO BARBI LENS TABLE ECCOLA

CLOCKWISE FROM TOP LEFT: ART BY ANTHONY BARSOUMIAN BRONZE SCULPTURE (ON MANTEL) ITALIAN (18th CENTURY) FROM BLACKMAN CRUZ CABINET PAIR ANDRE ARBUS FROM HABITE WALL SCONCES ITALIAN (VINTAGE BRASS) FROM FAT CHANCE OTTOMANS (PAIR) LOUIS XIV (FRANCE) FROM HABITE RUG KYLE BUNTING | BED FEBO BY MAXALTO NIGHTSTANDS EDWARD WORMLEY FOR DUNBAR TABLE LAMP ARTEMIDE SMALL TABLE MILO BAUGHMAN RUG KYLE BUNTING | CUSTOM CABINETRY DESIGNED BY ANTHONY BARSOUMIAN PENDANT LIGHTS VINTAGE (UNKNOWN) | TABLE VINTAGE ITALIAN AT BLACKMAN CRUZ ART BY ANTHONY BARSOUMIAN STATUES AFRICAN ANTIQUE

“I DON’T BELIEVE IN HAVING ONE STYLE. YOU INHERIT STYLE, WHICH IS CONSTANTLY EVOLVING. IT IS A COLLECTION OF EXPERIENCES AS YOU MOVE THROUGH LIFE. YOU CONTINUALLY DEVELOP AN AESTHETIC WHILE YOUR EYES ARE CONSTANTLY FINDING NEW POSSIBILITIES.”

LENS DINING TABLE ECCOLA VINTAGE LENS BLACKMAN CRUZ DINING CHAIRS MAXALTO FEBO CUSTOM BURST CHANDELIER LINDSEY ADELMAN ART BY ANTHONY BARSOUMIAN

FURNISHING AND CASE GOODS DESIGNED BY ANTHONY BARSOUMIAN CHANDELIER ITALIAN VINTAGE (UNKNOWN)

you have structural obstacles with older homes that can always be fun to solve. How would you describe your style? I don’t believe in having one style. You inherit style, which is constantly evolving. It is a collection of experiences as you move through life.You continually develop an aesthetic while your eyes are constantly finding new possibilites. What is important is the material and craftsmanship of an object. More often than not I tend to love older pieces that were made of beautiful materials that may be rare to find. I do love classic pieces. I love traditional pieces that speak to modern pieces. Mixing is key in my visions. I do believe that all styles live better in a space when they are accompanied with pieces from different areas. Contrast of all sorts creates drama, which is usually more interesting than not. A space should always be interesting in order to have longevity. Timeless, simple and elegant is always the right approach. Are there certain designers from the past or present that have inspired you? Where do you get your inspiration? I’m constantly inspired. I was just in the Brody House by A. Quincy Jones the other night, which moved me. I love the works of Peter Marino right now. Jacques Grange, of course — I love his work. Jean-Louis Deniot is another. You are a furniture enthusiast and collector yourself. Are there any particular pieces that you can’t live without? What is your favorite piece in your collection? Where do you usually find your little treasures? I have many pieces I love in my collection: a Frits Henningsen sofa in my living room, a pair of blond André Arbus cabinets, a pair of two-tiered side tables by Jacques Adnet, a Gae Aulenti table lamp by Artemide … I could go on, as I am probably obsessed with them all. I find many of my pieces through my travels, but my favorite spots that I am constantly visiting are JF Chen, Blackman Cruz and Habite in Los Angeles. What’s next for Anthony Barsoumian? Fortunately, I have a new private residence that I will be working on as well as planning the opening of my Los Angeles atelier.

PIG DESIGNER JAMES BOYD’S LATEST HOME IN BUENOS AIRES. PHOTOS BY RICARDO LABOUGLE

In the young and vibrant area of “Palermo Hollywood” in Buenos Aires, James Boyd Niven has transformed a special 1905 residence into a place he calls home — and a place he calls Pig. How did you develop the concept and approach for Pig? I have done several private homes, and I’ve named each one after an animal present in the decoration in the form of a sculpture, a painting, etc. My latest home was named Pig because, for my 30th birthday, I decided to host a dinner at a friend’s house, and while walking through East London, I saw the cutest pig in the world at the Les Trois Garçons store, and immediately it was love at first sight. Of course, I got it not only because the piece was a gorgeous Victorian hand-panted piece but because I also admire their work so much. The pig soon became the mascot of the trip, and it traveled with us to Paris for Fashion Week and then back to Argentina, literally in the seat next to me because I was terrified it was going to break. Of course, the air hostesses found the whole thing quite amusing. How did you find this house? Back home, I felt the need to move to a house because I had lived in apartments for quite some time, but I wanted to stay in the area. I was finding the scout quite difficult, so I decided to get on my bicycle and hunt down something special. I saw this amazing old house and called the sign number (they had put the sign up that afternoon). Next day, I saw it, and it was mine!

You have a very eclectic approach to your designs. You mix exquisite vintage design and kitschy art pieces. Where do you get your inspiration? My trips to Europe had a big impact on my style. What stuck with me the most was the English carefree sense of mixing styles. Eclectic, yes, but more than that something I call the “mad English way” — something that shows in my work. Like the neon sign that reads “chau for now” is a joke I have with my friends who repeat that, to mean “moving on!” It is about the sensibility of how things relate to each other when you are in a room. If it works, it works; you can’t force things to be in a relationship. Buenos Aires is home. Are you based here full time? I am born and raised in Buenos Aires, but I am actually of English and Scottish descent. I travel a lot for work to Milan, Paris and New York, but I have a soft spot for England, both London and the country. Do you have a design motto? “Find a job you like to do, and you won’t have to work a day in your life” — that’s basically how I do all of my projects, be it for myself or for a client. I am passionate and just love to work. It brings great pleasure, almost like the pleasure is in the hunt! I have chosen everything I have, even the inherited pieces that are edited, reupholstered, spray-painted. Another motto I have is “finish, photograph and forget” — meaning, if it were up to me I would keep changing things all day long.

DREAM TEAM

DESIGN DUO SABINA LANG AND DANIEL BAUMANN CREATE ART ON A GRAND SCALE STORY BY MIRJANA MILICEVIC

Numerous projects, exhibitions, commissions, publications and awards reflect L/B’s active presence in the art scene for more than 20 years now, leaving “tracks” open to grow and go in a new direction. Some of them have left very long trips in the rearview mirror, like “Beautiful Wall #1” in U.F.F. Gallery in Budapest, which was made in 1997, all the way to “Beautiful Walls #28/#29” at the Wilhelm-HackMuseum in Ludwigshafen, Germany, which was only set up this year. Remaining fresh and fluid, L/B keeps offering familiar but new pictures of the world, where things you know and things you see intersect and overlap, inviting you to create that world together.

It did not take long for Sabina Lang and Daniel Baumann to realize that they were the perfect match. Starting as very young artists in the background of the alternative scene in Switzerland, they have worked in collaborative partnership since the 1990s and produced a series of artworks as the L/B duo. “Collaboration to us is a very normal thing, and even generally speaking it’s a common way of working - especially for artists. Most artists have close friends or partners with whom they are in constant dialogue about their work. We appreciate the possibility to share our ideas and views and to discuss things, think them through and shape them together.” Elements of architecture and design are blended in their sculptures, installations, inflates and paintings, but they are really playing out in a wide field of art. Without the need to define themselves with established categories, the context of art suits them fine and gives them freedom to create their game. “Street Painting,” “Beautiful Steps,” “Comfort,” “Spiral,” “Beautiful Walls” and “Beautiful Entrance” are some of the projects they are developing in series, or “tracks” as they call it. Working with different media, using different materials and interventions, they express diversity of practice but also take special care of how their artwork interacts with people in space. L/B work mostly in the sphere of public space, giving the spectator an opportunity to access their work and participate as an integral part of the project. That special care results in refreshing conditions that create transformations the spectator cannot resist. A new experience rolls over you while cycling in the underground tunnels of Zurich, crossing over and under the bridges in Buenos Aires or passing through the visitors corridor at the power center building in Bern. Metaphor, reality and perception mix into L/B’s work like natural ingredients. You could be tempted to imagine yourself climbing the spiral stairs that hang from the ceiling in Abbaye de Montmajour in Arles, France, or playing soccer between two goals anchored in a pond in Warsaw while running on the water. In 2002, L/B made a mobile one-room hotel for the exhibition Everland as part of the Swiss Expo.02. Hotel Everland was installed on stakes in Yverdon, and after four months, when the exhibition finished, it was moved to Burgdorf, Switzerland, on the factory roof of L/B’s studio. This unique hotel then traveled to the Museum for Contemporary Art in Leipzig, Germany, to be set up on a roof deck for a year, and its latest destination is the roof of the Palais de Tokyo in Paris, where the hotel has run for a year and a half. As the artists made it to be “the subjective dream of a hotel,” the public rushed to book the room for one night. By entering the exclusive space of the capsule, you enter your dream of a perfect hotel with astonishing views over the city, while enjoying breakfast in bed.

How did L/B get together? Where did you meet? When did you decide to commence your creative collaboration? We met in a squat in Bern and decided about one year later that we wanted to collaborate. The decision was made after our first exhibition together in a small gallery space in Leipzig, Germany, where we presented individual works but had a common concept for the show. We thought it was more interesting to blur the lines of authorship between us than continue alone, and already, at that moment, we were often doing performances where we were collaborating with musicians, so this way of working seemed perfect to us. Many of your artworks are developed in series — their names remain the same but their numbers subsequently grow, as if the collections are continuing to live through time and different venues. What do the names and numbers of your projects represent? Are they just convenient ways to define your projects, or is there more to it? We generally like the serial aspect — referring to an industrial process that is disconnected to a vernacular or self-made personal choice. This allows us to point out that questions of authorship and ingenuity are not relevant to us. But of course the reality is that each piece is still a very specific production linked very much to the site where it is installed, and even if it does not show, much of our work is handmade, so it’s rather like a series of prototypes. At the same time, the titles and numbers represent our practice of following multiple “tracks,” meaning we use different techniques and ways of intervention (like inflates, wall paintings, sculptures, etc.). When commencing a new project, what occupies you the most? How do you discover your initial idea, and what does your creative process journey look like from initial idea to the final realized project? The first step is always to visit the site, to look at, study and analyze it, and get influenced by it. Then we think of different possibilities of what we could do and try them out, mainly by drawing and using plans but also using photos and found stories. Sometimes we then continue with models or renderings, or we build prototypes. We like to stay close to production: Either

“WE MOSTLY INCLUDE THE PEOPLE (AND OURSELVES) INTO OUR IDEA OF A SPACE AND DO NOT SEE THEM AS TWO SEPARATE UNITS. WE’RE INTERESTED IN THE PERCEPTION OF SPACE AND THE CONSCIOUSNESS OF THIS PERCEPTION THAT, OF COURSE, CHANGES DEPENDING ON THE SITE.”

THE TEMPORARY INTERVENTION, MOUNTED ON THE TRACKS OF A FUNICULAR THAT HAD BEEN CLOSED DOWN A FEW YEARS EARLIER, CONSISTED OF A GEOMETRIC STRUCTURE OF WHITE PAINTED WOOD, TWISTING UP THE MOUNTAIN LIKE A RECTANGULAR SPIRAL. VISIBLE FROM AFAR, THE SCULPTURE ECHOED THE MOVEMENT OF THE CARRIAGES THAT USED TO TRAVEL UP AND DOWN. RESIDENTS OF THE NEIGHBORHOOD EMBRACED THE WORK AS A WELCOME SYMBOL OF THEIR EFFORTS TO REINSTATE THE FUNICULAR.

“BEAUTY IS AN EMPTY TERM. WE DO NOT KNOW HOW BEAUTY COULD BE DEFINED IN GENERAL, AS IT REQUIRES MANY MERGING FACTORS AND IS VERY SUBJECTIVE. WHAT WE LIKE ABOUT IT, AND THE REASON WE USE IT, IS THAT IT IMPLICATES A CLICHÉ OF ART ON A VERY BASIC LEVEL OF SURFACE.” the work is done in our studio with assistants or we give it out, but we still supervise all steps. Planning and preparation work is done in a very detailed way so in the end we know exactly what needs to be done for the installation on site. Creative collaboration can sometimes be a very fine line between brilliance and disaster. Can you elaborate on some of the important elements that have fortified your creative partnership? Collaboration to us is a very normal thing, and even generally speaking it’s a common way of working, especially for artists. Most artists have close friends or partners with whom they are in constant dialogue about their work. We appreciate the possibility of sharing our ideas and views, and to discuss things, think them through and shape them together. You are working with and within space — art in public spaces, installations, interventions, paintings, etc., and how this space interacts with people. How does your work balance the relationship between people and space? We mostly include the people (and ourselves) into our idea of a space and do not see them as two separate units. We’re interested in the perception of space and the consciousness of this perception that, of course, changes depending on the site. We point out, make visible, transform, extend, overdraw, contrast or hide certain details we find on the spot. The work of art then becomes part of the entity, so it’s kind of a shifting triangular relationship between space, people and work of art. You often use the words “beauty” or “beautiful” in the titles of your works, and you have said in the past “sometimes we think it is a word that shouldn’t belong to the vocabulary of art.” What is your definition of beauty? Beauty is an empty term. We do not know how beauty could be defined in general, as it requires many merging factors and is very subjective. What we like about it, and the reason we use it, is that it implicates a cliché of art on a very basic level of surface. Your latest work is “Street Painting #7” on Jules Simon Street, Rennes, France. You literally painted the street with road paint using bright and strong colors. Can you tell us more about this particular project and your general approach when creating these street paintings? In 2003, we realized our first painting on a street. The street was a small country road in

the middle of fields in the Jura Mountains. In rural landscapes particularly, but also on smaller (pedestrian) streets in cities, the surface is often empty, without any signalizations. To use this surface as sort of a canvas, we find interesting. The viewer is obliged to cross the work, walk over it to get near but can never see the entire work and get a full overview. Immediately the viewer becomes part of the work, as the painting becomes part of a landscape. For “Street Painting #7,” the curators of the art space 40mcube in Rennes proposed the street Jules Simon to us. This is a very central spot in the city and interesting because it is surrounded by contrasting facades on every side: typical old housing facades on one side, a large modern ’60s building with shops and cafes opposite, and a huge historical building that was a former post office on the head. We tried to create a geometry that would consist of stripes permanently changing the direction so it seems almost like a spatial topography even though it’s completely flat. The painting begins directly along the sidewalk, spreads out like a carpet and ends in a slight zigzag outline in the center of the street, toward the parking area. The temporary intervention that you made this year in Valparaiso, Chile — “Spiral #3” — was embraced by residents. What was your experience during the set up of this sculpture? Already during our first visit in Valparaiso we learned about the problems with all the funiculars [there] that are out of service. At the same time, we found it interesting to make a work that would use this abandoned space as a base. We liked the construction of the rails and the possibilities they would offer to see the work from far and from varying perspectives. The curator of the project informed the community in advance about the intervention so people were prepared and really interested in following the process of installation. It was, for us, a great experience to see how they were involved and curious, and also that they seemed to like the result. “Comfort #12” is a tube sculpture that, in its own specific way, expresses the interior space of the ground floor open structure of the WilhelmHack-Museum in Ludwigshafen, Germany. On the other hand, “Comfort #11” is floating in the Port of Yokohama, Japan, at the back of a small boat, and “Comfort #4” rests on the top floor facade of the department store de Bijenkorf in Eindhoven, Netherlands. From museums and galleries to public spaces, it seems your “Comfort”

inflatable series speaks many languages. Can you elaborate on how you developed this series and what it represents? Our very first inflatable work was a large group of huge breathing pillows. Then we continued with letter-shaped inflatables that could be used to climb or sit on; these shapes then got more and more abstract before we finally began to make shapes that would interfere with the architecture to be structures and no longer individual shapes. The first one was “Comfort #3”: transparent cylinders that we would place in between windows so they would form a bubble on the inside and the outside of each window. Lately, we have used long tubes and work with them on facades, inside spaces or to cover a roof or a full building. They are simple constructions and need to find their “comfort” in a space. What we like about them is that they are so flexible and allow us to completely change the image of a place. But even if the size of the volumes and the transformation of the space look dramatic, it’s only air and can be removed very fast. You transformed the Grand Palais in Bern to a permanently accessible structure. Intervention is very challenging. By connecting pairs of doors and windows, you made passages one can cross or just look through. Your work and projects bring with them an inherent challenge. How important of a role does “challenge” play in your work? “Open” was our answer to the invitation of the Grand Palais to realize a summer project. The building used to be a tram waiting room and now serves as small off-space. The curators told us that although the location is perfectly embedded into the neighborhood, the passersby would hardly ever take the chance to enter and have a look at the exhibitions. We played with this situation by really opening it and making it accessible to everybody (day and night), but in the same moment, of course, we also radically closed it because the “real” inside could not be reached. We often try to intervene or react in an empathic and stimulating way, so therefore, yes, to us it’s always a challenge to find such a solution and see if it works. What word or phrase do you feel best describes the essence of L/B? The quote by Muhammad Ali, “Me, we.”

Ponti FRANCESCA MOLTENI REVISITS A MASTER STORY BY CARLO CARBONE PHOTOS COURTESY OF THE GIO PONTI ARCHIVES

The latter half of the 19th century and the first half of the 20th century were especially fertile for architects experimenting with the new materials and methods produced by the Industrial Revolution. These novel techniques induced a design agenda that rejected historical models. The resulting modernism and its advocates proposed the abstraction of textures, decorative elements and craftsmanship. Industry was to replace the craftsman of the preindustrial society. Adolf Loos’ manifesto Ornament and Crime is emblematic of this rejection of historical representation and decorative content. The elimination of historical content in Loos’ manifesto is noteworthy for assessing Gio Ponti’s status in modern architecture. The diversity of Ponti’s work testifies to an inclusive form of modernism that goes beyond simply rejecting history and its representation in design. His work, often associated with modernism, is not devoid of ornament and craftsmanship. Color, materials, texture, appliqués and compositional formalism are all part of the multilayered nature of Ponti’s work. Ornament and applied decorative elements, rejected by Loos and the European modern avant-garde as archaic, are an important legacy of Ponti’s theories and should be recognized by a discipline that has often overlooked this form of modernism. He rejected this culture of exclusion and promoted a more open-minded view of design culture based on the inclusion of the historical and cultural attributes of materiality and craft. There were two Milanese collectives at work in Italy perhaps inspired Ponti’s form of composite modernism at the beginning of the 20th century. Gruppo 7 was a group of Italian

rationalists who proposed an industrial aesthetic supportive of modernism and the Novecento Italiano who, rejecting the European modern movement, suggested a return to Italian classicism for inspiration. These philosophical views seem to have been combined by Ponti to inform the layered textile-like composition of his work. The layered surfaces reveal a complexity that can be associated with Roman glazed brick surfaces. The constructive artifact displays its virtue of thickness along with its decorative value. This composition of wall versus surface, an interaction so much a part of Villa Planchart (1955, Caracas) also exposes Ponti’s denial of the modern value of material truth. The graphic adornment in Ponti’s work can also be linked to his time as director of The Richard Ginori Ceramics Company from 1923– 1930. Considering this position at the beginning of his career provides insight into Ponti's outlook on design. Craft and surface, integral parts of ceramic production, are central in Ponti’s work. Along with the values of craft and ornament, he also developed an intimate knowledge of the difficulties in designing quality mass-produced objects. He treasured mass production as much as designing unique objects. He believed craft and industry were to be linked for a quality product to emerge. Born in 1891 and raised in Milan, Ponti studied and eventually taught at the Milan Polytechnic. Interrupted by World War I, he completed his studies in 1918 at the age of 27. His travels as an Italian soldier allowed him to visit some of Palladio’s residential works, potentially commanding his use of classical compositional tactics such as axis, symmetry, rhythm, which are

“LOVE ARCHITECTURE, BOTH OLD AND MODERN. LOVE IT FOR ITS FANTASTIC, ADVENTUROUS, AND SOLEMN CREATIONS; FOR ITS INVENTIONS; FOR THE ABSTRACT, ALLUSIVE AND FIGURATIVE FORMS THAT ENCHANT OUR SPIRIT AND ENRAPTURE OUR THOUGHT. LOVE ARCHITECTURE, THE STAGE AND THE SUPPORT OF OUR LIFE.”Gio Ponti, In Praise of Architecture.

ABOVE CLOCKWISE: TEA TABLE D.555.1, ARMCHAIR D.153.1, CHEST OF DRAWERS D.655.1 D.655.2

“IT WAS NOT EASY TO REDO TODAY SOMETHING MADE IN THE PAST. WE DECIDED TO RETHINK THE PIECES IN TOTAL RESPECT OF THE PONTI SOUL BUT WITH A MODERN TECHNIQUE, SOMETHING PONTI WOULD APPRECIATE. THAT WAS THE CHALLENGE.”Francesca Molteni all apparent in Ponti’s work. Along with this classical content, his designs embrace the modern values of surface and light, flexibility and openness, and the abstract use of pure forms. It is this complexity that embodies the “Ponti style” associated with the modern Italian period. The Pavoni coffee machine and the Villa Planchart, both iconic images of his work, demonstrate Ponti’s whimsical nature and his capacity to bridge traditional and modern values. Ponti promoted an inclusive form of modernism and founded, on this basis, Domus in 1928 along with Gianni Mazzocchi, an artist involved with the Novecento group. Conceivably the most influential Italian design publication, the magazine informed the masses about good design by revealing its capacity to emote on the same level as literature or theater. The magazine is synonymous with modern domesticity and aesthetic in the field of architecture even today. Along with being a very proficient architect and designer, Ponti authored a series of treatises on architecture titled Amate l'A rchitettura (or Love Architecture). Published in English as In Praise of Architecture, Ponti wrote generously about architecture, architects, materials, ornament, program and theory, exposing the true nature of his intentions. Ponti was a generous teacher. His great legacy of works, as important as they may be, can be considered marginal within the scope of his commitment to encourage architecture of inclusion that sees the beauty in the simultaneous presence of tradition and modernity. It is no doubt not a coincidence that a country that brought us Vitruvius and Alberti also gave us Ponti. All three embody the tradition of the architect as thinker as well as builder. In an era where taking sides was of the utmost importance, Ponti was able to develop an original and playful quality that bridged philosophies, and crossed six decades and multiple disciplines. The Vivere alla Ponti event presented by Molteni & C as a part of the International Contemporary Furniture Fair demonstrates the broad scope of Ponti’s work. The colourful motifs, striped surfaces, the woven patterns or the fluid nature of his furniture all demonstrate his search for elegance and his obsession for detail and craftsmanship. He was in this respect a true Roman architect, concerned with beauty, function and durability.

HOME Magazine discussed Ponti and Molteni & C's new collection with Francesca Molteni in Milan. Why Ponti? What inspired you to develop this collection? We didn’t plan the re-edition of Gio Ponti, it just happened. We had the chance to visit his nephew’s studio, and we noticed a wonderful bookcase, very elegant and modern. His nephew, Paolo Rosselli, told us it was designed by Gio Ponti for his house in Via Dezza in Milan. We decided to look into Ponti’s archive to find out [about] other pieces never produced before industrially. We discovered a real treasure: sketches, drawings, pictures and notes from the architect. We made an agreement with the Ponti family to reproduce some pieces for an entire Ponti collection. It’s been said, making a sequel as good as the original is very difficult to do. However, Molteni & C’s revival has truly captured the essence of Ponti. How did you accomplish this? It was not easy to redo today something made in the past. We decided to rethink the pieces in total respect of the Ponti soul but with a modern technique — something Ponti would appreciate. That was the challenge. Ponti wrote many notes and made many sketches about his work. He was also the founder and director of Domus [magazine], so we could find many articles in the magazine about the furniture. But we also have a wonderful relationship with the Ponti heirs: two daughters, Lisa and Letizia, one son, Giulio, and many grandchildren. One of them, Salvatore Licitra, is the curator of the Gio Ponti Archives. They helped us a lot to make a collection as good as the original. But, of course, our technicians were very inspired to find out brilliant solutions for the collection of such a great master of Italian design. You are a very multifaceted and creative individual. One of your passions is filmmaking and directing. Do you find your artistic ability to tell and produce a story on film assisted you in conceptualizing and producing a furniture collection, such as the new Ponti collection? Yes, I did a lot of research in the Ponti archive, as I usually do in order to tell a story or to direct a documentary. The process was the same: finding out some interesting details, interviewing people, discovering the context in which the furniture [pieces] were conceived, and then writing a new story with

all these elements. I also convinced Molteni & C to produce five short films about Gio Ponti, his life and work, and to organize an exhibition, Vivere alla Ponti, with all the material we collected during the researches. Now the exhibition is traveling around the world with the collection! How long did it take to produce the final Ponti collection? It was a long process, and it’s not finished — at least three years since the beginning, it started in 2010. The top furniture collectors around the world covet Ponti’s furniture. How did Molteni & C decide what pieces would be in the final Ponti collection? We researched the Ponti archive, finding out which pieces could be reproduced today, free of rights, and selecting almost 30 products. Then we chose the ones that could be part of a real collection with the help and the artistic direction of Studio Cerri & Associati. Finally, we made a special agreement with the Ponti heirs in order to have the exclusive rights to reproduce the pieces. Will we see more revivals from Molteni & C in the future? If so, which other masters of design inspire you? Molteni & C has worked with well-known architects and designers for a long time: Aldo Rossi, Luca Meda, Afra & Tobia Scarpa in the past, and Jean Nouvel, Studio Foster, Patricia Urquiola, Ron Gilad today. In the future, we could think about some fantastic re-editions of their products from the ’70s and ’80s. What’s next for Francesca Molteni? Many projects! I’m editing a documentary about Ron Gilad and his exhibition at the Tel Aviv Museum of Art. It will be presented at the London Design Festival in September. I’m working on an interesting project to promote Italian creativity in Brazil and on a huge project for the next Salone del Mobile in 2014. With Molteni & C, we’re planning some new revivals. There’s so much to do! We’ll see …

JOUIN

MANKU STORY BY JEREMY GARRETT

FINDING GRACE IN PARIS

LE SUR MESURE AT MANDARIN ORIENTAL PARIS PHOTO BY HÉLÈNE HILAIRE

My first time experiencing a Patrick Jouin space was at Alain Ducasse’s Michelin star restaurant, Mix, atop the monumental Mandalay Bay Hotel. Jouin had received Travel + Leisure’s 2006 Design Award for best design, so I figured I would go and check it out. I am so happy I did. A beautiful piece of seared fois gras was slowing melting in front of me as I enjoyed a perfectly cooked tournedos rossini with a delicious glass of Cabernet Sauvignon. Visions of bubbles started to appear before my eyes, not because I had too much to drink but because they were really there — floating in front of me — hand-blown Murano bubbles, 15,000 to be exact. Transparent and beautifully deformed, they cascaded from the 33-foot-high ceiling and floated above the dining room as if someone dipped a giant plastic wand into a glossy, reflective soapy solution and gave it a subtle, soft blow. The furnishings included chairs designed by Patrick Jouin for Cassina and large cocoon-shaped booths that seat four and look like giant shiny eggs. Up on the deck of the mezzanine, an additional 500 glass bubbles floated above the heads of the most privileged diners. “Was I really in Vegas?” I asked myself. This was not the Vegas I was used to — it was magical, playful, sophisticated, inspiring and, well, so cool. It was different; it was a true experience, not just another restaurant. From that moment forward, I was intrigued and truly inspired to learn more about this unassuming and graceful design visionary — Patrick Jouin. The son of a machine tradesman, Jouin was born in 1967, in Nantes, France. He is one of the major protagonists of contemporary design on the French and international scene. Valerie Guillaume, curator of design at the Pompidou Centre in Paris, discovered that you run across a Jouin design in Paris every 350 meters. From

publicity signs to bike stands, he has contributed more than 46,000 designs to the urban landscape. Jouin received his diploma “ENSCI–Les Ateliers” at the Ecole nationale supérieure de création industrielle in 1992 in Paris. After his studies, he worked at and collaborated with Philippe Starck in his studio in Paris from 1995 to 1999, and it has been said that he is Starck’s protégé. However, it is evident in Jouin’s work that while he may have learned how the design world works from Starck, he has moved away from Starck’s methodologies and found his own voice — and what a voice he has. Jouin’s balance between sensuality, elegance, technology, fluidity and grace have garnered attention, accolades, awards and a client list very few designers ever get. Since Jouin opened his own design firm in 1999, he has worked with and designed for Ligne Roset, Cassina, Fermob, Kartell Alessi, Renault, Van Cleef & Arpels, Murano Due, MGX, Ferrero, W Hotels, and a collection of Alain Ducasse restaurants including the Plaza Athénée (Paris), the 59 Poincaré (Paris), the Chlösterli Spoon (Gstaad), the Spoon Byblos (Saint Tropez), Mix (Las Vegas) and Le Jules Verne (Paris) — and the list goes on. Some of Jouin’s many awards include Salon Maison et Objet Designer of the Year 2003; Travel+Leisure Design Award 2006 for Best Restaurant, Mix, Las Vegas; Elle Decor France Designer of the Year 2008; Good Design Award 2008 for One_Shot by MGX; Red Dot Award 2011 for Block Lamp by MGX. While Jouin may have found his voice many years ago, it was Sanjit Manku’s search for his own inner voice that brought the design duo together. Manku was born in Nairobi, Kenya, but grew up in Canada. Ambitious from a very young age, Manku worked five years at a successful Canadian architecture firm after receiving his degree, but

MIX AT MANDALAY BAY HOTEL, LAS VEGAS PHOTO BY THOMAS DUVAL

CLOCKWISE: FROM TOP LEFT: IN/OUT PARIS, PHOTO BY THIERRY LEWENBERG-STURM | MIX NEW YORK, PHOTO BY ERIC LAIGNEL | VAN CLEEF & ARPELS PLACE VENDÔME, PHOTO BY ERIC LAIGNEL | LE SUR MESURE AT MANDARIN ORIENTAL PARIS, PHOTO BY HÉLÈNE HILAIRE

it wasn’t long before Manku started to feel “suffocated” creatively and found his own way of thinking was getting smaller; he needed a change — a big change. After taking a short break to visit some friends in London, Manku realized he needed to take a sabbatical to find clarity regarding his career path. Instead of returning to Canada, one of his friends suggested he go to Rome. After spending a year in Rome, Manku stopped over in Paris before returning back to London. At the time, Jouin was looking for an architect. The two met, and the rest is history, or rather history in the making. I am always interested to learn how design duos make it work, how they walk the line between brilliance and disaster and push their creative collaboration to a point where it produces a unified vision. Manku said, “We have shared sensibilities and a philosophy, but still we’re quite different. There’s enough overlap of the strong fundamentals, and also a love and wonder of what the other one does. At the same time, there’s a tension, which keeps things alive and stops it from getting boring. Sometimes you have something, the other person says ‘that’s good,’ sometimes they say “that’s better,” sometimes they transform it entirely. But what’s nice is the work is neither his nor mine — it’s stronger as ours than it would be individually.” When speaking with the pair you realize they have found a balance between each other and the way they approach design. You can hear creative ambition and drive in Manku’s voice while Jouin has the calmness and confidence of an accomplished and exceptional artisan. Together they are creating environments that not only achieve form, function and intriguing design but in addition Jouin and Manku have been able to capture and expose subtle poetic layers in their spaces, which move those who have the privilege of experiencing them.

exchange, it takes a lot of investment and listening and sharing of philosophy. With Patrick and myself, in the first couple of days, we found a similar language. His English is good, but my French was nonexistent; it was through drawing that we invented words. In each other we found someone frustrated that the things we were looking for didn’t exist. In Canada, I always got accused of reinventing the wheel. I said, “It’s not reinventing the wheel. These things don’t exist, and what does is kind of crappy.” And they’d say, “Get used to it. That’s the way things are.” Patrick pushed me even further. In French culture, everything starts off with a blank piece of paper. He was someone who understood that there are no boundaries to creativity. Here, there’s no limit for us. Experiences can take on anything from a smell to a sound. It was the first time I met someone who was that genuinely open.

HOME caught up with Patrick Jouin and Sanjit Manku at their atelier in Paris.

I remember seeing an interview with Patrick where he said, “Every time I put my pencil on a piece of paper to draw something, I know which technology I will use.” Do you both share this same approach when it comes to designing interiors and architecture? How do your ideas for your interior and architecture projects take shape? Jouin: To be honest, no. When we have the space, we don’t know if it will be plaster or wood because it’s just black and white on the paper. But if I make a shape that’s very

Creative collaboration can sometimes be a very fine line between brilliance and disaster. Can you elaborate on some of the important elements that have fortified your creative partnership? Manku: I think it’s difficult, to be honest. If you’re doing something that’s a set of orders for someone or filling out tasks, it’s like anything else. But if you’re having a real

In 2003, Patrick received the prestigious Maison et Objet Designer of the Year award. Can you remember the moment when you felt that you had “made it” and your determination and perseverance had paid off ? Was it a particular project, an award, commendation from your peers? What was that moment? Jouin: I think it was a long time ago for me. I think in 1998, it was the first risk I took to quit my job and take my stuff to the Milano Fair, take a booth and show it. I was traveling light at this time, but that was the moment when I felt something. I liked it because people were responding. After, I didn’t feel it — we were doing so many projects at the same time. Even when I had the exhibition at Centre Pompidou, it didn’t feel like things were changing or were a great achievement. We are always designing things that come out in six months, two years, four years. It’s not important what we are doing now but what we’ll do later, and we must never show it!

complex, I know there are many materials I can’t use. If you have a shape that’s complex and constraints of budget or place, then you approximately know the material you’re going to use. Manku: Both of us come from different backgrounds, but both of us have a love for materials and making things. I think each of us comes from a background of getting dirty and [understanding] the process of using materials. There’s a lot of research and development here, and time to unwind. In buildings, interiors, architectures — when we can go outside the traditional parameters of plaster, steel, etc. — we can say, “Yes it’s plaster, but can we do it differently from before?” or “Can we borrow from another process and put it here?” We work with glass as well and try to push the parameters of these techniques and materials. We think, “How can we keep these materials living in our century” or “How can we add a new page to this ancient book with simple materials.” The question is always still there, but maybe we get to interiors and architecture later in the process. At what point in your life did each of you know you wanted to pursue a career in design? Jouin: I would say consciously it was when I was around 17. But I think I was designed to be a designer. It’s a mix: First, my love for drawing, and my father is a craftsman. The idea of designing ideas for the “other” is an important part of design and for my family. Manku: It’s kind of similar. One time, my father was talking to some old clients of ours, and they asked the same question. He said, “It’s pretty clear, when your kid’s growing up you just try to make sure they don’t make mistakes. You try to find out who they are and help them along the way.” He said I was always drawing and building things since I was a little kid. To him, it was natural that what you do professionally would be an extension of the same things. Jouin: It is between the art worlds, because we’re using this artistic side of us all the time even if we’re not doing art. There is the technique, which is very interesting, of engineering or medicine. Where we are is in between, using both. Manku: What’s nice about one of the words the French use a lot that we don’t use as much in English is the idea of this poetic side. We get to balance our lives with the idea of poetry — trying to be poetic with some of the stuff we do and getting our hands dirty

VAN CLEEF & ARPELS PLACE VENDÔME , PHOTO BY ERIC LAIGNEL | PORTRAIT OF JOUIN AND MANKU BY BENOIT LINERO

“WE ALL USED TO EXPRESS OURSELVES WITH DRAWING AND BEING CREATIVE. AT SOME POINT, WHY DID SOME OF US STOP, AND WHY DID SOME OF US CONTINUE? FOR US, WE CONTINUE TO DRAW ALL THE TIME. WE'VE NEVER LOST THAT CONNECTION OR MODE OF EXPRESSION.”

and making things. Sometimes it’s strange, but sometimes you meet a really talented person working with their hands who is so talented they don’t know what to make. They’re so frozen in tradition that they don’t realize another way of doing things. Maybe that was part of the frustration as a kid — everyone was doing the same things all the time. Those things combine really well in the world of design. Do either of you ever experience “brain freeze?” Maybe this never happens to you, but if it does, what do you do to get through those difficult moments and find your creative inspiration again? Jouin: I have no fear of having no ideas, because it happens very often. Sometimes you have ideas that are crystal clear in one second. It’s your intuition and maybe something you’ve been thinking about for many years. But on certain subjects, it’s just, “I don’t know.” Sometimes we’ll start a conversation, and I will feel totally empty. Then a few seconds later, after words and discussion, I’ll have an opinion or idea just because of the discussion. You never know. Manku: Those moments are a lot less frequent when you have two people. At any moment you can be on top of your game or underneath. But what’s nice when you have two is you always have someone to bounce things off. It changes things fundamentally. It also becomes more interesting because there are more “temptations” — there’s that “but what could happen if we add that?” It picks up speed, like a snowball rolling down a hill. You just have to have the impetus or desire to start it rolling. Jouin: Not everything is interesting! It depends on you. You can make it interesting. Manku: I think someone asked Patrick, “What can you not do?” And he said, “Watch.” There are certain subjects that are blind spots as well. For example, someone once asked us to do a really sophisticated strip club. We just kind of drew away from the table. Jouin: You say, “Maybe we need the money, but we’ll regret it all our lives!” Your most recent project in Paris, In/Out, a project that sees you reimagining the Société Foncière Lyonnaise property, will be completed soon. Please tell us about the program and the project. Jouin: It’s very funny, because one of my first jobs was designing TVs and radios for Thompson-CSF, and I was working in this building. A few years after, SFL took over and asked us to design something.

It was great because I knew the place, all the spaces and the energy. It helped a lot in the process, but in the beginning it was pure luck. It’s a beautiful industrial building from the beginning of the last century. It’s where they were making cables, and it looks like a castle. We were asked to design not just the interior of the building but also our first piece of architecture in France. Your clients and list of completed works is amazing, to say the least. Is there a particular project close to your heart? Is there a location in the world where you haven’t designed a project that you would like to? Manku: Iceland. Jouin: A little house in Greece or something. Manku: It’s true. We’ve never done anything in the south of Europe yet. We’ve been tempted by Spain a couple times. It’s strange — it’s so close, but no one has asked us yet. What does the house of Patrick Jouin look like? What does the house of Sanjit Manku look like? Jouin: A wood house on the little River Marina. The interior I would say is “unfinished” — the way we like it. It’s a little Dr. Jekyll and Mr. Hyde. I would like this place to be perfect, but I cannot make it perfect. It takes too much time. I also would not want my family to be surrounded by me, myself, and I, too much. It’s not very important at the end. Manku: It’s a mess, halfway between an atelier and an apartment. There’s a lot of stuff; mostly bits of wood, tools and music. There’s no television. It’s a simple life — a lot of music and a lot of food. Architecture and design are art forms. While the technicalities of architecture and design can be taught through formal education, do you feel the “art” of architecture can be taught or is this an innate talent tangible only to those born with it? Jouin: For me, separate things ... La Renaissance ... but I don’t care about the frontier between art, painting, sculpture, architecture and just trying to make a fork or something. To me, it’s not important. You can put “art” on so many projects. I think you can maybe be born with a certain talent, but if you don’t have the culture, you won’t go very far. You need to travel, to have people show you [why a] piece is interesting. Maybe you can be an autodidact and just get along, but not me. I needed people to show me important things and make me grow and think differently. After this, I just wanted to put grace in things I do.

Your schedules must be crazy. What do you both do to unwind? Jouin: I relax on the weekends with my daughter. Sometimes it’s fantastic to have a little bit of stress to push us to do something beautiful. I don’t need so much time to recover — a few days, maybe — but I get exhausted. Manku: I find, maybe more than Patrick, that I need to do things on a regular basis. I need small things regularly. We spend so much time trying to convince people to do things they don’t want to do. It gets frustrating. After a while, you need to not have to talk about things but actually do stuff. Making our own stuff is really important to me. After that, I feel much more relaxed. I just got back from going to a race circuit where you get to go on a track with your car, and you end up getting really relaxed afterward. It’s a bit like “long-term yoga.” Do you have any fantasies or accomplishments that you would like to achieve outside of architecture and design? Jouin: It’s always the same answer: painting. Manku: One thing I do to release stress is make instruments. Aside from that, we’re pretty fortunate. There are a lot of people looking for something; it’s not a big question of fulfillment for us. We’re living our passion. In the end, it’s really just about balance — your friends, your family, your romantic life, the interior thing. We’re really fortunate. I don’t think we’re asking for more, but we’re always trying to get better at dealing with the things we have. What word or phrase do you feel best describes the essence of Patrick Jouin? Sanjit Manku? Jouin: Grace. It’s a bit religious, but that’s where I’m coming from. Manku: Halfway between curious or creative and troublemaker. I think it’s the question of curiosity that we never exhaust. Scratching that itch is satisfying.

PASSION PLAY THE WORLD-RENOWNED PHOTOGRAPHY OF RICARDO LABOUGLE STORY BY JEREMY GARRETT

The Duchess of Alba - Palacio de Liria, Madrid

Valerie Mazerat - Paris

Xul Solar - Buenos Aires

“I HAD THE CHANCE TO PHOTOGRAPH A LOT OF VERY INTERESTING PEOPLE SUCH AS ANNIE LEIBOVITZ, DAVID HOCKNEY, PATTI SMITH AND PAUL BOWLES. IT WAS SUCH A PLEASURE AND THE MOST INTERESTING LEARNING EXPERIENCE I COULD IMAGINE.”

“Nu shi men, xian sheng men, qing zhu yi — you guang zhou fei lai de CA1730 ci hang ban yin gu wan dian.” “Ladies and Gentlemen, may I have your attention please,” a delicate, female voice says over the loud speaker. “Flight number CA1730 departing from Guangzhou has been delayed.” As I’m writing this, I’m sitting in the Guangzhou International Airport waiting for my now delayed flight to Shanghai. I love airports. I always have. Thousands of people hustling through ticketing counters and labyrinth-like checkpoints, finally arriving at their departure gates to fly away into the sky. It is madness but always a little adventure. Today, I surprisingly arrived early, and with my newly discovered delay it gives me some time to just rest here for a moment and take it all in. As the faint sounds of the Mandarin language float around me, people sit glued to the streaming video content on their mobile devices; the free Wi-Fi spits out loads of bandwidth to keep us all occupied as we wait. In front of me rests a glass curtain wall about 30 feet high, which runs as far as the eye can see. To some it may just be a giant window, but for me, at this moment, it is a giant video screen — no Wi-Fi needed. Watching the numerous planes fuel up, load up and make their way around the world gets me thinking of one creative jet setter I had the pleasure of speaking with a few weeks ago: internationally acclaimed photographer Ricardo Labougle. As one of the most in-demand interior photographers in the world, airports are nothing new to Labougle. Tracking down this creative bohemian was not an easy thing to do. When I first made contact with him, he was in India shooting a 10-page editorial spread for The World of Interiors. He then jumped over to Brazil for a quick moment to do some work on one of his forthcoming books, and finally we connected

when he made it back to his hometown of Buenos Aires. Even though he is based in Madrid, Spain, his home will always be Buenos Aires. When I discovered Labougle’s work I was immediately enticed. In our current over-Photoshopped world in which we relentlessly attempt to perfect perfection, I found Labougle’s work refreshing — still having a connection to something raw. There seems to be a mystery, an intrigue and a realness that pulls you into his photographs. There is something about the lighting in his work — his photos capture an interior just how it is supposed to be at that moment, letting natural light play with the contours of furnishings, accessories and anything else that may be present. His photos have a serenity to them, a sense of solitude that allows the image to tell its own story, uninterrupted. Speaking of stories, Labougle’s is quite inspiring to say the least. Have you ever spoken to someone, and by the sound of their voice you know they have found that “place” in their life? The place of comfort, confidence and contentment? That is the sound I heard in Labougle’s soft-spoken manner — a man playing with his passion and living it. However, it was not always like that for Labougle. Becoming a photographer meant having to literally drop a successful career as an economist in order to follow his creative dream. Labougle elaborated, “There was a moment, it was in Spain, and I was traveling. I was working for a consulting company that I was really tired of, and I was working a lot, and I really didn’t want to. I didn’t like my bosses, I didn’t like what it was all about,” he explained in his smooth Argentinean accent. “It was all about money all the time, and I found it to be mechanical. Everything was related to money,” he laughed, “and I couldn’t carry on with that, with just money. So I decided to quit, and I never went back.”

The Snake - Paris

Willy Rizzo - Paris

“I GET INSPIRATION FROM NATURE MAINLY. MY MUSE IS THE LIGHT AND THE SHAPES. THE SOUL OF A PLACE WHICH REFLECTS THE PEOPLE WHO LIVE INSIDE CAN BE THE MOST POWERFUL SOURCE OF INSPIRATION.”

As the son of an antique dealer, it seems Labougle’s eye for interior spaces and design started from a very young age. “My mother always liked change in our house. Things were being sold, so she bought new things and then she sold them. So I saw all of this kind of movement in my life when I was a kid. There was always a relationship with fine material and different styles; it was always classic with some modern paintings. It was a nice mix,” he reminisced. “I started taking photos when I was very young, since I was 8 or 9. It is quite normal now — everyone has an iPhone or telephone that takes pictures — but in those days it wasn’t that common. I asked for a camera when I was 9.” A lot has changed since then. Labougle is constantly being sent all over the planet by some of the world’s most prestigious publications to photograph the best in architecture and interior design. The majority of his work has been for The World of Interiors, Elle Decor Italia, Architechtural Digest España, AD Francia, AD Russia, AD India, AD China, Vogue, Casa Vogue Brasil, Maison Française, Ideat, The Sunday Telegraph, Le Figaro, El País Semanal and Monocle. His work has been exhibited in galleries and art fairs such as Arco and ArteBA. He has also published books, including Living in Argentina (Taschen), The Great Houses of Cayetana, Duchess of Alba, Palacio Pereda (Gobierno de Brasil) and one on the work of decorator Luis Bustamente. He has also contributed to many other titles such as Los Angeles Houses, New Paris Interiors, New Seaside Interiors, Great Yoga Retreats, Great Escapes Mediterranean, Interiors Now I, II and III (Taschen). Labougle’s soulful images reflect him as a person. He is a genuine and raw creative talent who hustles through ticketing counters and labyrinth-like checkpoints to fly around the world and capture inspiring spaces and places, to share them with all of us, so, thank you, Ricardo. HOME sat down with Labougle in his hometown of Buenos Aires just as the sun was going down — how appropriate. Your story is very intriguing. I have learned that you were an economist before you started your career in photography. How did that happen? What was the moment you decided to pursue photography full time? That’s right, I pursued my studies in economy in Buenos Aires, where I was born. Although I was

very much interested in photography since I was a little boy. I was attracted by nature in general (which I still am) but mainly by landscapes and small animals. When I finished high school, I never thought that I could make a living with what was just a hobby for me. Back then, I thought that by becoming an economist things would be easier, and I didn’t dislike that idea at all. But just a couple of years after my graduation, when I was already working in Madrid, I realized that I was missing my hobby more and more, and that what I really wanted to do was something connected to a creative environment. I couldn’t imagine myself in a business career, so before I decided to quit I started to work for free for a magazine doing black-and-white portraits. There was a lot going on in Madrid in those years, so I had the chance to photograph a lot of very interesting people such as Annie Leibovitz, David Hockney, Patti Smith and Paul Bowles. It was such a pleasure and the most interesting learning experience I could imagine. One day in 1992, in Paris, I was introduced to the antique dealer Christian Sapet, and I asked him if I could photograph his house for an Argentine magazine. I loved doing it, and it was published quite soon after. So, step-by-step, I found myself working as a professional photographer. In the beginning, it was not only interior design, architecture and decoration, but also portraits and fashion. 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? In each field, every person is recognized for their passion and professionalism, but it is normal to get more attention if you are in a massive industry like fashion, which receives a lot of media attention and has other resources to finance the productions. At the end of the day, it is a matter of choices, like everything else in life. One of your most recent projects was a book The Great Houses of Cayetana, Duchess of Alba, (Ediciones El Viso). Can you tell us a little about this special project and how the project came together? The Duchess of Alba is an incredible lady. I was always intrigued by her — a woman who, despite her social position, is always pushing the limits. She has done a wonderful job keeping and even expanding her heritage,

amazing palaces and houses that include an incredible collection of art. The Palace of Liria in Madrid, for instance, was destroyed during the Spanish Civil War but fortunately was entirely rebuilt thanks to her tireless work and passion. Everything is so authentic and part of Spanish and European history. The combination of incredible architecture, paintings and furniture, all mixed with a little homey and kitschy touch from herself, couldn’t be better. What is the most memorable interior you have ever shot? I have so many things to thank my career for, and one of them was the chance to be able to work all around the world and to meet so many incredible people — from homeowners to architects and interior designers. As soon as you enter a room, you can feel a mix of talent, passion, beauty and love. With all that energy, the result can only be memorable. But if you want a name, I’m especially fond of a story I shot in the house of Argentine painter Xul Solar. You have shot editorials and covers for the world’s most prestigious publications, can you remember the moment when you felt that you had “made it,” that your determination and perseverance had “paid off”? Was it a particular project, an award, a commendation from your peers? What was that moment? I still have the same rewarding feeling every time people put trust in me for any kind of commission, or if just anyone interested in my pictures reacts to them in a positive way — whatever that means for each one. Every day is a new challenge. The feeling of “I’ve made it” is just a moment. Tomorrow, I’ll start again. What is the most difficult interior you have ever shot? It was when I was shooting St. John’s Cathedral in Valletta, Malta. It’s an amazing building that has an incredible Caravaggio. Anyway, the focus of the story was in the graves in its floors. The problem was that the keepers didn’t allow me much time to do it, and the light was not the best. But the worst part was that all the floors were covered by dozens of chairs for a religious service to take place in less than an hour. For this and the whole situation of the graves, it was very complicated!

Ivan Pericoli and Benoit Astier de Villatte - Paris

“THERE WAS A MOMENT, IT WAS IN SPAIN, AND I WAS TRAVELING. I WAS WORKING FOR A CONSULTING COMPANY THAT I WAS REALLY TIRED OF, AND I WAS WORKING A LOT, AND I REALLY DIDN’T WANT TO. I DIDN’T LIKE MY BOSSES, I DIDN’T LIKE WHAT IT WAS ALL ABOUT... IT WAS ALL ABOUT MONEY ALL THE TIME, AND I FOUND IT TO BE MECHANICAL. EVERYTHING WAS RELATED TO MONEY... I COULDN’T CARRY ON WITH THAT, WITH JUST MONEY. SO I DECIDED TO QUIT, AND I NEVER WENT BACK.”

The Duchess of Alba - Palacio de Liria, Madrid

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 it an innate talent tangible only to those born with it? I think you definitely need to have a natural talent or sensitivity, as this is not just a technical issue. What camera are you using at the moment? Do you have a camera with you at all times? I use many cameras. I still shoot film with my old Hasselblad, and also in 35 mm with a Nikon. Now, my digital camera is a Canon Mark III, but for everyday I have an iPhone or a pocket camera. Did you start your career before the days of digital? If so, what are your thoughts about shooting digital today? Digital is very practical because you don’t need a lab, which is a big advantage. On the other hand, after the session the work must go on. Film still has a lot more character and charm in its texture, which I love, and this cannot be explained in words. I will not stop using film. Surprisingly, there are still a lot of requests for film. If there was no digital, and you could only shoot one last role of film, what type of film would you choose, and what would your last 36 frames capture? I would use a Hasselblad with a Kodak Portra film. It would be 12 portraits of the ones I love the most. Do you have a muse? If so, who or what is it? I get inspiration from nature mainly. My muse is the light and the shapes. The soul of a place, which reflects the people who live inside, can be the most powerful source of inspiration. What is next for Ricardo Labougle? I’m working on a project for a book on fashion designers’ homes around the world and another one on the most important Spanish decorator, Jaime Parladé. At a more relaxed speed, I’m also working on a different book related to houses and lifestyle in Sao Paulo, Brazil, and I will keep traveling around the world for more interiors.

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RCHITECTURE OF MAXIME FRAPPIER STORY BY JEREMY GARRETT

Laure-Conan Library - Quebec, Photo by Stephane Groleau

There are still little things that remind me I am definitely not in my 20s anymore. Case in point: A few weeks ago, I was in the beautiful city of Montreal taking a leisurely afternoon stroll in the Old Port along the St. Lawrence River. Summer was still trying to pretend it was present, but the crisp, cool Autumn breeze gliding across the river’s edge told me otherwise. As I made my way through the old city, a couple of people, who I think had to be university students, walked past me; I could not tell you what they looked like if you paid me, but I can tell you that one of them was wearing fluorescent turquoise pants, bright orange sneakers, a bold yellow logo-emblazoned T-shirt and an oversized white baseball cap, which completed his fall/winter prêt-à-porter ensemble. It is not that I dislike bright colors, but I realized (at my age) I would never wear all of them together. Maybe I would choose one as an accent, but not all four colors at the same time. And when you go fluorescent, well, I think one fluorescent color counts as three regular colors, so this student was wearing 12 colors at once, relatively speaking. It became clear to me that now, in my 30s, I am truly starting to appreciate the understated black T-shirt and dark blue jeans, or the black suit and crisp white shirt. Whether it be fashion, architecture or design, it is the subtle afterthoughts that I find most interesting, the little details you do not necessarily notice at first glance, but when you take a second look, you say, “Wow, that’s really nice.” A few days after my stroll/pop-up fashion show in the Old Port, I read that the Royal Architectural Institute of Canada announced the recipient of its 2013 Young Architect Award — Maxime Frappier. I didn’t know what to expect when I started to research him. I do have to admit that with the word “young” in the title I had a flashback to my “fashionista experience” of a few days earlier. Once I finally saw Frappier’s work, my fears were alleviated. There it was: the black suit and the white shirt — understated and timeless design with subtle, detailed afterthoughts that made me say, again, “Wow, that’s really nice.” When you first meet Frappier you have no choice but to smile — it is contagious. There is a warmth and genuineness that beams from his eyes. Frappier’s jovial demeanor is a balance of charm and the subtle confidence of an architect whose star is on the rise, and rising fast. Frappier graduated in 2000 from the Université de Montréal School of Architecture. In 2006, he cofounded ACDF Architecture, which now comprises 35 professionals. He works on projects throughout Canada and Asia, has won several awards and has been published in more than 30 international magazines. Since 2005, Frappier has been a guest professor at the Université

de Montréal. He has also been a frequent guest critic at both Laval University and Dawson College. His teaching methodology is based on an intuitive approach that builds upon the use of physical modeling, 3-D modeling and videos. He has also been a guest instructor at the University of Ho Chi Minh in Vietnam. I think it is Frappier’s confidence that intrigued me most. At 36, he shows the characteristics of an architect possessed of many, many more years of experience. Refined and sophisticated, Frappier’s work does not rely on over-accessorising or “multiple fluorescents” to grab your attention; it is the understated details in his work that allow the pureness of his visions to come to life and grab the attention of observers and those who enter his environments. I was curious where Frappier’s strong inner conviction about his approach to architecture and design stemmed from. When asked, he referred back to his childhood and how his experiences as a boy had influenced his body of work to date. “You have to be yourself,” he said in his baritone French-Canadian accent. “There is a point in life where you start understanding who you are, your emotions. I remember when I was young I was always playing outside alone — always alone. I was always creating scenarios. I would throw the ball against a brick wall — back and forth but alone. My sister is a high-profile pianist, and when we were younger she was practicing piano six to seven hours a day, and I was throwing the ball on the brick wall while she was playing piano. For her, my ball was kind of a metronome.” Frappier’s solitude as a boy may have contributed to his confidence, but he also acknowledged being aware of his senses at a very young age, which played a large role in his development and growth as an architect. “I grew up on an orchard, and sometimes my brother and I would take big boxes of wood and build little houses. At one point you say, ‘This is me, this is my past, and I love this.’ On our orchard, we had three natural springs, and they all ran into a small canal. At the end of the canal, there were mint plants — I just recall the smell of mint! I would sit there and just smell the mint and put my feet in the water. I was a tomboy, you know, I liked playing sports, but I also loved being in mint! I never said that when I was younger, but probably already at an early age I was open to my senses.” As confident as he may be, Frappier also admits that there must be a balance: Not always being in control is healthy, and accepting moments of vulnerability often leads to great design. “I feel to be a good designer you must be confident enough to reveal to many, many people what you think; you must be open to being vulnerable, in a zone where you are not always in control.”

St-Germain - Montreal, Photo by Marc Cramer ÂŠACDF

“I FEEL TO BE A GOOD DESIGNER YOU MUST BE CONFIDENT ENOUGH TO REVEAL TO MANY, MANY PEOPLE WHAT YOU THINK; YOU MUST BE OPEN TO BEING VULNERABLE, IN A ZONE WHERE YOU ARE NOT ALWAYS IN CONTROL.”

With a growing list of international clients and multiple projects in Asia, Montreal, Vancouver and Las Vegas, Maxime Frappier is definitely revealing to the world who he is and what he thinks about architecture and design, and I have a feeling we are all going to like it. I was able to meet with Frappier at his Montreal atelier where we sat down to discuss architecture, design and life with a touch of mint. Outside the parameters of architecture and design, what sources do you draw from for inspiration? Everything. Preparing an apple for my kids, doing the lawn, walking and playing in the snow, watching a fashion show or even simply looking at people — I am inspired by everything around me. This is a big year for you. You are the recipient of the Royal Architectural Institute of Canada’s 2013 Young Architect Award. Congratulations! Can you remember the moment when you felt that you had “made it” and your determination and perseverance had paid off? Is receiving this award, that moment? Was it a particular project, commendation from your peers? What was that moment? I can’t say I have made it. This is certainly a very prestigious award, but for me and for all my collaborators at ACDF, we see this as a tap on the shoulder saying, “Keep up guys, you are on the right track.” There have been several key moments in the past year, and this one is certainly important. I should say that we have been also lucky since the first project we built — a small office building and warehouse for a company fabricating concrete sewers — for which we won a Canada General Governor award, one of the most prestigious awards in Canada. We kind of built our confidence with this project. More recently, another keystone moment was being shortlisted for the New Keelung Terminal [in Taiwan] among some of the best international firms, such as Mecanoo, Asymptote and Neil Denari. We did not win, but we felt capable and most of all comfortable working on these kinds of high-profile mandates. I have to say that one of the most flattering moments we recently experienced was being invited by peer architects to work and lead the design on a very interesting and large-scale project in Vancouver. We hope this is only a starting point. You like to make use of physical modeling, 3-D modeling and videos as a part of your design approach. How do you feel your design approach sets you apart from your peers and counterparts?

I am not really trying to be apart from my peers but simply working with what we feel is needed to communicate our ideas, since architecture is all about being able to transcribe ideas to paper and computer, and to organize together all of your ideas in order to build it. You can have the best ideas, but if you cannot communicate them to your collaborators, clients, investors or any other stakeholders, you will not build any great project. I believe that the physical models we are doing are very important. Even if they are sometimes very sketchy, they have the power of tying everyone to the concept. They also contribute a lot to the seduction play with the client. Craft is very powerful; it keeps the imagination alive — you never show a final render before having presented the design process and all these very important conceptual models and sketches. The design process is more important than the result since it creates the story, which all the project stakeholders have to embrace. Architecture is an art form. While the technicalities of architecture can be taught through formal education, do you feel the “art” of architecture can be taught, or is this an innate talent tangible only to those born with it? I’m a teacher at University Montreal, so I can answer that. Out of 12 or 15 students, you really have one out of 15 who is really a “natural” artistic-approach architect — meaning it’s easy for them. These students don’t have any kind of blockage in front of a white page; they are sensible, they are capable of feeling stuff or understanding their environment. I really think that architecture is all about being able to be sensible to our environments. This sensibility is difficult to teach; it’s difficult to teach how to be emotive and sensitive. However, some very good architects have a pragmatic approach, which is based on reason and calculations — a sequential design approach — like you are going from point A to point B, but they will not jump to point C before having resolved point B. They have a onestep-at-a-time process, and sometimes the design is very interesting. I’m probably more the type to jump to point C and then come back to point B, then jump to point F, and come back to point A. I have an approach that is a bit more sketchy. It’s really based much more on emotion, feeling and intuition. Can you teach that? I believe you can, but I would say that there’s really only one out of 15 who really can capture what is the essence of a creative architect. I feel to be a good designer you must be confident enough to reveal to many, many people what you think. You must be open to be vulnerable, in a zone where you are not always in control. Is there a location in the world where you would like to design a project but haven’t yet? Wow, this is a very difficult question. I have traveled so much in Asia and in the Emirates for the past five years. We have recently designed

projects in Vietnam and Indonesia, and a few are about to get built, so Asia should be the right answer — but it really depends on the type of building. A villa for sure on the West Coast; an office tower in an emerging Asian city such as Jakarta. But if I have to choose one destination, and I know it’s going to be a little hackwork for some “pure” architects, but I have to say Vegas! Vegas, for having the chance to build an iconic project being totally the opposite of the “Vegas approach.” Kind of a big challenge, don’t you think? What does Maxime Frappier’s house look like? Can you describe the exterior and interiors? My god, let’s say it is similar to what an apple pie is for me (comfort food). My house is in a town called Mont-Royal in the center of Montreal Island. It’s a very simple house built in the ’60s with generous areas and many bedrooms, nothing more. To be honest, I am dreaming every day to build my own house. I will probably build one in Saint-Donat (north of Montreal) in the near future. If I could get a Vegas project, it would probably help a bit. Most of us don’t get the opportunity to physically see and touch the thoughts and ideas in our minds. How does it feel when you visit one of your creations in person? Not much, since I have seen it so many times in the 3-D model. It also can be deceiving since it takes so long to build a project, and sometimes you are already somewhere else in your design mindset when a project gets finished. But it’s true to say that it is very pleasant. I feel most of the time as excited as I was when I was playing, as a child, with my woodblocks creating the highest tower of the world — just on a different scale I should say, no? At this point in your career, is there a particular project that you are most proud of — built or unbuilt? Un-built: I must say our latest design for the Taichung City Cultural Centre International Competition. We thought this concept was strong in regards to the symbol we were referring to, and in regards to an interesting promenade. Built: The La Malbaie Library (a very simple object that frames amazing views toward the St. Lawrence River) and our recent Saint-Hyacinthe Centre Aquatique. Do you have any fantasies or accomplishments that you would like to achieve outside of architecture? If you weren’t an architect, what would you do? I would probably be an opera singer! Baritone base. Or I would be a producer of fashion shows. I love fashion shows!

IN & OUT

A PARISIAN PREMIER FOR PATRICK JOUIN AND SANJIT MANKU

PHOTOGRAPHY BY THIERRY LEWENBERG-STURM

Built in 1927 by the architect Adolphe Bocage, this building, a landmark of the golden age of industry, had long been used to produce telephone control units. Located on the banks of the Seine, the site, with nearly 7 acres and a Six-story building, used to hold the LMT Society (Le Matériel Téléphonique). The building soon became a symbol of industrial innovation. The site had been designed in keeping with the great principles of the modern movement in architecture using simple geometrical shapes, and reinforced concrete. In 1976, Thomson-CSF took control over LMT, which at the time, employed 10,000 people. In 1988, 70 years after its construction, Thomson Multimedia transformed the factory into offices and set up its headquarters in the building, until 2009. SFL then decided to restructure the building, aiming for it to become a benchmark in the tertiary sector, focusing on innovation as well as on well-being at work. It is this ambitious decision that gave birth to the major IN/OUT project. The IN/OUT project involves an office campus of more than 387,500 square feet. It is located on a former industrial site in Boulogne, in Western Paris, on the right bank of the Seine River. This factory, which used to manufacture telephone tools in the 1930s, underwent a complete rehabilitation done by DTACC Architecture, such as many industrial sites in Boulogne. Visitors enter the historical building and are welcomed into a large vast space similar to a hotel lobby. A large oval desk in the entrance leads visitors to what used to be an exterior courtyard. In the courtyard one discovers a surprising microarchitecture. Jouin Manku decided to create a very different atmosphere to complement the “Bocage” building. This gives employees a healthy balance between formal and informal, between work and play, an idea at the heart of the In/Out Campus. The structure of the “Bocage” building evokes nostalgia, professionalism and rigor. In contrast, the new wing has been conceived as a building of

contemporary architecture, designed around the idea of movement and flow. Its shape has been made to create a series of intertwined spaces. The building is also organized around the idea of passage: passing of people, light and air. It is also a place which evokes movement, production, action and dynamism. The building is organized around a central tower, made of bush hammered concrete, which holds all vertical circulation. The choice to use concrete for the center of the building was to create a coherence and dialogue with the neighboring “Bocage” building, which is made of the same material and clearly shows its original industrial character. Two wings revolve and wrap around the central tower, but they never meet. Their architectural lines are softer and each wing is a curved form, made of curved glass and vertical wood cladding. The spaces between the concrete center and the wood wings are filled with glass, which allows light to penetrate almost everywhere in the building, vertically or horizontally. On the outside, the density of the vertical wood cladding increases and decreases, depending on its position, and which indoor space it corresponds to. The pattern starts out smoothly, then its texture, created by adding chamfers, changes. These edges catch light differently and create a sense of depth on the façade. Inside, the main materials are wood, bush hammered concrete, plaster and curved glass. The curved wood that wraps a large part of the interior adds to the sense of warmth, while the simple use of glass and concrete add a crisp modernity to the project. A footbridge connects the two buildings. This bridge, made of white painted steel and wood, makes access easy between the two buildings and acts as a symbolic link between the two architectural signatures, and the birth of a common project.

TRUTH SERUM HALDANE MARTIN CREATES AN OUT-OF-THIS WORLD CAFE FOR TRUTH COFFEE IN CAPE TOWN PHOTOGRAPHY BY SHANNA JONES

THE LEATHER-TOP MAIN BAR, CLAD IN PRESSED TIN CEILING PANELS, IS LOCATED SYMMETRICALLY IN FRONT OF THE ROASTER SHELVING. PURPOSELY OVERSTUFFED, LEATHER AND STEEL CHAIRS, BARSTOOLS AND COPPERCLAD TABLES CREATE A FORMAL RAISED DINING AREA IN FRONT OF THE BAR. A SERIES OF FIVE HORSESHOE-SHAPED, DEEP-BUTTONED, HIGHBACKED BANQUET SEATS RUN DOWN THE RIGHTHAND WALL OF THE SPACE.

Truth Coffee in Cape Town, South Africa, approached furniture and interior designer Haldane Martin to design the interiors of its cafés, including a new 16,146 square-foot headquarters in Cape Town Fringe Innovation District. The goal was to deepen Truth Coffee’s brand identity and promote its coffee roasting business through interior design. Haldane Martin decided on steampunk as an appropriate conceptual reference, as coffee roasters and espresso machines display elements of romantic, steam powered technology of times past. The steampunk genre’s obsession with detail and sensual aesthetics also captured the essence of Truth Coffee’s product philosophy: “We roast coffee properly.” David Donde, the main face behind Truth, loved the idea, as this Victorian futuristic fantasy style and literary philosophy resonated strongly with his “maverick inventor” personality. Donde worked closely with Haldane Martin’s team throughout the design process, and he and business partner Mike Morritt-Smith, physically built many of the designs in which Martin developed for them. Truth's partners chose a three-story turn-ofthe-century, warehouse building on Buitenkant Street for its new headquarters. The building was stripped back to its bare bones, exposing beautiful cast iron pillars, Oregon pine roof trusses and floors, and original stone and brick walls. Haldane Martin opened up the ground-floor façade onto busy Buitenkant Street with a series of tall steel and glass doors. Most of the buildings natural, aged patina was kept intact and complimented with raw steel, timber, leather, brass and copper finishes. The top two floors were converted into creative studio office rental space.The 6,458 squarefoot ground floor was kept as Truth’s headquarters and needed to include a 120-seat restaurant, café, bar and kitchen, its newly acquired 3-ton Probat roaster, a barista trainee school, public event space, coffee bean warehouse, espresso machine workshop, management office and restrooms. The huge, fully functioning vintage roaster became the kingpin for the space. Once this was located centrally on the ground-floor plan, everything else fell naturally into place. Handane Martin also surrounded the roasting machine with a 20-foot diameter circular steel shelving structure, reminiscent of a Victorian gasworks. The leather-top main bar, clad in pressed tin ceiling panels, is located symmetrically in front of the roaster shelving. Purpose overstuffed, leather

and steel chairs, barstools and copper-clad tables create a formal raised dining area in front of the bar. A series of five horseshoe-shaped, deepbuttoned, high-backed banquet seats run down the right-hand wall of the space. Each private banquet seat surrounds a leather-clad, long, narrow profile-cut steel table. A small cocktail lounge of blue leather chesterfield couches and a crazy pipe bookshelf is located behind the original industrial lift and a raw steel staircase leads to the upper floors. The front café space is dominated by the longest table in Cape Town, a 23-foot-long communal table with swing-out stools. It is built from industrial pipe, malleable castings, and a table was made from Oregon pine reclaimed from the buildings stripped ceilings. A flickering candle bulb lighting and power cable installation hangs over the table, cleverly providing laptop and cell phone charging access for the café patrons. More café seating is provided by the vintage French worker chairs. The over-scaled cog teeth on the edges of the café tabletops, encourage groups of patrons to move tables together to facilitate larger informal gatherings. The barista coffee school is located in the front right-hand corner of the space and has a coffee and sandwich hatch that opens onto the sidewalk for passing pedestrians. Vintage steel stools and old worn school desks placed on the sidewalk create the ideal environment for a quick coffee break for the creative entrepreneurs who work in the area. The kitchen, public event space, coffee bean warehouse, espresso machine repair workshop, and management office is located towards the back of the space. The owners of Truth Coffee demonstrated their understanding of the value of taking a concept all the way through to the finest details by allowing Haldane Martin to treat the restroom spaces with the same Steampunk aesthetic — exposed copper pipes, Victorian tap levers, pull chains and floor tiles, spun-brass basins and brass shaving mirrors. The Little Hattery also created the most outlandish steampunk-stlye uniforms and hats for the eccentric staff to complete the look. With the exception of the authentic vintage fixtures, all of the furniture was specifically designed for Truth Coffee by Haldane Martin and his interior design team. The result is an iconic space with true steampunk character.

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