DECEMBER 2020
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CONTENTS DECEMBER 2020
VOLUME 91 NUMBER 15
ON THE COVER To provide 86 outdoor seats during the COVID-19 pandemic, Buddakan, an Asian-fusion restaurant in New York, turned to Rockwell Group, which responded with an environment that channels Tokyo’s famed Tsukiji market via dozens of nylon lanterns, pine crates, and safely distanced canvas-protected dining “stalls.” Photography: Emily Andrews.
features 84 BREAKING THROUGH by Ted Loos
Completed in the midst of the pandemic, the Joseph Hotel in Nashville by INC exemplifies the power of innovation and art.
108 BRIGHT YOUNG THING by Rebecca Dalzell
Revel Architecture & Design masterfully orchestrates space, light, and connection to site for the Austin, Texas, headquarters of a fledgling start-up.
92 HOME AND AWAY by Ian Phillips
116 UP IN THE AIR by Wilson Barlow and At the Hôtel de Pourtalès Colleen Curry in Paris, Agathe Labaye Our annus horribilis comes Architecture layers to an end, but the design, residential comfort with art, and fashion in our luxury, craftsmanship, annual compilation—and and French flair. the hope of better days— live on forever. 100 SEEING RED
by Joseph Giovannini
By using a traditional rural paint color on a residential compound in the Swedish countryside, Bornstein Lyckefors Arkitekter camouflages the buildings’ modernist forms.
ERIC LAIGNEL
12.20 84
favn sofa, 2011 jaime hayon – swan chair, 1958 arne jacobsen – made in denmark by fritz hansen
please inquire about our A&D trade program
fritz hansen kartell bensen herman miller knoll os vitra artek artifort foscarini moooi emeco moroso montis and more!
CONTENTS DECEMBER 2020
VOLUME 91 NUMBER 15
special hotshots section 37 SMART LIVING by Peter Webster 40 BEAUTY TREATMENT by Edie Cohen 42 RETAIL THERAPY by Karine Monié 44 SIMPLE GIFTS by Georgina McWhirter 46 TOTAL TURIN by Edie Cohen
special market section 51
MADE IN AMERICA by Rebecca Thienes, Georgina McWhirter, Colleen Curry, and Wilson Barlow
departments 19 HEADLINERS 27 DESIGNWIRE by Annie Block and Peter Webster 32 BLIPS by Peter Webster 79 CENTERFOLD
12.20
A bamboo installation by LLLab. nestles in the lush landscape of southern China, setting the scene for a longstanding outdoor performance. 138 BOOKS by Stanley Abercrombie 140 CONTACTS 143 INTERVENTION by Wilson Barlow
JAMES JONES
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Woven Into Nature by Colleen Curry
Redefining
Anemonas ¥ pixel mosaic 3/8"x3/8" Deep Sea Collection
Interiors
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THE ARTISAN COLLECTION: SNOWDROP PENDANTS Visit LIGHTART.COM to learn more.
SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, and NewBeauty. Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logis tics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. Additionally, SANDOW was selected by the New York City Regional Economic Development Council to be the official operator of NYCxDESIGN Week.
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e d i t o r ’s welcome
Well, well, well...2020 is officially coming to a close. For the simple pleasure of seeing this statement printed on paper in our permanent records—and with the sheerest jubilation—I can’t help sharing the following drought of the obvious. The sooner the wrapping paper is on, the tape sealed on this Pandora’s box of a year, and the whole damn parcel is briskly whisked away to storage in the worst corner of our history, the better I will be!
forward, always forward
Actually, the better we all will be. There is now more than a promise that highly effec tive vaccines are just around the January corner. Democracy having held its grounds and sway, with the nation celebrating the highest voter turnout in our republic’s history, we are getting ready to welcome a new president (again, sweet January!). Our beloved design industry, having battened down the hatches quite quickly, has by and large successfully survived the pandemic and will no doubt show up in rare form in 2021. Limber, with new ideas born from the hard lessons of these months crammed to their brim, design and architecture once again can be relied on to punch well above their weight in rebuilding a post-COVID world, and will be vying for a leadership position in our communities. Lastly, let me add some shop talk. I want to share with everyone my absolute devotion to our Interior Design team. At the most trying times, the whole amazing editorial gang kept steadily on, delivering news, stories, ideas, and just as importantly, helping all of us stay together...virtually, and in print. I want to express my gratitude to, and admiration of, Adam Sandow and our newly minted CEO, Erica Holborn. Since March they have steered our whole group securely and expertly, always finding solutions where others would only see losses. Ultimately, they have delivered us to the promising shores of the new year, meeting every day and every choice with their feet squarely placed on the side of good. Cheers! See you all on the other side (and I can’t wait!)!
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DEC.20
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INC Architecture & Design “Breaking Through,” page 84 partner, creative director: Adam Rolston, AIA. partner, field director: Drew Stuart. partner, studio director: Gabriel Benroth. firm site: New York. firm size: 35 architects and designers. current projects: W Hotel Union Square and JACX Food Hall in New York. honors: Interior Design Best of Year Awards; NYCxDESIGN Award. equality: The partners say their biggest single achievement is pay equity for women and men at their firm. air quality: There are double the number of plants than people in their headquarters. inc.nyc
headliners CHRISTOPHER GARCIA VALLE
“We’re a passionate, open-source studio dedicated to the integration of the design disciplines”
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Bornstein Lyckefors Arkitekter “Seeing Red,” page 100 head architect, owner: Andreas Lyckefors. firm site: Gothenburg, Sweden. firm size: 23 architects and designers. current projects: Polestar headquarters in Gothenburg. away: Before co-founding Bornstein Lyckefors Arkitekter with Per Bornstein in 2011 in Sweden, Lyckefors worked at OMA in the Netherlands. home: He built his own house. bornsteinlyckefors.se
h e a d l i n e rs
Agathe Labaye Architecture “Home and Away,” page 92 founder, director: Agathe Labaye. firm site: Paris. firm size: Five architects and designers. current projects: Statement jewelry boutique and a residence in Paris; a farm in Versailles, France. role model: Carlo Scarpa, who, in addition to still being relevant today, was an architect that thought of all scales of a building, from the envelope to its objects. new: Labaye founded her firm in 2018. newborn: She gave birth to her second child in October. agathelabaye.com
Revel Architecture & Design
words: After college, Clement spent a year in Poland as an English teacher. things: Tessier collects decorative skulls and cardigan sweaters. plants: A gardening enthusiast, Koohestani is a selfdescribed “floweroholic.” revelers.com 20
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RIGHT: STEPHAN JULLIARD
“Bright Young Thing,” page 108 coo, principal: Scott Clement, AIA. design director: Tom Tessier, IIDA. senior project designer: Faegheh Koohestani. firm sites: Los Angeles and San Francisco. firm size: 52 architects and designers. current projects: Corporate offices in San Francisco and Los Angeles. honors: IIDA Northern California Chapter Honor Awards.
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JENS ZIEHE/COURTESY OF KATHARINA GROSSE AND VG BILD-KUNST, BONN 2020
design wire by Annie Block and Peter Webster
infinite dimensions For Katharina Grosse, a painting can appear anywhere. In fact, we featured her series of sustainable Paulownia and waterbased acrylic surfboards, the sales proceeds of which went to Parley Global Cleanup Network, in the magazine last year. It was then that the German artist’s largest unconventional canvas was being prepared. It Wasn’t Us occupies more than 25,000 square feet of the Hamburger Bahnhof–Museum für Gegenwart–Berlin (which, at press time, was closed to the public due to COVID-19). The exhibition begins in the Historic Hall, where vivid acrylics cover a nearly 44-foot-tall CNC-cut polystyrene sculpture and the floor, continues through a doorway to the asphalt outside, and culminates on the facade of the Rieck Hall. “I painted my way out of the building,” Grosse says. In reference to the show’s title, chosen before the pandemic struck, she adds, “Now more than ever we recognize that we cannot shy away from responsibility.” As such, when her installation is dismantled next year, the 12,000 pounds of polystyrene will be recycled, likely reused for insulation. The site-specific It Wasn’t Us by Katharina Grosse is on view at the Hamburger Bahnhof–Museum für Gegenwart–Berlin through at least January 10.
interiordesign.net/grosse20 for a video tour of the exhibit DEC.20
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cup of cheer From top: Graphic designer Stefan Sagmeister. His Now = Better coffee cup and saucer for the illy Art Collection is available singly or in sets of two or four, and in espresso or cappuccino sizes. One of the four patterns. The mirror titanium finish.
TOP: VICTOR G. JEFFRIES II
d e s i g n w ire
Rise and shine! That’s the message New York–based graphic designer Stefan Sagmeister delivers—literally and metaphorically—with Now = Better, a coffee cup and saucer he’s created for the illy Art Collection, an ongoing project in which such previous artists as Marina Abramović and Olimpia Zagnoli have given the everyday object—originally designed in 1990 by Interior Design Hall of Fame member Matteo Thun—an aesthetic makeover. The opposite of a doom merchant, Sagmeister argues that the pandemic and other current crises make us doubt that human life continues to improve—that we forget our advancements on the past and by doing so hobble our progress in the future. The designer’s long-term optimism finds expression in the mirrored titanium surface of each cup, which reflect the saucer’s bold and colorful graphics as upward curves of rising achievement. Ready for your double shot of positivity?
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Spinneybeck I FilzFelt is a Knoll brand.
ARO Plank 8
Leather Wall System by Architecture Research Office
Clockwise from bottom left: At Hey Happy café in Victoria, British Columbia, by Bidgood + Co, existing brick joins maple seating, medical-grade linoleum flooring, and Lucy Sherston artwork. A table base of corrugated steel, actually roofing panels. The counter’s galvanized steel. Coffee cup by Vancouver ceramicist Lisa Warren.
We could all use a little happy right now. In Canada, Bidgood + Co has that covered with Hey Happy, a cult-favorite coffee shop in Victoria, British Columbia. When owner Rob Kettner had the opportunity to double the café’s footprint from 575 square feet to 1,150, once the space next door opened up, he turned to Bidgood to mastermind the expansion into one jubilant whole. “Inspiration came from pop art, bold colors, rounded forms, and elevated everyday materials,” principal Kyla Bidgood says. Luckily, the envelope included beautiful exposed brick, which Bidgood and team paired with built-in maple seating, chrome sconces, corrugated and galvanized steel surfaces, and linoleum flooring in a dreamy pale blue. Pleasing curves and power outlets abound as does commissioned abstract art in upbeat yellows, greens, and purples.
d e s i g n w ire 30
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CLOCKWISE FROM BOTTOM LEFT: JAMES JONES (3); MARY MCNEILL KNOWLES
perk me up
Spinneybeck I FilzFelt is a Knoll brand.
ARO Grid 3
Acoustic Ceiling System by Architecture Research Office
Crush™ PANEL @2011 modularArts, Inc. Photo by Factioned Photo, @factioned
Systemic racism continues to inform the built environment of our cities through public policies, municipal planning, and architecture. The inter section of these forces is explored in “Reconstructions: Architecture and Blackness in America,” at the Museum of Modern Art in New York, from February 20 through May 31. Projects by 10 architects, de signers, and artists investigate how Black cultural spaces and practices are mobilized as sites of imagination, liberation, resistance, and refusal. Among them: We Outchea, Sekou Cooke’s hip-hop inflected low-income housing proposal for Syracuse, New York; Germane Barnes’s Miami Porch Portrayals, an examination of built forms adopted by African and Caribbean diasporas in the city; and Emanuel Admassu’s Wiregrass WAHO, which connects the slave trade to the settling and urbanization of Atlanta. FROM TOP: COURTESY OF SEKOU COOKE; COURTESY OF GERMANE BARNES; COURTESY OF EMANUEL ADMASSU
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Honoring the life of Ralph Saltzman, Designtex Founder and Industry Innovator (1928-2020) When Designtex co-founder Ralph Saltzman passed away in July at age 91, he left behind a legacy of innovation and an investment in the future of design and art. Designtex, which he established in 1961 with fellow Herman Miller alum Harry Paley, is today a leading manufacturer of applied materials for the built environment and a pioneer in the development of sustainable textiles, biophilic design, and digital printing. The brand’s work has earned many commendations, including a first prize from the Design Museum of London, and is represented in the permanent collection of the Cooper Hewitt. These successes can largely be credited to the groundwork Saltzman laid and his exacting acumen for product design and extraordinary enthusiasm for the textile industry and its people. Designtex secured a reputation as a solutions-based innovator from its very first product: Verel, a flame-retardant drapery knit developed for New York’s landmark Seagram Building. Saltzman and Paley expanded their business over the decades, diversifying their product line to address myriad design challenges and seeking out the highest-quality producers and best mills—many of whom remain key partners. The relationship-driven Saltzman was very much guided by his conversations with architects and designers, and he collaborated with some of the industry’s greatest visionaries. One of his most iconic contributions came in 1991 with the launch of the Portfolio Collection, working with architects Aldo Rossi, Robert Venturi, and Denise Scott Brown. Always looking for partners that could expand the definition of contract textiles, Saltzman worked with the archives of Josef Hoffman and M.C. Escher, the Guggenheim Museum, and renowned designers such as Clodagh and William McDonough. Saltzman’s expansive creative spirit extended beyond his work, and family played a central role in both his personal and professional lives. Saltzman and his wife, Muriel, amassed an expansive art collection and their mutual love of art and design profoundly influenced their daughters, Lisa and Jodi. The Saltzman family established an exhibition room for the permanent photography collection of the Norton Museum, on whose board he also served. Having loved the design community of which he was a vital member and devoted mentor, Saltzman left his mark not only on the industry’s product, but also its people.
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hot shots
smart living firm: @collaborativecollective project: Villa Sophia, Prague
KRISTÝNA HRABĔTOVÁ
The idea of forming a collaborative of architects, designers, and related professionals first came to Krištof Hanzlík while studying at London’s Bartlett School of Architecture. Returning to his Czech homeland, he teamed up with Marie Davidová, a graduate of the Oslo School of Architecture and Design, and in 2008 founded Coll Coll as an open platform for sharing ideas and pursuing personal agendas. “Since then, many others have joined for one project or a longer collaboration, and many have left,” Hanzlík explains. And while the nonhierarchical collective’s structure may be somewhat idealistic, “It has proved viable for an office of up to 20 people,” he reports. A team of 15 worked on Villa Sophia, the combined home and office of a Prague couple and their children. Channeling Palladio, the angular Coll Coll founding principals Marie Davidová and Krištof Hanzlík.
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BOYSPLAYNICE
Clockwise from top left: At Villa Sophia, a family home and office in Prague, the garage practically serves as an entrance hall to the house. Walls and ceilings are either raw concrete or plaster. Ronan & Erwan Bouroullec chairs surround the custom table in a work space. Built-in storage is walnut. Clad in reinforced-concrete panels, the house steps up the hillside, family quarters in the middle, office spaces on top. As in the rest of the project, lighting in the main bedroom is controlled by the Sysloop AI management system.
5,100-square-foot structure is divided into nine sections that spiral helix-fashion up the hillside from the garage on the lowest level through the living areas to the work spaces at the top. The exterior is clad in black reinforced-concrete panels, while the sculptural interiors feature a restricted, mostly light palette: white polyurethane flooring, a mix of white plaster and raw concrete for walls and ceilings, and walnut for millwork and built-in furniture. “Material choices were motivated by sustainability, permanency, durability, and haptic stability,” Davidová notes. That last quality was necessary because almost all the villa’s functions are controlled by Sysloop, an advanced building management system of the computer-scientist homeowner’s own design. Sensors throughout the house collect data—lifestyle choices as well as physical conditions—which the super-smart software evaluates and acts on in real time. There’s not a light switch, keyhole, or door latch in the place; AI does everything. —Peter Webster
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“Sharing ideas and skills in a safe place is mutually profitable—even conflicting agendas flourish when confronted” hot shots
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hot shots
beauty treatment Susan and Ben Work met in New York. It’s where the former, a Los Angeles native, earned her associates degree in interior design from Parsons School of Design and the latter, from Washing ton, his master’s in architecture from Columbia University. They remained in the city, dating and working—she at Yabu Pushelberg and ICrave, he at 212box—until the 2008 recession hit, leaving them both without jobs. So they moved to San Francisco, married, and, in 2014, founded Homework, their surname an irresistible component of the firm’s moniker. Young, scrappy, and entrepreneurial, the Works found a kindred spirit in cli ent Brittany Barnes, a Black business woman who had identified a need for a beauty salon in Oakland dedicated to textured hair. She came to Homework with the project already named, GoodBody, branded, and envisioned as high-end and luxurious—but on a tight budget. Once stripped down, the 1,400-square-foot former office space revealed fortuitous assets: a 25-foot ceiling, full-height windows, and concrete flooring. The Works shaped the cavernous volume with a pair of curved tambour-fronted units painted dusty red. One forms a continuous reception desk and banquette; another provides shelving for product display. The styling stations each boast a knockout arched mirror. “Lighting is crucial,” Ben notes of the dimmable LED strips surrounding them. “It’s where the magic happens,” Susan adds. More arches frame the shampoo stations, where walls are emerald green. Gold velvet drapes the doorways to private facial rooms. —Edie Cohen 40
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AUBRIE PICK; STYLING: BIANCA SOTELO
firm: @homeworkdesignshop project: goodbody, oakland, california
Clockwise from far right: Shampoo stations are set in a semi-enclosed anÂnex behind an arched portal. To transform from office space to salon, the dropped ceiling was removed, existing concrete flooring was polished, and custom seating and display units in painted poplar were installed. Pablo Pardo pendant fixtures and custom LED-edged stylingstation mirrors, mounted on full-height metal poles to emphasize verticality, yield a flattering glow. Velvet forms banquette upholstery and curtains separating facial rooms. Susan and Ben Work, designer and architect, respectively, and the married founders of Homework.
AUBRIE PICK; STYLING: BIANCA SOTELO
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retail therapy firm: @crosbystudios project: Avgvst, Saint Petersburg, Russia
hot shots For 35-year-old architect and furniture designer Harry Nuriev, minimalism is both a state of mind and an aesthetic. After graduating from Moscow Architectural Institute, the Russia native founded Crosby Studios in 2014, the firm name inspired by a trip to downtown Manhattan. Now based in Williamsburg, Brooklyn, he uses elemental forms, colors, and materials to reflect contemporary consumer culture in a crisp, almost radical way. “In all my retail projects, I install a seating zone, phone chargers, and a beverage station,” says Nuriev, whose clients include Nike, Cos, and Casetify. “That’s what gives a person the opportunity to completely relax and feel trust in the product, as opposed to old-school shops with their white light, rails, and shelves, where the customer has nothing to do but buy things.” This approach is exemplified at Avgvst, a new jewelry store in Saint Petersburg, Russia. The interior, which has raw-concrete walls, flooring, and ceiling, was inspired by the organic shapes of such modernist icons as Le Corbusier’s Chapelle Notre-Dame du Haut in Ronchamp, France, and Alvar Aalto’s sinuous glass vases. At the core of the 1,400-square-foot space, a meandering, yellow-painted wall made of 10,000 wooden rods connects the reception desk, boutique, and coffee bar in one bold move. It exemplifies Nuriev’s work developing fresh patterns of consumer interaction. “In my opinion,” he notes, “the desire for hangout places with no pressure to purchase will come to the fore in the post-COVID retail world.”
Clockwise from top left: Crosby Studios founder and creative director Harry Nuriev. The jewelry boutique incorporates a coffee bar. A raw-concrete wall hosts built-in stools and micro shelves. Like all the project’s furniture, this polished stainless-steel counter was custom designed. Seating throughout encourages customers to relax. Raw concrete, painted wood, and metal are joined by a mirror wall in the main retail space.
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COURTESY OF CROSBY STUDIOS
—Karine Monié
COURTESY OF CROSBY STUDIOS
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simple gifts firm: @shelterstories.design project: The Barns at Troutbeck, Amenia, New York
NICOLE FRANZEN
“What drove me to start out on my own was 2016,” architect Jennifer Preston says dryly. “It marked an important internal shift for me as a woman in architecture.” She opened Shelter Design Architecture that same year and shortly after convinced Pedro Marmolejos, a former colleague at BKSK Architects, to come on as co-principal. Now a four-person team, they work remotely (and did so long before COVID-19), Marmolejos out of New York City and Preston in Vermont. A wellness annex to Troutbeck—an Upstate New York hotel owned by Anthony Champalimaud, son of Interior Design Hall of Famer Alexandra—proved to be a project “encapsulating everything we stand for,” Preston discloses. The bucolic site already had a wedding barn. Shelter added two similar structures—one taller, one longer, totaling 4,800 square feet and joined by a covered breezeway—to house fitness and spa amenities. The interiors of the chapel-like volumes shift in scale and modulate in affect depending on function. Echoes of timeless sanctums, from forest bathhouses and pegboard-lined workshops to front porches and historic churches, abound. In the horizontally oriented Long Barn, locker rooms, treatment facilities, and saunas are hunkered down, almost monastic in feel, while a 23-foot rafted ceiling and copious glazing make the movement studio occupying the Tall Barn open and airy. The palette was kept intentionally subdued and natural: quartzite, plywood, whitewashed oak, spruce, reclaimed larch. “We are averse to fake materials,” Preston notes. “The project doesn’t overcomplicate itself,” Marmolejos adds. “It sits in the context quietly, without grandiosity or ego.” —Georgina McWhirter
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Clockwise from top left: Shelter principals Pedro Marmolejos and Jennifer Preston. Spruce lines the sauna in the Long Barn. Lockers are fronted in plywood pegboard. Local quartzite tops bathroom vanities. The volumes, one for fitness, the other a spa, are roofed in standing-seam aluminum and clad in larch reclaimed from a dismantled 1950’s Hudson River bridge. The Tall Barn is entirely occupied by a movement studio with a 23-foot cathedral ceiling.
hot shots
NICOLE FRANZEN
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total turin
hot shots firm: @blaarchitettura project: Arc’s, Turin, Italy
Torinese to the max. That’s Jacopo Bracco and Alberto Lessan, who met at the Politecnico di Torino; went on to share an apartment nearby, working on competition entries at their kitchen table; and eventually established BLAarchitettura there in 2011. They are now a team of five and have a second office in Cuneo. “We work at dif ferent scales, from inside to outside, exhibitions to residences and offices,” Lessan says. Typologies differ, but the constant is contemporary design. Enter Arc’s, a creative agency with blue-chip clients such as Fiat, Nutella, and Bacardi. The company’s scope is multinational but its new headquarters, housed in a 19th-century two-story masonry building centered around a courtyard, is very Torinese, too. Formerly a printing works, the 3,200-square-foot site was vacated just days be fore BLAarchitettura went to work transforming it into a 21st-century workplace. The architects’ principal inter vention was to connect the creative and administrative areas with a glowing green corridor. Comprising a backlit skin of translucent fiberglass panels, the lambent structure acts as an ethereal way finder. “From some points of view, it appears as a volume, from others a network of overlapping planes,” Lessan explains. “We were interested in creating permeable, penetrable surfaces where light and air can pass through,” Bracco adds. By blurring the sense of what is inside and outside the construction, they’ve conjured a tunnel with emotive impact. Other mate rials throughout—birch, steel, epoxy resin—are more conventional. But the corridor is powerful enough to have earned the headquarters a decidedly un-Torinese moniker: Terowongan, Indonesian for tunnel. —Edie Cohen
BEPPE GIARDINO
Clockwise from left: BLAarchitettura principals Alberto Lessan and Jacopo Bracco. In reception, flooring is epoxy resin and built-in furniture and balustrades are birch. A steel framework sheathed in translucent fiberglass panels forms a tunnel-like connection between the creative and administrative areas. In the former area, which incorporates a steel-rod and birch library, the 19th-century building’s original brick vaulting is exposed.
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INTERIOR DESIGN
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BEPPE GIARDINO
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Graph Modular Wall System Shape. Transform. Illuminate.
ARCHITECTURAL METALS + ENGINEERED PRODUCT SYSTEMS
FRYREGLET.COM
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Shown: 33 Chair in Valencia Cider & Shearling Lined Slippers
See page 72 for Wright Kitchen’s Rocket Pop wall covering made in Brick, New Jersey, by Tempaper.
made in amer ica special market section
edited by Rebecca Thienes text by Rebecca Thienes, Georgina McWhirter, Colleen Curry, and Wilson Barlow
DEC.20
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m a r k e t scape made in america
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Blake Kahan of Willow Ship
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Molly Purnell and Rachel Bullock of Laun
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Stefani Stein of August Abode
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product Hemi. made in Brooklyn, New York. standout The bio-designer’s pendant fixture is fabricated of sustainable hemp and molded, dried mycelium (aka mushroom roots).
product Figures. made in Portland, Oregon. standout A set of four hand-printed linen cocktail napkins by the graphic designer features buff-color pixels dancing across a melon ground.
product Ribbon. made in Los Angeles. standout Aluminum tubes combine to form an indoor-outdoor waterfall chair that’s specifiable in custom widths— accommodating one sitter or more.
product Hayworth. made in Los Angeles. standout The interior designer worked with local craftspeople to create a characterful outdoor lounge and ottoman with bulbous cerused-teak feet.
danielletrofe.com
willowship.com
launlosangeles.com
augustabode.com
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PRODUCT 3: SLH STUDIO
Danielle Trofe of Danielle Trofe Design
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Rachel and Willow Cope of Calico Wallpaper PORTRAIT 5: MATTHEW JOHNSON; PORTRAIT 6: MARSHA BERNSTEIN
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product Reverie. made in Brooklyn, New York. standout The studio co-founder (with husband Nick) collaborates with their 5-year-old daughter, the result an expressionistic layering of abstract color fields. calicowallpaper.com
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Kimille Taylor of Kimille Taylor
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product Double Alexandre. made in Brooklyn, New York. standout A table lamp from the interior designer’s second lighting collection has a customizable ash base that can be painted any Benjamin Moore & Co. hue. kimilletaylor.com
Hlynur Atlason for Design Within Reach
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product Vala. made in Hickory, North Carolina. standout Belying its minimal and sleek footprint, the Icelandic designer’s swiveling reclining arm chair promotes rest and relaxation. dwr.com
Brad Ascalon and Ghislaine Viñas for Loll Designs
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product Sunnyside. made in Duluth, Minnesota. standout The New York designers extraordinaire teamed up to envision a modular lounge set with water-repellant cushions atop a slatted base of postconsumer plastic. lolldesigns.com DEC.20
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market LITCHFIELD
made in america
MUG
“We love the beautiful imperfections of the process: unfinished edges, mingling glazes, a stray fingerprint” CHARLIE DUMAIS
new england nuance Interior designer Kevin Dumais and his husband, lighting designer Charlie Dumais, began making lamps as a hobby. Now, the couple has a fullblown studio and e-commerce brand: Dumais Made. Inspired by vintage pottery, new plug-in sconces and floor and table lamps with textured finishes— one achieved using an old ravioli pin, another imprinted with a waffled effect via a Danish cookie roller—were developed during the COVID-19 stay-athome order. Pale mid-century green, ochre, and metallic glazes hand-mixed in their Litchfield, Connecticut, workshop join other local materials such as clay from Sheffield, Massachusetts, and kraft paper, parchment, or linen shades sourced in New Jersey and New York. Each lamp and fixture takes 6 to 12 hours to make. Look closely and you might even spy a barely-there fingerprint—the indelible mark of the maker. dumaismade.com
SHAKER
MARITIME
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Introducing the Vasi Collection
We make beautifully crafted commercial and residential decorative lighting. American made and built to order, our lighting meets a higher standard â&#x20AC;&#x201C; yours. Our promise is to make your unique vision a reality. UltraLights The Heart of Illumination | ultralightslighting.com | 520-623-9829
golden state of mind
KOI, MILKY WAY
Handmade tiles and thin glazed bricks are Fireclay Tile’s stock-in-trade: Since 1986 the company has shaped its wares to order in Aromas, in California’s agricultural heartland. (The brand’s showroom is in nearby San Francisco.) Clay is sourced from the foothills of the Sierra Nevadas and granite dust from local quarries. The latter is combined with post-consumer glass and porcelain to create the company’s recycled clay– body products, which serve as a way to reuse water as well as to reincorporate material from tile that doesn’t pass quality control. Want to view some examples in situ? Check out the mid-century Palm Springs home of Danielle Nagel, founder of the apparel company Dazey LA. The fashion designer deployed 3-by-12-inch tiles glazed in Koi and Milky Way to form a fabulously retro orange-and-white checkered floor. fireclaytile.com
“The goal is to be zero waste by 2021, recycling all scrap tile back into the clay body”
RECYCLED-BODY TILE
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DOUBLE BUCKET YVONNE MOUSER
from coast to coast FORREST LEWINGER
MICHAEL FELIX ANDREW DEMING, RACHEL GANT
MILKING
In the U.S. alone, nearly 10 million pounds of furniture waste ends up in landfills annually. The biggest culMADDA prit is what creative entrepreneur Whitney Falk calls “fast furniture”: cheaply made products that can’t be recycled due to the resins and glues used in their construction. To help mitigate this issue, Falk founded ZZ Driggs, a distributor of heirloomquality furniture and a rental outlet that recently launched a direct-to-consumer arm after six years serving the B2B market. Products are made by ZZ’s partner manufacturers, all of whom meet the company’s stringent sustainability and ethics standards. Yvonne Mouser’s Double Bucket bench is handmade of solid ash by Amish artisans in Pennsylvania. Forrest Lewinger of Workaday Handmade offers up Milking, a striped ceramic stool crafted in his Brooklyn, New York, studio, while Los Angeles designer Michael Felix introduces the shapely armchair Madda. Echo Totem, a lamp in three sizes by Andrew Deming and Rachel Gant of Floridabased Yield, comprises short and tall stacks of locally sourced birch rings. Angle is a clean-lined armchair by Tariq Dixon of New York studio TRNK that comes in myriad upholsteries and colors, including Ultramarine in recycled polyester. zzdriggs.com
TARIQ DIXON ANGLE
ECHO TOTEM
market made in america
“It’s ethically made furniture for purchase or rent” 58
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CUMBERLAND
The Isla Collectionâ&#x20AC;&#x201D;Dynamic. Fluid. Free-Form. Introducing an innovative approach to modular seating that supports configurations limited only by the imagination.
Beautiful objects that work effortlessly togetherâ&#x20AC;&#x201D;anywhere.
cumberlandfurniture.com
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glow in the dark Luminous fixtures shine a spotlight on domestic talent
Tracy Glover Studio product Constellation. made in Pawtucket, Rhode Island. standout The Ready to Light collection, including chromatic chandeliers with rippled rondel diffusers, includes quick-ship options, a boon for designers on deadline. tracygloverstudio.com
Workstead product Brick. made in Queens, New York. standout Echoing classic vanity lighting, glazed earthenware sconces resembling hollowed bricks protect a matte opal-glass globeâ&#x20AC;&#x201D;or a trio thereof. workstead.com
Hubbardton Forge
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MIDDLE: MATTHEW JOHNSON (2)
product Derby. made in Castleton, Vermont. standout This pendant design fuses high-tech and handcrafted: Wires embedded in its artisanal-leather suspension straps power the LED inside the glass globe. hubbardtonforge.com
Valley Forge. Weâ&#x20AC;&#x2122;re here for you. Four decades strong. Made in the USA.
Custom Printed Textiles for Hospitality | Bedding | Window Treatments | Upholstery
TENERE
GALSTON MICHAEL UPTON AURORA
m a r k e t made in america
california shape shifter For Michael Upton, the process of creating prints and sculptures starts by putting pen to paper. “I make very loose ink drawings, hundreds of them, so I’ll have stacks and stacks,” the former apparel and textile designer says. “I pin those up and stare at them for days or months, refining and editing, bringing in color and materials until they become finalized pieces.” His Upton studio is located in the Southern California town of Vista, and his affordable artworks, like Aurora, rendered in custom colors on museum-quality cotton paper or ready-to-hang cotton canvas, are screen-printed in nearby Los Angeles. His sculptures Tenere and Galston, on the other hand, are fabricated of painted seven-ply Baltic birch, while Paloma is TIG-welded steel finished with an intriguing aged black patina. whatsupton.com
PALOMA
“Everyone should have the means to live with beauty everyday” 62
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Silicon Bronze Dark Lustre
HANDCAST BRONZE HARDWARE | MADE IN USA
| 12
FINISHES |
rockymountainhardware.com
York Wallcoverings and Rifle Paper Co. product Fable. made in York, Pennsylvania. standout The peel-andstick wallpapers feature illustrated designs by Rifle Paper CCO/cofounder Anna Bond, as in these woodblock-esque bunnies and squirrels printed in metallic silver on an emerald ground. yorkwallcoverings.com; riflepaperco.com
enchanted forest Nature’s bounty writ large on fabrics and wall coverings Mazy Path product Pawpaw. made in Litchfield, Connecticut. standout Alexis Audette’s family members include amateur naturalists and art historians, so it’s no surprise her inaugural line of digitally printed wallpapers—made-toorder for the trade—are based on her own linocut prints exploring the secret life of plants. mazypath.com
Rule of Three product Maquette. made in Connecticut. standout In her California studio, Paige Cleveland floats paint on liquid to hand-marble delicate silks and leather, now mimicked on her series of digitally printed Belgian linen fabrics. ruleofthreestudio.com 64
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TOP LEFT: PATRICK MICHAEL CHIN; CENTER LEFT: ALEXANDRA ROWLEY
m a r k e t made in america
Antron®.️ Long-Run Sustainability.️ Antron®️ high-performance Nylon Type 6,6 fibers are designed based on the belief that the longer our product lasts, the more sustainable it is. After all, carpet should be durable, not disposable.
© 2020 INVISTA. All Rights Reserved. Antron and the Antron family of marks and logos are trademarks of INVISTA. K06904 (06/20)
Learn more at antron.net/better-living/sustainability
Specify Antron® fiber at your favorite carpet mill or look for running line styles with Antron® fiber at Bentley Mills, Mannington Commercial, AtlasMasland and Tarkett
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TAGWALL
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JONES
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MOTT
“This collection evokes the warmth and plushness of a European ski chalet”
made in america m a r k e t
When Nidhi Kapur was furnishing her New York City home, she struggled to find pieces that were handcrafted yet affordable. So, she did the only logical thing: started a furniture company herself. That’s the origin story behind Maiden Home, which produces highquality pieces just north of Charlotte, North Carolina. There, artisans make furnishings with great attention to detail. Take the Jones modular sofa, with its hand-tied springs and hidden tie-downs, and Bond, a voluptuous armchair with a kiln-dried hardwood frame. The series is customizable in a range of woods and fabrics, so pieces like the Mott stool can serve as either a quiet perch or a bold accent. With New York design and North Carolina craftsmanship, it’s USA all the way. maidenhome.com 68
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COURTESY OF MAIDEN HOME
maiden voyage
TUFTED
Designed in collaboration with Emanuela Frattini Magnusson
me m osamp les . c o m
Kalon Studios product Caravan. made in Lebanon, Pennsylvania, and Portland, Oregon. standout The L.A. atelier celebrates the 10th anniversary of its cult favorite crib by offering it in black walnut and American white oak, in addition to the original maple. Plus, there’s a new dresser in solid maple, white oak, or walnut. kalonstudios.com
market made in america
Franklin+Emily products Desk + Chair Set, Chair, Leather Lounger, and Two-Seater. made in Brooklyn, New York. standout The six-piece furniture collection scaled for tots and ideal for home-schooling is by former chef David Mawhinney and assembled from sustainable woods, Ultrasuede, and vegetable-tanned leather by restaurant workers who lost their jobs during the pandemic. franklinemily.com
new kid in town These children’s furnishings rival those of grown-ups
Wit Design products The Step Stool and the Chair. made in Jamestown, New York. standout Architect Katharine Huber designs children’s furniture strong enough to withstand rambunctious play yet light enough for kiddos to maneuver, such as these pieces in FSC-certified Baltic birch plywood with Green Guard– approved sealant. witdesign.co
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THROWS
PILLOWS
BEDSOKS®
M A D E TO O R D ER. M A D E TO L AST. M A D E I N TH E USA.
Our custom knits offer endless possibilities to tell a story about a place, reinforce a brand and make people comfortable
View our latest collection at StudioTwist.net
Saint Kate — The Arts Hotel designed by Stonehill Taylor, NY
© 2 0 2 0 ST U D I OT W I ST, L LC . A L L R I G HTS R ES ERVED.
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bright’s alright Eye-popping hues set the scene 1. Plaza glazed ceramic trays made in Sausalito, California, by Heath Ceramics. 2. Five-seat U sectional sofa in walnut and performance-fabric upholstery made in Conover,
North Carolina, by Allform.
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3. Ojai solid-oak daybed with Forest brushed-linen upholstery made in Los Angeles by Lawson Fenning. 4. Tropic vitreous glass mosaic in Citrus made in Boston by Artaic. 5. New Standard 2nd Edition low-odor, VOC-free paints in Dylan and Hopper made in Los Angeles
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by Portola Paints & Glazes. 6. Wright Kitchen’s Rocket Pop self-adhesive, removable, top-coated vinyl polyester wall covering in Red,
White, and Blue made in Brick, New Jersey, by Tempaper. 7. Florence organic cotton-canvas textiles made in San Carlos, California, by the Bodenner Collection. See page 76 for sources.
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Sculptural furnishings hail from every corner of the nation
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1. Mairea mirror in sapele made in New York by Vonnegut/Kraft, through Colony. 2. Caldera L stained-oak coffee table made in New York by Dims. 3. Fire Island bench in cedar driftwood and concrete made in Hudson Valley, New York, by Teasdale Design Studio. 4. Helio tête-à-tête chairs in neon blown glass, silk, alpaca, leather, and satin brass made in New York by Christina Z Antonio. 5. Embrace Cuddle extra-wide chair and Sweetheart ottoman in high-resilience foam and kiln-dried alder with Ball pillow made in Los Angeles by Nathan Anthony. 6. Atlas pendant fixture in powder-coated spun aluminum and glass made in San Francisco by Most Modest, through Lightology. 7. Vanity table in high gloss–finish wood and aluminum made in Brooklyn, New York, by Nea Studio. 8. Decker powder-coated steel table with glass top in Graphite made in Mineral Point, Wisconsin, by Room & Board. See page 76 for sources.
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INTRODUCING: 2021 WILLOW PENDANT 866.398.1530 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs and Images ©1989 - 2021 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.
m a r k e t sources
brightâ&#x20AC;&#x2122;s alright 1. Heath Ceramics, heathceramics.com. 2. Allform, allform.com. 3. Lawson Fenning, lawsonfenning.com. 4. Artaic, artaic.com. 5. Portola Paints & Glazes,
portolapaints.com. 6. Tempaper, tempaper.com. 7. The Bodenner Collection,
bodennercollection.com.
state of the union 1. Vonnegut/Kraft, through Colony,
vonnegutkraft.com; goodcolony.com. 2. Dims, dimshome.com. 3. Teasdale Design Studio,
teasdaledesignstudio.com. 4. Christina Z Antonio,
christinazantonio.com. 5. Nathan Anthony, nafurniture.com. 6. Most Modest, through Lightology,
mostmodest.com; lightology.com. 7. Nea Studio, neastudio.com. 8. Room & Board, roomandboard.com. 76
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DESIGNED & HANDCRAFTED IN MINNEAPOLIS, MINNESOTA U.S.A
www.clearmirror.com
The Mermaid Bench
crafted in the Hudson Valley designed by nature..
www.teasdaledesignstudio.com
MADE YOU LOOK. Indoor and outdoor lighting, ceiling fans and accessories. Built on quality, service and unbelievably good looks.
craftmade.com
EFFORTLESSLY ELEGANT.
c enter fold
woven into nature A bamboo installation by LLLab. nestles in the lush landscape of southern China, setting the scene for a longstanding outdoor performance
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architects and designers led by LLLab. principal Hanxiao Liu
460-FOOT-LONG CANOPY
18-foot-tall lanterns
210,000
PIECES OF BAMBOO
20,450 SQUARE FEET 3
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1. A Photoshop rendering by LLLab. illustrates the pavilions and canopy composing Bamboo Bamboo, the firm’s set design for Impression Sanjie Liu, a 600-person musical about a legendary Tang Dynasty Chinese folk singer, now in its 15th year, performed outdoors in Yangshuo, a mountainous resort area. 2. Referred to as lanterns, an illustration reveals a pavilion’s substructure: a lashed bamboo frame sandwiched between layers of woven bamboo and a waterproof, polycarbonate-lined interior. 3. In wooden dowels, coconut fiber, acrylic, and cork, a 1:50 scale model of a single canopy module programs the placement of the steel structural columns and dem onstrates how light from LEDs flows through the canopy during the nightly performances. 4. The construction team raises a large bamboo stalk that has been heat-bent to create the curved framework for a lantern. 5. Steel tubes provide the canopy’s main support. 6. Handwoven on-site, it’s made of thousands of bamboo strands using no adhesives.
“There’s a random beauty that can only be created when something is constructed by hand”
COURTESY OF LLLAB.
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c e n t e r fold 1. Intended to foster a sense of intrigue and anticipation, the lanterns and canopy guide visitors from the show’s entry pagoda to an enormous main stage on the bank of the Li River. 2. By day, the canopy filters sunlight in a manner akin to leaves, while at night, LEDs embedded in the canopy cause it to glow from within. 3. The steel support columns are camouflaged by clusters of bamboo, which help bear the canopy’s weight. 4. Composed of four distinct modules, the canopy’s form references the surrounding landscape.
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Clarity is ahead
GARRETT ROWLAND
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breaking through Completed in the midst of the pandemic, the Joseph Hotel in Nashville by INC exemplifies the power of innovation and art text: ted loos photography: eric laignel
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Previous spread: A view through a rolledsteel sculpture by Hank Willis Thomas reveals the porte-cochere entrance to the Joseph, a Luxury Collection Hotel, Nashville, by INC Architecture and Design. Opposite top: Custom furniture and lighting inspired by Italian mid-century design plus a Marta Vovk mixed media furnish a prefunction lounge. Opposite bottom: The porte cochere also includes a video work by Wu Chi-Tsung and living green walls. Left: Mohair upholsters the lobby’s custom wingback chairs standing near a Jackie Saccoccio oil on linen. Right, from top: Arquitectonica designed the 21-story, glassand-steel building. Custom seating and tables gather before a Dave Muller acrylic on paper in another prefunction lounge.
The art-in-hotels phenomenon has been percolating for a while now. Like all trends, however, it could use an update. At the Joseph, a Luxury Collection Hotel, Nashville, the concept has undergone a savvy refinement by INC Architecture & Design. “Sometimes, an art hotel can be like a gallery with rooms attached,” says INC partner and creative director Adam Rolston, who spent nearly five years conceiving the interiors for the Joseph alongside partners Drew Stuart and Gabriel Benroth. “Here, it’s intended for guests to feel like they’re living with the art. It’s a more residential approach.” The 297-key property is the second developed by the Pizzuti Companies under the umbrella of Marriott International’s Luxury Collection. The Pizzutis, an art-collecting family with a private museum in Columbus, Ohio, opened the first Joseph there, naming the brand after patriarch Joseph Pizzuti, and more may be on the way. “There are three primary forces,” Rolston continues, “Nashville, an Italian family, and the art. Those dynamics really came together to define every aspect of the hotel.” INC’s experience with installation design for the Jewish Museum and the Museum of Arts and Design was a plus for a project featuring, right at its entry, a 7-by-9-foot turquoise sculpture by Hank Willis Thomas in the form of a jagged exclamation bubble. “One thing that sealed the deal: We know how to handle art,” Rolston says, as well as game-changing hotels; the firm’s portfolio includes 1 Hotel Brooklyn Bridge and the club/spa for the forthcoming Six Senses New York. But in the pre-opening phase of the Joseph, when COVID-19 struck, INC had to invent a new strategy to supervise design work. “Virtual walk-throughs, or VWTs, as we call them now, involve a single team member cleared to walk the property or visit a workroom to review on-site placement, quality, or prototypes with an iPhone in hand and the full team participating virtually,” Benroth explains. DEC.20
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“VWT’s have turned out to be a very productive tool because more eyes are involved to catch errors and suggest improvements. We’ll be using VWTs long after the pandemic is gone.” It helped that INC had a strong piece of contemporary architecture to work with. The 21-story, glass-and-steel building is by Arquitectonica, renowned for its trademark strong diagonals. The firm kept true to form here, where a corner of the facade consists of triangular forms folding in on each other. “We hate when the exterior of a project doesn’t relate to the interior,” Stuart says. “So we used Arquitectonica’s language of formal geometry.” That strategy is on display in the lobby, where an uplit rectangular coffer in the ceiling glows like a James Turrell artwork and flooring in tri-colored marble is a rhythmic configuration of cream, gray, and black squares and trapezoids. The marble’s look also refers to the Italian heritage of the Pizzutis. “We went through a million Italian churches and palazzos to find that specific pattern,” Rolston notes. That country’s more recent design heritage informed the furniture, fabrics, and finishes for the 430,000-square-foot hotel. “The ghost of Gio Ponti and the Italian mid-century overall is definitely apparent, but brought up to date,” Rolston says of the streamlined custom pieces throughout, such as the curving gray-mohair sectionals on chromed pedestals and marble floor lamps topped by large, simple spheres. The lounge off the lobby is perhaps the place where the key material choices come together most symphonically. There’s the copper bar top itself, but also an ebullient copper-and-glass chandelier by Misha Kahn; it explodes with conical and bulbous shapes, all the better to set off the round-backed swivel armchairs nearby. The stools in satin nickel and brown leather echo the mid-century notes elsewhere in the project. Oak and walnut factor in significantly to the materials palette, too. Flooring in the suites is engineered live-sawn white oak. Headboards in all guest rooms are carved walnut. At Yolan, one of the Joseph’s three restaurants, dining tables are also walnut, trimmed with mother-of-pearl inlay. The complimentary muted color scheme, seemingly incorporating every shade of gray, from elephant’s ear to mushroom, imparts a feeling of calm and provides a neutral backdrop for the multitude of stellar, and often colorful, artworks. A pair of vivid large-scale oils by Jackie Saccoccio occupy almost two entire walls in the lobby. A nearly 7-foot-tall mixed media by Marta Vovk titled KLASSENKAMPF I, German for class combat, enlivens a prefunction lounge. A painting by another German artist, Danni Pantel, infuses the penthouse suite with orange, teal, and bubblegum pink. Otherwise, understatement was the watchword for the Joseph’s design inspirations. Even though it’s located in Music City, “one of the rules was
Top: Misha Kahn’s glass-and-copper chandelier presides over the lobby bar. Center: Back dropped by a Danni Pantel acrylic on canvas, the penthouse suite’s custom sectional is also mohair-covered. Bottom: A partition of rift-sawn red oak separates the presidential suite bedroom from its bathroom. Opposite: The lobby’s coffered ceiling and Turkish marble floor pattern echo the geometric shapes of the facade; the oil on linen is by Saccoccio, the stoneware swirl by Brie Ruais. 88
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“this is a longer pullquote for annie or kelly to write whatever they want. for our communities” —David Pérez
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Left, from top: Eliana Gerotto and Patricia Urquiola designed the ottoman beneath the custom chandelier in the presidential suite bathroom. The hotel shop emphasizes local products. Right: A photograph by Seth Moses Miller hangs in the Rose salon. Opposite top: Peg Woodworking dining chairs populate the rooftop pool’s porcelaintile deck. Opposite bottom: In the penthouse bedroom, a custom floor lamp illuminates a Johnny Abrahams acrylic on panel.
no literal ties to music,” Rolston explains. “It’s all about abstract material references.” But he and his team did want to incorporate local flavor. One instance where they did is in the lobby. The 16-foot-long reception desk is fronted by a piece of heavily tooled brown leather hide reminiscent of cowboy boots. In the guest rooms, perforated copper bedside lamps nod to Tennessee’s great copper whiskey stills. INC’s storytelling is all the more impactful for being subtle. As Stuart puts it, “Without overt tropes, the Joseph is spiritually and culturally Nashville.” It’s also miraculous: The hotel opened for business on August 25. PROJECT TEAM TYLER KLECK; MEGAN M C GING; LOUISA REVITTE; MICHAEL NARTEY; NATHAN MOHAMEDALI: INC ARCHITECTURE & DESIGN. VICTOR MALERBA, JR.; SETH SALCEDO: ARQUITECTONICA. ESG ARCHITECTURE & DESIGN: ARCHITECT OF RECORD. SCHULER SHOOK: LIGHTING CONSULTANT. SMBH: STRUCTURAL ENGINEER. I.C. THOMASSON ASSOCIATES: MEP. WOODBYRNE CABINETRY: MILLWORK. BRASFIELD & GORRIE: CONSTRUCTION MANAGER. PRODUCT SOURCES FROM FRONT INNOVATIVE CARPETS: CUSTOM CARPET (PREFUNCTION). COLDSPRING: STONE CLADDING (BAR). GALAXY GLASS & STONE: GLASS, MIRROR. DEMAR LEATHER: BANQUETTE UPHOLSTERY. PROJECT LIGHT: CUSTOM SCONCE (PENTHOUSE LIVING ROOM). COMPOSITION HOSPITALITY: CUSTOM STOOLS. KALDEWEI: TUB (BATHROOM). SIGNATURE PLUMBING SPECIALTIES: SINK, SINK FITTINGS. ALGER-TRITON: CUSTOM CHANDELIER. PAOLA LENTI: OTTOMAN. PEG WOODWORKING: DINING CHAIRS (DECK). TEAK WAREHOUSE: DINING TABLES. KETTAL: LOUNGERS. TUUCI: CABANAS, UMBRELLAS. JAMIE YOUNG CO.: SIDE TABLES. EGO PARIS: SOFA. TRI-KES: HEADBOARD UPHOLSTERY (PENTHOUSE). THROUGHOUT J.E. WOOD & METAL; SAMUEL LAWRENCE HOSPITALITY; QUALITY & COMPANY: CUSTOM FURNITURE. BETTER DESIGNED LIGHTING: CUSTOM LIGHTING. STONE ALLY: MARBLE. OPUZEN; TIGER LEATHER: UPHOLSTERY. AUTHENTIC RECLAIMED FLOORING: WOOD FLOORING. SACCO CARPET: CUSTOM RUGS. PPG: PAINT.
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home and away At the Hôtel de Pourtalès in Paris, Agathe Labaye Architecture layers residential comfort with luxury, craftsmanship, and French flair
text: ian phillips photography: stephan julliard
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Agathe Labaye loves going to hotels. “Being in one is like a moment out of time,” the architect says. “They should transport you away from your daily life, yet be restful. They should be surpri sing but also reassuring.” A hotel that Agathe Labaye Architecture recently redesigned certainly has a surprising history. Located in a prime Paris location between L’Église de la Madeleine and Bou levard Haussmann, the property first opened in 2010 under the name No Address. With an entrance tucked away on an inner courtyard and no public spaces except for a small lobby and a basement gym, its major selling point was its discretion. No Address attracted the likes of Madonna, Prince, and Leonardo di Caprio, but nevertheless remained decidedly hush-hush. . .until one night during fashion week in October 2016. It was then that thieves broke in, tied up Kim Kardashian West, and made off with over $10 million worth of her jewelry. Not surprisingly, the boutique hotel closed its doors soon afterward, reviewed its security arrangements, and laid low for several years. When the decision was made to reopen, it was with a new name, Hôtel de Pourtalès, and a fresh look by Labaye’s firm. Her task, however, came with some complicated restrictions. No structural work was allowed, and the renovation had to be completed in four months. The project entailed refreshing 11 guest rooms and suites, which span not only multiple floors across 13,000 square feet but also two buildings—with very different aesthetics. One is a seven-story building from the early 1960’s that is pared-back and modernist. The other is an ornate four-floor mansion built in the 19th century by architect Jacques Félix Previous spread: Agathe Labaye Architecture furnished a duplex penthouse at the Hôtel de Pourtalès in Paris with a sofa and daybed by Antonio Citterio, García Cumini cocktail tables, and George Nakashima dining chairs. Top, from left: A Gerrit Rietveld armchair joins a Pierre Paulin floor lamp in the garden duplex. The 11-key boutique hotel encompasses two adjoining buildings, one in limestone dating to 1839 and designed by Jacques Félix Duban. Center: Piero Lissoni chairs and a Tobia Scarpa sofa flank a custom marble-topped cocktail table by Agathe Labaye and Florian Sumi in the Opéra suite. Bottom: Pool Studio’s pendant fixture illuminates the garden duplex’s Paolo Tilche chairs, Achille Castiglioni table, and Ariane Prin ceramics. Opposite: In its living room, a Redfield & Dattner fresco backdrops sofas by Elisa Ossino, a Charlotte Perriand cocktail table, and an Omi Tahara barrel chair.
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Duban for the Swiss-born diplomat Count James-Alexandre de Pourtalès. Duban conceived it in a neo-Renaissance style with flamboyant arcades, pilasters, and friezes that nod to Tuscan palazzos. Labaye’s greatest quandary was how to link the two buildings together. Unable to make any significant architectural alterations, she decided to play with color instead, creating a chromatic gradation that runs across the different rooms and floors. They include brick, sage, and saffron—tones she refers to as being “calm but assertive, natural, earthy, and vegetal.” Further coherence is provided by the selection of furniture, which remains remarkably consistent throughout. True, there are a number of antiques in the suites in the Duban building, such as a Chinese apothecary’s chest with an almost countless number of small drawers. But otherwise, Labaye adopted a distinctly modern approach, selecting iconic 20th-century pieces by the likes of Pierre Paulin, Charlotte Perriand, Gerrit Rietveld, and Carlo Scarpa. They mix with contemporary furnishings by Antonio Citterio, Naoto Fukasawa, and Elisa Ossino, light fixtures by up-and-coming and established talents, such as Pool Studio, Garnier & Linker, Studio Drift, and Michael Anastassiades, as well as a custom line of tables and benches Labaye conceived in tandem with her life partner, artist Florian Sumi. Their aim was to associate an industrial aesthetic with that of craftsmanship. For the most part, lacquered metal legs act as a support for marble tops. A handful also feature special textural finishes devised especially by French artisan Pierre Bonnefille. There is great attention to detail. “One hallmark of our work together is always keeping visible the elements that connect the different parts,” Labaye explains. “We design each screw, each bolt, and they in turn become stylistic elements.” Labaye also peppered in artwork—sparingly but impactfully— several by French artists. In one suite, a sculpture by Arman of a violin encased in Plexiglass is painted ultramarine blue in homage to Yves Klein. In other suites, Xavier Veilhan contributed two sculptures of architects (one of Claude Parent, the other Norman Foster). There’re also works by Antoine Henault, Yoan Sorin, and Alexandra Utzmann. The overall result certainly embodies the architect’s love of simplicity. “I’m attracted to rigor,” she asserts, “the notion that you can make do with very little. I prefer precision rather than spectacle.” That said, the hotel stills retains a certain touch of drama. One of its most breathtaking suites is the penthouse duplex topping the 1960’s building. It has a glazed ceiling over the living area and 360-degree views of the city from its terrace; Labaye compares it to a “bastion” or “turret.” The duplex on the second floor, meanwhile, features its own private garden and a soaring living room with a nearly 20-foot-high ceiling. It’s anchored by a dreamy abstract fresco commissioned 96
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“The aim was to associate an industrial aesthetic with that of craftsmanship”
Opposite: In the Duban building penthouse, original wood beams join plaster busts of Jean Cocteau. Top, from left: GamFratesi sofas stand on a silk rug in the Pourtalès suite. The Duban building penthouse bedroom overlooks its double-height living area. Bottom: A Michael Anastassiades pendant sphere hangs in the Madeleine suite, which features another custom cocktail table by Labaye and Sumi.
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from Redfield & Dattner, a local decorative-painter duo. “I wanted a vast landscape as a reference to the presence of large-format paintings in interiors from the 19th century, when the Hôtel de Pourtalès mansion was originally built,” Labaye explains. “It feels reminiscent of a pre-Raphaelite painting.” Elsewhere, she commissioned ceramicist Charlotte Jankowski to create a small collection of dishes with a special enamel they developed together. Such associations are central to all of Labaye’s projects. “I don’t believe in the notion of an architect or a designer being a semi-godlike figure touched by a sort of creative genius,” she says. “For me, collaboration and teamwork are key.” PROJECT TEAM PAULINE GRAPA; CLARISSE TRANCHARD; MORGANE OUDIN-MAURY; BENOIT GIARD; TONY REGAZZONI; GÉRALDINE GUILLAUME: AGATHE LABAYE ARCHITECTURE. PIERRE ET JUL PAYSAGISTE: LANDSCAPING CONSULTANT. BRIONNE INDUSTRIE: METALWORK. VAN DEN WEGHE: STONEWORK. ALTAIS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MAXALTO: SOFA (PENTHOUSE), ARMCHAIRS (MADELEINE). ZANOTTA: COCKTAIL TABLES (PENTHOUSE). STUDIO DRIFT: PENDANT FIXTURE. B&B ITALIA: DAYBED (PENTHOUSE), BED (GARDEN DUPLEX), COCKTAIL TABLE (POURTALÈS). CASSINA: DINING TABLE (PENTHOUSE), ARMCHAIRS (PENTHOUSE, GARDEN DUPLEX), DINING TABLE, CHAIRS (GARDEN SUITE). KNOLL: DINING CHAIRS (PENTHOUSE), CHAIRS, SOFA (OPÉRA), COCKTAIL TABLE (GARDEN DUPLEX). DE PADOVA: DINING TABLE, CHAIRS, SOFAS (GARDEN DUPLEX), SOFAS (POURTALÈS), ARMCHAIRS (GARDEN SUITE). CVL LUMINAIRES: PENDANT FIXTURE (GARDEN DUPLEX). CHARLOTTE JANKOWSKI; PRIN: CERAMICS. SERGE MOUILLE: CEILING FIXTURES. JNL: FLOOR LAMP. PIERRE AUGUSTIN ROSE: SOFA (MADELEINE). PIERRE FREY: SOFA FABRIC. FLOS: PENDANT SPHERE. DCW ÉDITIONS: FLOOR LAMP. RUBN: SCONCES (GUEST ROOM). SOCIALITE FAMILY: CHAIR. FOSCARINI: PENDANT FIXTURE (GARDEN SUITE). THROUGHOUT STEPEVI: RUGS. BISSON BRUNEEL; CAMENGO; CASAMANCE; DELIUS; SACHO; VESCOM: CURTAIN FABRIC. ARGILE: PAINT.
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Opposite top, from left: Niclas Hoflin sconces and a cane chair furnish a standard guest room. The entry of the 19th-century building is neoRenaissance, inspired by Tuscan palazzos. Opposite center: Patrick Norguet chairs ring a table by Franco Albini in the garden suite. Opposite bottom: A sculpture of Norman Foster by Xavier Veilhan and a Charlotte Juillard bench stand in the penthouse duplex entry. This page: The penthouse’s roof affords pano ramic views, including of such Paris landmarks as L’Église de la Madeleine, the golden dome of Les Invalides, and the Eiffel Tower.
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By using a traditional rural paint color on a residential compound in the Swedish countryside, Bornstein Lyckefors Arkitekter camouflages the buildingsâ&#x20AC;&#x2122; modernist forms
seeing red
text: joseph giovannini photography: james silverman
Previous spread: Falu Red, a traditional flour-based paint found all over rural Scandinavia, is used on the pine-slat facades of a small residential compound in Kärna, Sweden, by Bornstein Lyckefors Arkitekter. Top, from left: A fieldstone wall separates the main house, guest cottage, and storage shed from an unpaved country road. In the main house, a Niko Kralj chair stands in the hall under the central staircase, outside the living area with custom built-ins. Bottom: A linen pendant fixture hangs above a table by Knudsen/Berg/Hindenes in the living area, where 11½-foot-high aluminum-framed glass doors slide open to the terrace. Opposite top: Steel mesh visually connects the upstairs family room with the dining area below, its chairs by Charles and Ray Eames. Opposite bottom: Off a short wide corridor is the laundry room and a custom plywood daybed-shelving unit.
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Andreas Lyckefors had an unexpected change of mind midway through the drawings of a house he was designing for a single father of two. After a divorce, the client—a successful rock drummer who has recorded with the likes of ABBA and also loves to sail—decided to fulfill a dream and live close to his 24foot sloop, buying farmland near its slip in Kärna, on Sweden’s west coast. The head architect and owner of Bornstein Lyckefors Arkitekter looked to the dynamic lines of his client’s späckhuggaren (killer whale) class sailboat—a classic Danish design, so named for the fiberglass hull’s resemblance to an orca—and gave the house the shape of a vessel beached upside down. But the property had ideas of its own. Lyckefors learned that there had once been a hardware store and warehouse on the land. The site’s history seemed to argue for a vernacular rather than a nautical architectural tradition. Coincidentally, the architect discovered that the 19th-century building, which burned down generations ago, had been owned “by the grandfather of my grandfather,” as he puts it. The combined suggestive power of the ghost warehouse and the personal connection led him and his client to reconceive the house as a traditional wood-framed structure, standing still in the landscape. But rather than create a modern version of a specific type of rural building, they “sampled” details and characteristics from the entire genre. “Is it a storehouse, barn, or dwelling?” Lyckefors asks of the cubic form, its facades outlined with pine slats that emphasize the crisp contemporary geometry. “We didn’t want its function to be perfectly clear.” The concept for the 1,400-squarefoot main house—later joined by a 375-square-foot guest cottage with a sleeping loft and sauna—began inside with the layout. The client DEC.20
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sought a place in which he felt comfortable alone when the children were away, but that was roomy, generous, and social when they were home. The house would have different rhythms on weekdays and weekends; it needed to be able to expand and contract. To create a mix of spaces, Lyckefors split the cross-section in half and distributed the rooms across three levels. At the front of the ground floor, the living area occupies a one-and-a-half story volume. It flows into the dining and kitchen area, where the ceiling drops from 11 ½ feet to 7 ½. Near a bathroom, the central staircase leads to the second floor comprising the two children’s bedrooms, another bathroom, and a family room, from which a steel stair rises a half level to the main bedroom. Steel-mesh panels in some walls open spaces to each other, allowing views between floors while retaining a cozy sense of intimacy. “Adolf Loos’s Raumplan was another source of inspiration,” Lyckefors continues, referring to the early 20th–century Viennese architect’s practice of scaling rooms according to function and organizing them on multiple, interconnected levels. The Swede was designing a modernist interior with an international pedigree for a modernist structure rooted in a local lineage. The result of splitting the floor plates is that “light comes in from many different angles, from left and right, above and below; it’s like sitting under a tree,” Lyckefors explains. “A light source doesn’t have to be a window to look out of.” This isn’t a house that stretches into the landscape, à la Frank Lloyd Wright, but a contained vessel that light fills. “We wanted to bring the outside in,” he says. The house connects to the landscape most directly through the living area’s full-height sliding-glass wall, which opens onto a large concrete terrace, an extension of the ground-floor slab. A pair of barnlike slatted doors provides screening when needed and introduces an overtly vernacular reference, one that Lyckefors heightened by finishing the pine siding in Falu Red, the traditional flour-based paint that’s ubiquitous in the Scandinavian countryside. The color acts as camouflage for the house, guest cottage,
Below: The warehouse-inspired volumes both open to concrete-slab terraces. Opposite top, from left: The guest cottage has a sleeping loft with built-in plywood bunk beds, the top one reached via the wall’s ladderlike cutouts. The pine staircase in the main house has a steel-mesh balustrade, fiberboard sidewall, and Jaime Hayon pendant fixture. Opposite bottom, from left: Folded steel-plate stairs in the main house family room lead to the main bedroom. Matte ceramic tile, 4 inches square, lines a bathroom.
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and storage shed, which would be instantly recognized as internationalist structures were they painted white. Even though the interior materials palette—polished concrete, untreated plywood, gray fiberboard, steel mesh—echoes the long-gone warehouse, Lyckefors did not totally abandon the sailboat idea. As with tight onboard quarters, he gave the house transformable spaces. Off a short, wide corridor is the laundry room to one side and, on the other, a built-in daybed that functions as a reading nook or overnight-guest crash pad. The main staircase cuts through the house like a ship’s companionway, while the bridgelike room above the kitchen can be a place for the family to gather or the client to riff on his drums. The guest cottage abounds with yachtlike builtins, too, from a tidy desk to the sleeping loft’s bunk beds— most of them rendered in untreated plywood. Furnishings throughout, a mix of mid-century and contemporary pieces, boast a streamlined efficiency, as well. There are chairs by Alvar Aalto, Niko Kralj, and Charles and Ray Eames and light fixtures by Bernard-Albin Gras, Michele De Lucchi, and Jaime Hayon. “And while we sited the structures in the traditional way—beside a road in a rural landscape—we were also thinking of the farmland as water with the buildings docked at its edge,” Lyckefors says. “In that sense, we built the house on a beach.” No surprise then that the client has named his home after the class of his sailboat. PROJECT TEAM PER BORNSTEIN; JOHAN OLSSON; CAROLINE JOKINIEMI; VIKTOR STANSVIK; MONICA WARWICK; AINHOA ETXEBERRIA: BORNSTEIN LYCKEFORS ARKITEKTER. REJNÄSVILLAN: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT FIAM: CHAISE LONGUES, TABLE, CHAIRS (MAIN TERRACE). REX KRALJ: CHAIR (HALL). NORRGAVEL: PENDANT FIXTURE (LIVING AREA). DK3: TABLES (LIVING AREA, DINING AREA). VITRA: CHAIRS (DINING AREA). JOTEX: SHEETS (BUNK BEDS). KLIPPAN: BLANKET. &TRADITION: PENDANT FIXTURE (STAIR). CATALANO VERSO: SINK (BATHROOM). BRA KAKEL: TILE. SANTA & COLE: FLOOR LAMP (COTTAGE). ARTEMIDE: SCONCE. ARTEK: DESK CHAIR. LOVI: DESKTOP TREE, RABBIT. DCW ÉDITIONS: PENDANT FIXTURE. HAY: CHAIRS, BENCH (COTTAGE TERRACE). THROUGHOUT FALU RÖDFÄRG: EXTERIOR PAINT. PERSSONS: FACADE.
Top, from left: Next to a Miguel Milá floor lamp, an Alvar Aalto chair pulls up to the guest cottage’s built-in desk. Like the main house, the cottage’s palette includes polished-concrete flooring and untreated plywood paneling. Bottom: BernardAlbin Gras designed its pendant fixture. Opposite: A breezeway connects the main house to the cottage, its terrace featuring a hot tub and a bench by Ronan and Erwan Bouroullec.
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bright young thing
Revel Architecture & Design masterfully orchestrates space, light, and connection to site for the Austin, Texas, headquarters of a fledgling start-up text: rebecca dalzell photography: garrett rowland
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Previous spread: For a three-story headquarters of an alternative technology company, Revel Architecture & Design furnished a top-floor lounge with pieces representative of the Austin, Texas, location, such as the Nestor Perkal saddlelike bench and Shi-Chieh Lu sling armchair, both in leather and blackened steel. Top, from left: Visible from a second-floor lounge, the custom white-oak partitions that rise up through
the building’s atrium were crafted by local woodworkers. Nic Graham’s sofa and lounge chair appoint the game room. Bottom: Walnut fins define another lounge furnished with a Neri&Hu sofa. Opposite top: In an office area, an angled gypsum partition separates a conference room from workstations. Opposite bottom: Flush-mount ceiling fixtures by Ramos & Bassols illuminate the custom reception desk.
Burgeoning start-ups tend to be freewheeling. Their typical move fast and break things mantra may encourage innovation, but it’s not so prudent when it comes to workplace planning. The founders of one alternative technology company, product designers themselves, knew better than to wing it as they quickly opened offices around the world. They turned to Revel Architecture & Design to help create a cohesive look across all their sites and articulate a design ethos that aligned with their—and their product’s—minimalist aesthetic. “The goal is industrial spaces that feel edgy, relaxed, and rooted in location,” Revel design director Tom Tessier begins. In their three-year partnership, the firm has consulted on 11 of the company’s locations and designed seven, including, most recently, its 80,000-square-foot Americas headquarters in Austin, Texas. Having conceived offices for such tech clients as Fitbit, Mapbox, and Snapfish, Revel was a natural collaborator for this start-up. The design team, familiar with the tech industry’s anti-corporate culture and aggressive timelines, helped the founders start from scratch, walking them through the basics of spatial organization and room layout. “They needed a lot of guidance,” Tessier continues. “We built trust early on, so were able to move quickly with them.” Adds Revel COO and principal Scott Clement, “They expected amazing design on an insane schedule.” Case in point: The three-story, 355person Austin location was only a year in the making. At the same time, Revel completed the client’s global design guidelines, which are used by other architects on the client’s international projects. The guidelines stipulate that all offices have a modern, Scandinavian look; a highcontrast materials palette of white oak, concrete, and black metal or paint; open workstations; and local flair. Austin, however, would be a touch more sophisticated, because it includes an executive suite for North and South American sales chiefs. Situated in the hip Zilker neighborhood, the office fills an entire building originally designed for multiple tenants by local architecture firm Sixthriver. Revel’s first task was to repurpose it for a single occupant. The ground floor, originally slated for retail, became an amenities space with a café, bar, and game room. A central atrium connected the second and third floors, but it was sealed off with aluminum mullions and glass. “From day one, we knew we had to tear down all the enclosures around the atrium and open it up,”
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Top, from left: Charred Accoya-wood paneling in the elevator lobby. Solid glass blocks in a conference room. The atrium’s custom blackened-steel planters along the existing pecan-wood stairway by Sixthriver, which designed the building. Bottom: Polyester velvet upholsters a corridor’s white-oak pods. Opposite: In a flex area, blackened-steel mesh partitions booths with custom walnut tables and wool-flax seating.
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Revel senior project designer Faegheh Koohestani explains. “It became a gathering spot with a lot of natural light in the heart of the building.” In the atrium, leather Anderssen & Voll sofas and slim Cecilie Manz coffee tables now cluster around a central staircase; custom blackened-steel planters, made by a local fabricator, climb up the concrete wall. Identical stacked conference rooms, their windows and joints neatly aligned, face the bright space. “You can enter the atrium from many different places and discover a new vignette or architectural element,” Clement notes. Noise could have easily ricocheted down the concrete corridors to workstations at the perimeter, so Revel created multiple sound-absorbing touchdown areas with rugs, throw pillows, and upholstered pods and booths. Black aluminum-framed storefront systems—used across all the client’s workplaces—isolate 24 of this site’s meeting rooms plus its nine executive offices. Although the office shares a design vocabulary with its peers around the world, it’s also distinctly Austin. “There are subtle ties to Texas without it being overt,” Clement says. “You should be able to walk into an office and know where you are without seeing a mural of a local landmark.” That meant no horseshoes or SXSW posters. Instead there are warm tones and leather furnishings: benches that resemble a saddle, burnt-orange finishes matching the University of Texas at Austin’s signature color, a ceramic-tile wall referencing the city’s ubiquitous glazed bricks, and blackened-steel railings, screens, and shelves retaining
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Top, from left: In another office area, a ropelike LED fixture wraps around a custom blackened-steel screen and whiteboard. Booths upholstered in cotton-mohair line the atrium. Bottom: Thomas Bentzen chairs pull up to custom white-oak tables in the all-hands area, where stadium seating is the same wood. Opposite top: Acoustic PET paneling covers the walls of a collaboration area outfitted with
visible weld joints in homage to regional ironwork. “We spent a lot of time walking around Austin and looking at elements in the urban fabric that we could incorporate in the project,” Tessier says. Backlit glass bricks at a downtown restaurant, for instance, triggered an idea for a similar wall in the executive suite. At a plaza on Congress Avenue, the team spotted a wood-slat structure that inspired paneling in a flex area. “We riffed on it,” he adds. “So much thought went into every detail.” Unfortunately, the client has had little time to appreciate it: Revel completed the job in February, just before the COVID-19 lockdown. Has the shift to remote work rendered this office obsolete? “Not at all,” Clement argues. “I’d posit that it’s a prototype for what offices should be.” It was designed to be flexible and cater to a largely remote sales staff, plus much of the floor plan can be easily reconfigured. When the pandemic recedes, he predicts that companies will start touting the office as an amenity for employees, providing a “refuge from home” where they can focus, collaborate, and connect. This tech company, for one, should have no trouble luring teams back to its Austin office. PROJECT TEAM CLAUDETTE BLEIJENBERG; TODD LEVINE; ZARA GHANIMI; MARJAN SAFDARI; DAFER HADDADIN; RILEY BUNN; ALODIE GIRMANN: REVEL ARCHITECTURE & DESIGN. LIGHTSWITCH: LIGHTING CONSULTANT. TSEN ENGINEER ING: STRUCTURAL ENGINEER. WYLIE CONSULTING ENGINEERS: MEP. BUDA WOODWORKS: WOODWORK. SARABI STUDIO: METALWORK. HARVEY-CLEARY BUILDERS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DUPLEX: BENCHES (3RD-FLOOR LOUNGE, RECEPTION). POLTRONA FRAU: SLING CHAIR (3RD-FLOOR LOUNGE). MUUTO: SOFAS (3RD-FLOOR LOUNGE, 2ND-FLOOR LOUNGE), TABLE (3RD-FLOOR LOUNGE), SIDE TABLE (FIN LOUNGE), CHAIRS (OFFICE AREA, ALL HANDS, COLLAB AREA), STOOLS (ATRIUM). DESIGN WITHIN REACH: RUGS (3RD-FLOOR LOUNGE, 2ND-FLOOR LOUNGE, ATRIUM). CORRAL: LAPTOP TABLE (2ND-FLOOR LOUNGE). FLOS: PENDANT FIXTURE. STELLAR WORKS: SOFA, CHAIR, TABLE (GAME ROOM), SOFA (FIN LOUNGE). JAMIE STERN: RUGS
Mario Ruiz sofas. Opposite bottom: An Anderssen & Voll sofa and lounge chairs by Outofstockdesign stand beneath the atrium’s 26-by-56-foot skylight.
(GAME ROOM, OFFICE AREA). CITIZENRY: PILLOW (GAME ROOM). BLÅ STATION: LOUNGE CHAIRS (FIN LOUNGE, ATRIUM). PUREEDGE LIGHTING: PENDANT FIXTURE. MOROSO: MODULAR SEATING (OFFICE AREA). DFM: CUSTOM WORK TABLES (OFFICE AREA, ALL HANDS, COLLAB AREA). STEELCASE: WORKSTATIONS, TASK CHAIRS (OFFICE AREA). VIBIA: CEILING FIXTURES (RECEPTION). JUNIPER DESIGN GROUP: SCONCES (ELEVATOR LOBBY, FLEX AREA). SEVES GLASS BLOCK: GLASS BLOCK (CONFERENCE ROOM). CAMIRA: POD FABRIC (HALL), BOOTH FABRIC (FLEX AREA). USA LIGHT & ELECTRIC: PENDANT FIXTURE (FLEX AREA). LUKE LAMP: ROPE FIXTURE (OFFICE AREA). DESIGNTEX: BOOTH FABRIC (ATRIUM). BOSS DESIGN: SOFA (ALL HANDS). CORONET: PENDANT FIXTURES. STUDIO TK: SOFAS (COLLAB AREA). RICH BRILLIANT WILLING: PENDANT FIXTURES (ATRIUM). THROUGHOUT KBM HOGUE; TWO FURNISH: FURNITURE DEALERS. PK-30 SYSTEM: STOREFRONT SYSTEMS. INTERFACE: CARPET. EZOBORD: ACOUSTICAL CEILING PANELS. BENJAMIN MOORE & CO.; SHERWIN-WILLIAMS COMPANY: PAINT.
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up in the air
Our annus horribilis comes to an end, but the design, art, and fashion in our annual compilation—and the hope of better days—live on forever
text: wilson barlow and colleen curry
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JKMM ARCHITECTS Studio Drift’s concrete Drifter floats in a gallery at Helsinki’s Amos Rex art museum, winner of the IIDA Interior Design Competition. Photography: Tuomas Uusheimo. DEC.20
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LEAPING CREATIVE In Guangzhou, China ,
era mic candleholders the Dutch design duo handmade each day d
t he COVID-19 lockdown. Photography: courte ing s ur
f K i k i & Joost Design Studio. yo
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STUDIO SHAMSHIRI At Sonia Boyajian’s Los Angeles jewelry boutique were inspired by those found at Georgia O’Keeffe’s New Mexico home.
and workshop, the palette, materials, and displays Photography: Stephen Busken.
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NICK CAVE The mixed-media Soundsuit is featured in reception at the Roc Nation headquarters in New York, designed by Jeffrey Beers International. Photography: Eric Laignel.
SOOMEEN HAHM, JAEHEON JUNG, and YUMI LEE The rope Augmented Grounds, the winning installation at the 2020 International Garden Festival in Grand-Métis, Quebec. Photography: Jean-Cristophe Lemay.
R & COMPANY A Joaquim Tenreiro dining table, Pierre Yovanovich rug, Jeff Zimmerman chandelier, Serban Ionescu sculpture, and Sergio Rodrigues chairs form a vignette in “An Affair to Remember,” on view at the New York gallery. Photography: Joe Kramm/R & Company.
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ORMS, SHAWN HAUSMAN DESIGN, and ARCHER HUMPHRYES ARCHITECTS At the Standard London, an elevator cab rises up the cast-concrete facade to Decimo, the hotel’s penthouse restaurant. Photography: Timothy Soar.
stands in a guest-room in China. Photography: Shao Feng.
X+LIVING A custom 3-D printed flamingo lamp corridor at the Parkzoo Xiangyuan Hangzhou hotel
MATTER DESIGN Wooden glyphs are the foundation of an outdoor “play-lab” for the project-based learning curriculum at the Grayson School in Radnor, Pennsylvania. Photography: Brandon Clifford/Matter Design Studio.
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MARC FORNES/THEVERYMANY Pillars of Dreams, a permanent pavilion in ultrathin aluminum, stands outside the Valerie C. Woodard Center in Charlotte, North Carolina. Photography: Naaro.
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LSM A tree slice sculpture by Michel François enlivens a break-out area at the New York headquarters of the law firm Milbank. Photography: Eric Laignel.
TAMECA COLE Locked in a Dark Calm, a collage and graphite on paper, is part of “Marking Time: Art in the Age of Mass Incarceration” at MoMA PS1 in Queens, New York. Photography: courtesy of the Museum of Modern Art.
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BALKRISHNA DOSHI Amdavad Ni Gufa Gallery, a 1994 collaboration with M.F. Husain in Ahmedabad, India, appeared in “Balkrishna Doshi: Architecture for the People” at Wrightwood 659 in Chicago. Photography: Iwan Baan.
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ROCKWELL GROUP The outdoor-dining solution for Buddakan restaurant in New York evokes the bustling stalls at Tokyo’s Tsukiji fish market. Photography: Emily Andrews.
BROOKLYN Residents, artists, and elected officials banded together on June 13 to paint this mural along Fulton Street, resembling the one painted near the White House a week earlier. Photography: Paul Frangipane/Brooklyn Paper.
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SUSANA PAZ For Indiesigns, part of Indiewalls, independent artists have created lively COVID-19 safety signs that also adhere to CDC guidelines for use in small-business, corporate, and hospitality settings. Photography: courtesy of Indiesigns.
LILY STOCKMAN Ajmer Highway, an oil on linen, was among 22 new paintings created during the pandemic lockdown for “Seed, Stone, Mirror, Match” at New York’s Charles Moffett gallery. Photography: Lily Stockman/Charles Moffett.
KO/OK ARCHITEKTUR Cross-laminated timber ceiling panels run above linoleum and
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carpet in the bowling alley at the Kegelbahn Wülknitz sports complex in Germany. Photography: Simon Menges.
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MARGARET McMAHON The Wimberly Interiors senior vice president and global managing director navigated the lockdown by arranging, photographing, and posting on Instagram monochromatic color boards made from household objects. Photography: Margaret McMahon.
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MICHAEL K CHEN ARCHITECTURE Done pro-bono, a former choir loft turned mezzanine library features a custom white-oak unit and 1,200 books for the children and parents of Concourse House, a Bronx, New York, shelter. Photography: Alan Tansey.
JOHNSON FAVARO Adhesive film, textiles, and plastic laminate come together in the children’s section
of the Donald Dungan Library in Costa Mesa, California. Photography: Eric Laignel.
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WUTOPIA LAB A 45-ton custom steel shelving system holds over 1,000 volumes of international poetry at Sinan Books in Shanghai. Photography: CreatAR Images.
VIKTOR & ROLF and SHAY ASHUAL with YEVGENIY KORAMBLYUM A spring/ summer 2020 upcycled patchwork dress and headpiece appear in “About Time: Fashion and Duration” at the Metropolitan Museum of Art in New York. Photography: courtesy of the Metropolitan Museum of Art.
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b o o k s edited by Stanley Abercrombie The V&A Book of Color in Design
London’s Victoria & Albert Museum was founded in 1852 as the Museum of Manufacturers, to hold the objects that had been displayed in the Crystal Palace of the year before. It has grown to be the world’s largest collection of decorative arts, with roughly 23 million artifacts spanning 5,000 years. These include furniture, textiles, ceramics, glass, metalwork, wallpaper, costumes, jewelry, prints, drawings, and photography. These are collections that have been exam ined in many ways, and now by color—and not just Newton’s “Roy G. Biv” basics of red to violet but also white, gray, black, brown, turquoise, and pink. The objects are further examined in light of those colors’ historic uses, characters, and symbolism. Yellow can connote not only cheer and happiness but also cowardice. White, a symbol of purity and the color worn by the “Virgin Queen” Elizabeth I, has also been, in many parts of the world, the color of mourning. And red is the color of danger, lipstick, magic shoes, rubies, and the Devil. Color being such a fundamental factor of interiors, it is hard to imagine a designer who will not derive great delight and perhaps new insight from this fascinating and, needless to say, colorful survey. Important contributors have been members of the studio Here Design, whose previous books include Spectrum: Heritage Patterns and Colors, while editor Tim Travis is a curator of the V&A’s Word & Image Department. edited by Tim Travis New York: Thames & Hudson, $40 304 pages, 450 color illustrations
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There have been monographs before about Josef Albers (1888-1976) and his wife Anni (1899-1994), but this is a book about them both. And they are the perfect couple for such treatment with lives, opinions, tastes, and art—his paintings and her textiles—that were so closely interdependent. The pair met as students in the early 1920’s at the Bauhaus, first in Weimar, then in Dessau, and finally Anni and Josef Albers: Equal and Unequal in Berlin. But soon Josef would be by Nicholas Fox Weber named a Master and Anni would New York: Phaidon, $150 be the first to be awarded a degree 512 pages, 750 illustrations (350 color) from the school’s weaving workshop. They would follow the school to Berlin, where Josef (by then the longest faculty member) would be key in the decision to close the school rather than succumb to Nazi interference. The closest of their many Bauhaus friends had been Marcel Breuer and Paul Klee. They accepted faculty positions then, at the recommendation of Philip Johnson, at Black Mountain College in North Carolina, where they would teach and work for 16 years, Josef experimenting with abstract geometries in painting and printmaking, Anni weaving similar geometries including innovative strips of jute, cellophane, and aluminum. Friends and fellow artists they met there included John Cage, Merce Cunningham, Buckminster Fuller, Robert Rauschenberg, and another talented couple, Charles and Ray Eames. In 1950 they moved to Connecticut; Josef had been asked to head the department of design at Yale University and as Anni was being given a solo exhibition at MoMA in New York. Here they would spend the rest of their lives. Josef would write his major book, Interaction of Color, in 1963, and Anni world write hers, On Weaving, in 1965. This handsome double biography is an authoritative source of information not only about two of early modernism’s most inventive and influential artists but also about one of the most exciting and formative periods of modernism itself.
G A R D E N I A OA K M AG N O L I A H I C KO RY
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c o n ta c t s STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685, Title 39, United States Code).
PHOTOGRAPHERS IN FEATURES
1. Interior Design 2. (ISSN 520-210) 3. Filing date: 10/1/2020. 4. Issue frequency: Published 16 times a year, monthly except semimonthly: June and Sept; thrice monthly in Oct; and a double issue: May/June. 5. Number of issues published annually: 16. 6. The annual subscription price is $ 69.95. 7. Complete mailing address of known office of publication: 101 Park Avenue; 4th Floor, New York, NY 10178. 8. Complete mailing address of headquarters or general business office of publisher: 101 Park Avenue; 4th Floor, New York, NY 10178. 9. Full names and complete mailing addresses of publisher, editor, and managing editor. Publisher...............................................................................Carol Cisco, 101 Park Avenue; 4th Floor, New York, NY 10178. Editor.....................................................................................Cindy Allen, 101 Park Avenue; 4th Floor, New York, NY 10178. Managing Editor.................................................................Helene E. Oberman, 101 Park Avenue; 4th Floor, New York, NY 10178. 10. Owner: Sandow, 3651 NW 8th Ave, Boca Raton, FL 33431. 11. Known bondholders, mortgages, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other securities: NONE. 12. Tax status: Has Not Changed During Preceding 12 Months. 13. Publisher title: Interior Design. 14. Issue date for circulation data below: September 2020. 15. The extent and nature of circulation: Average number of copies each issue during preceding 12 months
Stephan Julliard (“Home and Away,” page 92), stephanjulliard.com. Eric Laignel Photography (“Breaking Through,” page 84), ericlaignel.com. Garrett Rowland Photography (“Bright Young Thing,” page 108), garrettrowland.com. James Silverman (“Seeing Red,” page 100), instagram.com/jamessilvermanphoto.
DESIGNERS IN HOTSHOTS BLAarchitettura (“Total Turin,” page 46), blaarchitettura.it. Coll Coll (“Smart Living,” page 37), collcoll.cc.
Actual number of copies of single issue published nearest to filing date
Crosby Studios (“Retail Therapy,” page 42), crosbystudios.com.
a.Total number of copies printed (Net Press Run)..................................................................................................................55,541..............................45,025 b. Paid/requested circulation 1. Mailed outside-county paid subscriptions/requested............................................45,791.............................39,141 2. Mailed in-county paid subscriptions/requested................................................................0 ......................................0 3. Sales through dealers and carriers, street vendors and counter sales........................................................................................ 1,535...................................230 4. Requested copies distribution through other classes mailed through the USPS...............................................................................727...................................886 c. Total paid/requested distribution...............................................................................48,054..............................40,257 d. Nonrequested distribution (By Mail and Outside Mail) 1. Outside-County Nonrequested copies........................................................................ 2,895...................................864 2. In-county nonrequested copies.............................................................................................0.......................................0 3. Nonrequested copies mailed at other Classes through the USPS...........................................................................................0.......................................0 4. Nonrequested copies distributed outside the mail.................................................... 1,169............................... 3,521 e.Total Nonrequested distribution.................................................................................... 4,064............................... 4,385 f. Total distribution (Sum of 15c and e).........................................................................52,118.............................44,642 g. Copies not Distributed.................................................................................................... 3,423...................................383 h. Total (Sum of 15f and g)...............................................................................................55,541.............................45,025 i. Percent Paid and/or Requested Circulation (15c divided by f times 100)...........................................................................................92.20%............................ 90.18%
Average number of copies each issue during preceding 12 months
Homework (“Beauty Treatment,” page 40), homework.design. Shelter Design Architecture (“Simple Gifts,” page 44), shelterstories.design.
DESIGNER IN CENTERFOLD LLLab. (“Woven Into Nature,” page 79), lllab.net.
Actual number of copies of single issue published nearest to filing date
16. Electronic Copy Circulation a. Paid Electronic Copies...................................................................................................13,106.............................11,122 b. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a)..................................................................................61,160..............................51,739 c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a)...................................................................................65,224.............................55,764 d. Percent Paid (Both Print and Electronic Copies) (16b divided by 16c x 100)..............................................................................................93.77%............................ 92.14% I certify that 50% of all distributed copies (electronic and print) are paid above nominal price: YES 17. Publication of statement of ownership for a Requester publication will be printed in the Dec-20 issue of the publication. 18. Signature and title of editor, publisher, business manager, or owner: Carol Cisco, Publisher. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanction and civil actions.
Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE: 800-9000804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@ interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.
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Workspaces
Discoveries
History
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TOP CENTER: AIMÉE WILDER TOP RIGHT: SARAH MULLINS CENTER RIGHT: ESTHER CHEUNG BOTTOM CENTER: SPENCER LAPP CENTER LEFT: OLIVIA LUGARINI
Inspirations
peak perspective
Humans have been conquering Europe’s Ötzal Alps for over 5,000 years. Take Ötzi, a Copper Age man whose perfectly preserved remains were found embedded in the glacial ice on the border of Austria and Italy in 1991. Not far from there is something prehistoric man may have never imagined: a viewing platform perched at the summit of the towering Grawand mountain. The structure, by NOA* Network of Architecture, floats weight lessly on the tip-top of a rocky pile of shale and gneiss at an elevation of more than 10,500 feet. NOA calls it Ötzi Peak, and it’s made of only two materials: glass and Cor-Ten steel, a necessity given the site’s challenges; materials had to be durable enough to withstand the harsh Alpine conditions. Each piece had to be flown in by helicopter and assembled without heavy machinery. “There’s no standard process for a site like this,” NOA partner Andreas Profanter says. “So our approach was straightforward, the fewer different materials, the better.” The viewing platform is located just a stone’s throw away from the Glacier Hotel Grawand and reached via cable car (or, for the adventurous, a hiking trail) from the Italian village of Maso Corto. The scenery is stunning from any angle, but on one side is a secondary platform that cantilevers out 4 feet from the main structure. Visitors who bravely step up to the glass railing and gaze into the valley below can see the place where Ötzi the Ice Man was discovered. —Wilson Barlow
i n t er vention ALEX FITZ
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KnollTextiles
The Destination Collection
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