Interior Design December 2021 by Interior Design Magazine

DECEMBER 2021

into the future a tribute to art gensler

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CONTENTS DECEMBER 2021

VOLUME 92 NUMBER 15

ON THE COVER A 1976 portrait of Gensler founder and Interior Design Hall of Famer Art Gensler, who passed away earlier this year after 65 years at the forefront of the profession. Photography: Courtesy of Gensler

features 126 AN EMERALD ISLE by Dan Rubinstein

150 THE NEW WAVE by Peter Webster

We’ve discovered six emerging firms from around the globe whose names and work you’ll want to know.

Gemstone greens—along with a spectrum of other bold, jewel colors—bring unexpected calm to a house in Cork, Ireland, by Kingston Lafferty Design. 134 MAKING THE CUT by Joseph Giovannini

164 STONE HARBOR by Katie Gerfen

Hariri & Hariri Architecture transforms the New York headquarters of SIBA Corp/ SIBA Residences from a diamond in the rough into a multifaceted gem. 142 NEXT CHAPTER by Rebecca Lo

For its first outpost outside Shanghai, Duoyun Books turns to Wutopia Lab to tell the retailer’s story in nearby Taizhou.

A Brooklyn, New York, studio by Andrew Berman Architect brings a sculptor’s entire artistic process—boulders and all—under one roof.

172 DIVINE REFUGE by Rebecca Dalzell

In northern Italy, a 17th-century former monastery gets an inspired transformation by NOA* Network of Architecture into the Monastero Arx Vivendi hotel and spa.

MICHAEL MORAN/OTTO

12.21 164

Mohawk Group recognizes the signiﬁcant contributions of Arthur Gensler and his indelible legacy on the profession of interior design. We are honored to partner with Gensler designers on their projects, enhancing the built environment so that design may support the aspirations of all people. Mohawk is also proud to have collaborated with Gensler, serving as product design consultant, on two multi award-winning modular carpet collections: Nutopia and Smart City. Nutopia pays homage to the urban fabric of cities, where people coexist with buildings and the street in transformative ways, and design translates into patterns of balance, acceptance, and inclusion. Smart City honors urban areas that nurture their citizens with connectivity, uniting people through high-speed technology and transportation. Cities are shaping the future of human experience, and Gensler and Mohawk are forging a new path to create spaces that have a positive impact. Both Nutopia and Smart City are Living Product certiﬁed, water positive, and beyond carbon neutral, aligning with our shared journey to decarbonize place and planet. Learn more about these product collaborations and initiatives at mohawkgroup.com.

Smart City

Nutopia

CONTENTS DECEMBER 2021

VOLUME 92 NUMBER 15

walkthrough 43 HIDDEN TREASURE by Jesse Dorris 49 SPECIAL GENSLER SECTION

departments 23 HEADLINERS 29 DESIGNWIRE by Annie Block 33 CREATIVE VOICES The Butterfly Effect by Eric Mutrie

Led by a deep concern for the natural world, architect Cécilia Gross designs sustainable projects that start small but engender oversize eco-positive results. 36 PINUPS by Wilson Barlow 107 MARKET by Rebecca Thienes, Georgina McWhirter, and Nicholas Tamarin 121 CENTERFOLD French Revolution by Athena Waligore

Tens of thousands of yards of fabric temporarily obscured the Arc de Triomphe in Paris, a posthumous installation by Christo and Jeanne-Claude. 182 BOOKS by Stanley Abercrombie

27 29

191 INTERVENTION by Wilson Barlow

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12.21

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Art Gensler left the world better than he found it. His legacy of influence and inspiration in architecture and design lives on.

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e d i t o r ’s welcome

tomorrow starts now

Here we are, once again, at year’s wrap. Thankfully not so beastly as the previous annus horribilis, this one still brought many tough challenges, along with just-as-magnificent acts of courage, resilience, and inspiration! From our own patch, 2021 actually gifted us with what we wanted and needed most: a heavy dose of innovative design to rival any pre - pandemic year. Pudding proof? We just finished cataloging a kazillion Best of Year Awards submissions—stay tuned!— with quality so darn high it makes my eyes water, and the winners so impossible to choose it makes me wanna cry. Need more inspiration? Simply take this megawatt December issue. Once again a seemingly inexhaustible mother lode of creativity to satisfy your voracious appetite, our signature portfolio highlights a new crop of super -talented Young Turks, world - class hands and minds in dazzling action. And at the other end of the design spectrum—literally—we bring you the titans of our industry, starting with my friend Art Gensler. It is him—his spirit, his virtues, and his great legacy—with whom I want to walk to the end of the year. Art’s stories, and what he helped raise throughout the span of our recent design history, is just what we need as we parse and chart tomorrow during these trying times. It is with my friends Robin, Andy, and Diane—the current Gensler leaders—that I will cross the line and step into the new year. And we won’t be alone. We will be joined by many other role models from an industry legendary for coining new originals and fabled pathfinders. All Art’s heirs, we are now the time-tested pilots steering design into the future. Let’s start now!

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DEC.21

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headliners

Hariri & Hariri Architecture “Making the Cut,” page 134 principal design director: Gisue Hariri. principal executive architect: Mojgan Hariri, AIA. firm site: New York. firm size: Seven architects and designers. current projects: A house in Quogue, New York; a hotel on Kish Island, Iran; Folding Pod, a prefabricated disaster-relief shelter concept. honors: Interior Design Best of Year Awards; NYCxDESIGN Breakout Grant. origins: Gisue and Mojgan Hariri grew up in Iran, the daughters of an electrical engineer father and a homemaker-painter mother. beginnings: The two started collaborating as children, creating their own games, toys, and universe, and both studied architecture at Cornell University. haririandhariri.com

“There is no right or wrong way—between the two of us, we always find the best way for our projects and clients” DEC.21

INTERIOR DESIGN

Andrew Berman Architect “Stone Harbor,” page 164 principal: Andrew Berman, FAIA. senior project manager: Dan Misri. firm site: New York. firm size: Six architects and designers. current projects: NYPL Inwood Library in New York; a house on Long Island; SUNY University at Buffalo School of Architecture. honors: AIA New York, New Jersey, and Brooklyn/Queens Design Awards. italy: Berman instructs Antico/Nuovo, an annual workshop at Politecnico di Milano. texas: Misri has been traveling regularly to Marfa for nearly 25 years. andrewbermanarchitect.com

Wutopia Lab “Next Chapter,” page 142 cofounder, chief architect: Ting Yu. firm site: Shanghai. firm size: 20 architects and designers. current projects: A food court and a

bookstore in Shanghai.

honors: Interior Design Best of Year

Awards; International Design Award; Prix Versailles. pen: Yu is a columnist who writes about Shanghai food and culture. plate: Soup dumplings are among his favorite local snacks. wutopialab.com

h e a d l i n e rs

Kingston Lafferty Design “An Emerald Isle,” page 126 founder, creative director: Róisín Lafferty. lead designer: Fiona Stone. firm site: Dublin. firm size: Nine architects and designers. current projects: Residences in Dublin and Louth, Ireland; SISU Aesthetics Clinic in Miami. honors: Fit Out Awards. lung power: Lafferty has sung at Electric Picnic, Ireland’s biggest music festival. footwork: Stone was a professional Irish dancer with such troupes as Lord of the Dance and Riverdance. kingstonlaffertydesign.com

INTERIOR DESIGN

DEC.21

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NOA* Network of Architecture “Divine Refuge,” page 172 cofounder, architect:

Lukas Rungger. partner, architect:

Christian Rottensteiner.

firm sites: Bolzano and Turin, Italy;

Berlin.

firm size: 25 architects and

designers.

current projects: A golf course

pavilion in Alpe di Siusi, Italy; a ski home in Seefeld, Austria; a diving resort on Bonaire island. honors: Ahead Europe award; WAF Award shortlist.

young: Rungger and Stefan Rier cofounded NOA in 2010. youth: Rottensteiner’s father was a forest ranger, so the natural landscape has influenced him since childhood. noa.network

h e a d l i n e rs

INTERIOR DESIGN

DEC.21

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fringe benefits Red Moon, Red Sunset, and Desert Sky, 12-foot-tall sculptures composed of 50,000 strands of fringe sourced from Crazy Crow Trading Post, a supplier of Native American arts and craft materials, appear in “Jeffrey Gibson: Infinite Indigenous Queer Love,” at deCordova Sculpture Park and Museum in Lincoln, Massachusetts, through March 12, 2022.

Jeffrey Gibson is master of myriad mediums. Painting, sculpture, Southeastern river cane basket weaving, Algonquian birch bark biting, porcupine quillwork. The variety reflects and draws from his diverse background: He’s of Choctaw-Cherokee descent and gay. This mélange comes together beautifully in “Jeffrey Gibson: Infinite Indigenous Queer Love,” at deCordova Sculpture Park and Museum in Lincoln, Massachusetts. Among the ap proximately 20 works in the show—an assortment of collages, large-scale mixed media, and performance videos, plus a 21-foot-tall ziggurat installed outdoors—are a trio of vibrant hanging sculptures. The tall, 6-foot-square columns are composed of tens of thousands of lengths of the same fringe often used in Indigenous dance regalia, in a rainbow of radiant colors derived from the palette of sunsets and desert skies. The result is a merging of hard-edge shapes and soft, craft-based materiality. “These forms,” Gibson says, “look toward the future with hopes of establishing a different conversation regarding what indigeneity could look like.” DEC.21

INTERIOR DESIGN

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buzz worthy Opposites attract. They also drive the core aesthetic of Studio Bipolar, a fledgling firm founded by architects and spouses Sanjana Mathur and Ujjwal Sagar, ages 29 and 30, respectively. Their projects strive to meld classic with contemporary, rough with smooth, luxe with industrial. “A well-balanced space is achieved by combining opposing elements together,” they say. In the case of B-Hive 11, a millennial-minded coworking office in New Delhi, they’ve blended function and fun, uniform and abstract, desks and cats. Orderly rows of workstations are partitioned by vivid plants, their greenery echoed in the faux grass squares fitted into the dropped ceiling grid. Two meeting rooms offers privacy amid pops of pastels. A break-out area furnished with funky ottomans and neon signage declaring Apna time aa gaya, or It’s my time to shine, invite impromptu chats as well as Instagram-worthy selfies. And graphic surface treatments abound. Abstracted faces by a local artist enliven a wall near the pantry; in the women’s restroom, a photomural kitten is bedecked in 3-D red spectacles that double as mirrors.

ANMOL WAHI

Clockwise from bottom: New Delhi coworking space B-Hive 11 by Studio Bipolar offers 45 hot-desks and Featherlite chairs amid 4,500 square feet. Flea market–found ottomans in a break-out area. A tintedglass pendant fixture from White Lighting Solutions and Danish Prakash’s mural. A restroom’s painted wood-framed mirrors, photo mural, Kerovit sinks, Jaquar fittings, and marble counter.

INTERIOR DESIGN

DEC.21

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the butterfly effect Led by a deep concern for the natural world, architect Cécilia Gross designs sustainable projects that start small but engender oversize eco-positive results

As a partner-director at ecologically aware Amsterdam studio VenhoevenCS, architect Cécilia Gross is no stranger to green roofs, solar panels, and eco-friendly construction techniques. But the real environmental impact of her firm’s projects lies in their capacity to act as catalysts, inspiring others to play their own important role in the sustainability movement. For instance, consider the meaningful lifestyle shifts set in motion by Het Platform, a mixed-use development that Ven hoevenCS recently completed in Utrecht. To cut down on car travel, the building consolidates rental housing and common work and recreational facilities into a single structure suspended above local rail lines. Given its scale, the complex could have easily come off feeling insular, but Het Platform’s stacked forms and balconies instead contribute to a dynamic, inviting com munity destination. “Densification near a mobility hub is smart,” Gross notes. “But you also have to make it attractive enough to draw people in.” Born in France, Gross is collaborating with the French firm Ateliers 2/3/4 on the 2024 Olympic Games Aquatics Centre in Paris. Along with its innovative timber framework, another of the facility’s green features will be its upcycled seating, manu

c r e at i v e voices

factured from plastic waste collected by Parisian youth as part of a civic engagement program. “It’s making the future gener ation more sensitive to sustainability by inviting them to con tribute to this exceptional building in their city,” she explains. We spoke with the architect about the role that design can play in improving our environmental footprint. From top: The partner-director of Amsterdam firm VenhoevenCS. A proposal for the Butterfly Effect, a web of ultralight photovoltaic film that blocks the air currents created by highway traffic, which can disrupt insect migration patterns.

FROM TOP: INEKE OOSTVEEN; COURTESY OF VENHOEVENCS

DEC.21

INTERIOR DESIGN

Clockwise from top left: The structure’s steel columns, which stand next to the trees along the A67 motorway in the Netherlands. A rental unit at Het Platform, a mixed-use development in Utrecht. The Butterfly Effect’s Studio Solarix photo voltaics assembled into a honeycomblike canopy. A rendering of the timber-framed Aquatics Centre for the Paris 2024 Olympic Games, its central dip, over the pool, reducing volume and improving heating efficiency. Seating of upcycled plastic waste collected by local youth flanking the pool. Landscaping contrib uting to the center’s role as a community destination for life beyond the Olympics. Het Platform’s balconies, terraces, and gardens, which create greater biodiversity and opportunities for outdoor living. Gross’s Butterfly Effect section drawing, which looks beyond humans to consider how civic infrastructure can serve a full range of different species.

INTERIOR DESIGN

DEC.21

Another Het Platform innovation is its steel structure. How does that improve the ecological footprint? CG: The city’s original plan was to put a concrete table structure—a big plate with thick pillars— above the tram lines. We proposed an alternative solution that integrates layers of lightweight 3-D steel trusses, which cut the amount of concrete and steel we needed in half. That back-and-forth during the design process is very important. Confronting a vision together with everybody around the table leads to smarter and more sustainable solutions. In this case, the steel construction becomes part of the experience of the building.

Its rooftop gardens consider more than just people. What’s your approach to these green spaces? CG: As an office, we are driven to see the planet as a whole. If something looks nice but is going to destroy us in the longterm, forget about it. When it comes to landscaping, our work is not about simple greenwashing, but about providing enough ground to allow plants to actually grow, and choosing plants that support insects and birds to promote biodiversity. Humans are one species, but not the only one. This was a site where there had been nothing green, so every little piece that we added with our landscape architect, Studio LandLab,

was a real chance to improve the ecosystem. Now we’ll have to see in 10 or 20 years what it brings. You recently unveiled a proposal for a web of hexagonal photovoltaic panels made of ultra light film that could be installed over a Dutch motorway to help with butterfly migration. What drove you to develop that idea? CG: From research, we found that the air currents from traffic disrupt insect migration, but when there’s a traffic jam and the air is still, they’re able to cross the highway, reproduce, and help with pollination. Our concept follows the whole idea of the butterfly effect: Start small and then get the ball

CLOCKWISE FROM TOP RIGHT: OSSIP VAN DUIVENBODE (2); COURTESY OF VENHOEVENCS (2)

You describe Het Platform as a “micro city.” How do you define that concept? Cécilia Gross: It starts with walking, which is really the basis of a good life in a neighborhood. There are a lot of things we shouldn’t have to move so far to get—food, for one. But it’s not only about providing stuff. Walking is also a healthy way to move, and it’s a good way to meet people. In the Netherlands, we’re crazy about cycling, but when you slow down, you experience more of the social aspects of the city. Of course, having Het Platform so close to a public transport hub allows people also to extend their lives further using green mobility. It’s a balance.

CLOCKWISE FROM TOP LEFT: COURTESY OF VENHOEVENCS; PROLOOG (3)

rolling. That’s why we’re designers—to explore something that sounds logical, and to make it attractive. To get people to accept change, you need to make it beautiful. It’s the same with solar panels. To be honest, they can be very ugly when they’re just solid panels next to each other. But the aesthetics are what we love about Solar Solarix’s modular photovoltaic film, which we’re working with on the project. To innovate, you need to try. Build a program, then analyze, evaluate, and improve.

The Aquatics Centre is the only new building Paris is introducing for the 2024 Olympic Games. How have approaches to large sports venues changed? CG: Big event venues are at a turning point, especially since we just finished an Olympic Games without a public audience. We designed this as a sports complex for the neighborhood first, and then we thought about how to transform

it for this amazing twoweek event as well. That involves some compromises—maybe during the games something feels a little smaller than it could have—but the legacy of the project was the most important. What’s exciting is that the Olympics will give it a chance to touch a wider public, and I think that’s one of the real targets of sustainable architecture—to get people more involved. Hopefully that’s the magic of the project. —Eric Mutrie

c r e at i v e voices DEC.21

INTERIOR DESIGN

p i n ups text by Wilson Barlow

odd job Yvon Smeets takes on animating a familiar inanimate object

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Oddities vases in polyester thread, ceramic, steel wire, and acrylic spray in White, Red, or Blue by Studio Yvon Smeets. yvonsmeets.com

INTERIOR DESIGN

DEC.21

p i n ups

Aaron Chai transforms a utilitarian material into fantastical furniture Biggy Orange chair in urethane sponge, epoxy, flour paste, and acrylic paint by Studio Aaron Chai. instagram.com/studio_aaronchai

INTERIOR DESIGN

DEC.21

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New Home, Same Resolve: Davis Furniture Unveils New Headquarters by Mark McMenamin For nearly 80 years, Davis Furniture has staunchly defended two loyalties: the aesthetics of modern design, and the community of High Point, North Carolina. The manufacturer reinforced its commitment to both this summer with the debut of its new state-ofthe art headquarters, a hybrid office-showroom-plant where Davis can make, show, and market in a space-efficient footprint. “In the wake of unprecedented times, our focus on a modern and evolved corporate headquarters proves itself a manifestation of the Davis brand,” says president and chief executive officer Danny Davis. Together with his son Brian Davis and daughter Ashley Davis Williams, Mr. Davis enlisted the expertise of frequent collaborator Bob Bazemore to partner with Davis vice president of development and design Rob Easton in the Mercer Architecture-helmed project. The team began by quizzing employees about privacy and ownership of space. This prompted an investigation of the proper balance between focus areas, community places and in-between zones. “The workplace experience is shaped through the support of three distinct action clusters: doing, seeing, feeling,” says Bazemore. “An outstanding workplace experience delivers on all three.” The “seeing” aspect is immediately satisfied by the gleaming façade’s 12-foot-high windows that draw natural light into the complex. A 20-foot-high entrance hall leads to the main corridor’s common areas, which casts the spotlight on furnishings from longtime Davis collaborators such as jehs+laub and Jonathan Prestwich, as well as other international designers like Mario Ferrarini and Dante Bonuccelli. Casual gathering spaces are populated with current Davis lounge seating and punctuated with colorful selections from the Davis Elements series. Solid-wood desks in private offices are matched with Davis executive seating and guest chairs. The main office floor features custom desking, privacy screens and sideboards. Naturally, Davis gives southern hospitality its due. The manufacturer’s all-weather collections support socialization on the expansive outdoor terrace, while the atrium-like café is anchored by a 24-foot-long Tix community table. Constructed from a single oak tree, it’s a simultaneous nod to the company’s sustainable solid-wood heritage and partnerships with European suppliers. As Danny Davis puts it, “This new facility brings together top-tier manufacturing and an unwavering focus on design.” Photography: Tim Buchman

Davis Furniture Industries Inc. Corporate Headquarters

| High Point, NC

walk through

hidden treasure firm: studio shoo site: moscow Gabardine curtains frame the entrance to Abu Gosh, a two-story house turned café specializing in Israeli cuisine.

KATIE KUTUZOVA

DEC.21

INTERIOR DESIGN

With its pitched roof, the house on a tree-lined street in central Moscow wore its charm on its sleeve. But, as Studio Shoo founder Shushana Khachatrian discovered, it had a trick up its sleeve, as well, making it an ideal second location for Abu Gosh, a café serving Israeli cuisine. Its first outpost, inside a 1911 garden pavilion that had been whitewashed, then enlivened with quirky, blue egg-patterned tile, is also by Khachatrian. “I liked it right away,” she says of the house. “The roof looked like an attic with secrets.” Armenian-born, Khachatrian studied art before graduating with an architecture degree from the State University of Land Use Planning in Moscow, where she’s now based. A few years working in local firms taught her how to bridge her backgrounds, and, in 2017, she launched Studio Shoo. 44

INTERIOR DESIGN

DEC.21

That art-architecture proficiency is on display at both cafés but particularly in the latest one, Abu Gosh Trubnaya. And it’s partly due again to Khachatrian specifying eye-catching tile, this time by Italian designer Elisa Passino, who won a 2020 Interior Design Best of Year Award for her Geometrie Componibili collection. For the café, Khachatrian selected Passino’s Capitello tile—a graphic compilation of rectangles capped by a dome—in a custom colorway of bubble-gum pink, periwinkle, navy, and white. The pattern mixes 1960’s Op Art dazzle and late ’80’s Memphis whimsy and set the tone for the 1,400-square-foot project’s palette and leitmotifs. But first the structure needed repair and refreshing. “We dismantled floors and removed the stitched ceiling,” Khachatrian explains. She also incorporated the arch, which became a defining

KATIE KUTUZOVA

w a l k through

Clockwise from opposite, top left: A pipe chandelier, a collaboration with artist Sergei Prokofiev, starts in the upstairs lounge and continues through a hole in the custom table and oak floor down to the first floor. The restroom has a custom concrete sink. Elisa Passino designed the tile in the main dining area downstairs. The Kaef arm chairs are from Delo, a de sign studio and manu facturer in St. Petersburg, Russia. The project’s palette centered on Passino’s cement tile.

KATIE KUTUZOVA

DEC.21

INTERIOR DESIGN

w a l k through Clockwise from top: Arched doorways and display shelving echo the dome on the tile. Paint trims a cove fitted with a vintage pendant fixture. The exterior of the 1,400-square-foot café was painted.

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a hole in the floor. “In studying the house’s history,” Khachatrian says, “we found that it had been used as a chimney.” She and her team initially considered plugging it up. “But we came up with a new implementation: a double chandelier that serves as a connection between the two levels.” She devised a pair of chandeliers out of coiled blue pipe. One attaches to the pitched roof over the communal table. Then a cable threads through the tabletop, its clear acrylic base, and that existing hole in the floor to link to a second canopy above a table downstairs. What could have been a problem instead became a source of inspiration. That’s the secret to good design. —Jesse Dorris

FROM FRONT ONLYBETON: CUSTOM SINK (RESTROOM). THROUGH CHRONOSFACTOR: WHITE PENDANT FIXTURE (LOUNGE). THROUGHOUT DELO: CHAIRS, TABLE BASES. ELISA PASSINO: TILE.

KATIE KUTUZOVA

element, one that was borrowed from the tile’s dome. Arches form the café and restroom entrances, wall-mounted and recessed storage, and, flipped on the axis, the backs of slim-legged pink chairs; they line up at blue-based com munal tables in the main dining area on the ground floor. Upstairs is an entirely different environment, both in function and feel. After traversing a low flight of steps, guests encounter a space defined by a folded ceiling plane, due to the house’s pitched roof, as well as original wooden beams and new oak flooring. They can lounge or attend lectures seated in mustard-upholstered armchairs or cherry red benches surrounding a circular communal table. Khachatrian brought the blue of downstairs up here by trimming the ceiling and painting stepped seating in various tones of the shade. But it was also here that during construction Studio Shoo noticed

MAXI SLIDING PANELS, SELF BOLD CABINET. DESIGN GIUSEPPE BAVUSO

THE N E B U L A S E R I E S Nine hand-carved alabaster pendants make an illuminating statement for your interiors. boydlighting.com

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forward momentum A tribute to Art Gensler’s illustrious career honors his firm’s role in shaping the future of global design — and the environments defining its cutting edge

text: edie cohen

COURTESY OF GENSLER

DEC.21

INTERIORDESIGN.NET

Of the many losses endured over the past 20 months, one hits particularly hard on our industry: the May passing of M. Arthur Gensler Jr.—know to all as Art—at the respectable age of 85. During his remarkable 65-year career, Art built the largest architecture/design firm in the world. The stats speak: Gensler currently has 50 locations spanning North and South America, Europe, Asia, the Middle East, and Australia. Personnel encompasses 5,800 employees— plus a cadre of outside consultants on call for top-notch expertise. The firm’s 28 practice areas cover the alphabet, from aviation to wellness. Active clients numbering 3,500 represent every industry and sector imaginable, from Fortune 500 companies such as Oracle to civic enterprises like San Francisco International Airport. The firm’s collaborative, multidisciplinary teams tackle projects of immense scale, from the 76-acre CityCenter in Las Vegas to the soaring 2,073-foot Shanghai Tower, a pinnacle of Art’s career— and of the firm’s reach and success. Per The New York Times, 2019 revenue was in excess of $1.5 billion. Gensler has been ranked number one on Interior Design’s Giants list for 41 years straight. Even during a pandemic, the firm continues to grow exponentially, having onboarded 1,400 team members since April 2020, as well as debuting a Climate Action & Sustainability practice area and a newly minted health sector, building on such recent triumphs as its contributions to the Shirley Ryan AbilityLab. Art, though an instinctual entrepreneur, would have been hard-pressed to envision such a future when he first entered the field, as an undergrad at Cornell University’s College of Architecture, Art, and Planning. His time there was formative in many ways. It was at Cornell that he met both his future wife, Drucilla “Drue” Cortell (a Middlebury College student at the time), and Bay Area architect Henry Hill, a visiting critic and early mentor who encouraged the Brooklyn native to consider moving West. Which Art did in 1962, eventually landing in the San Francisco office of Wurster, Bernardi & Emmons, working on projects like the newly inaugurated Bay Area Rapid Transit. It wasn’t long after, in 1965, that Art hung out his shingle, launching M. Arthur Gensler Jr. & Associates Architects with Drue and partner James Follett in a one-room storefront at 555 Clay Street. Art and Drue, who worked as office manager, had but $200 in the bank and three (of an eventual four) kids at the time. Some of his earliest projects were tenant-improvement work, a typology his technical skill set and out-of-the-box thinking were well suited to; those commissions presented an opportunity to examine and rethink how businesses operate within a space, and how to support that through the design; he made notable contributions in this vein to the Alcoa Building and Bank of America headquarters. Blurring distinctions between architecture and interiors became Art’s operating principle—a novel concept at the time that has since become a keystone of the profession. “By designing from the inside out, Art changed the industry,” says Jerry Lea, executive vice president of Houstonbased developer Hines, a longtime Gensler client. Lea recalls the real-estate company’s initial conversations with Art in the mid-’80’s, “a time when the core and shell was designed to enhance the outside appearance of the building with little or no regard to the interior experience.” The architect encouraged late founder Gerald Hines, “to think differently and create buildings that provided flexible and efficient tenant layouts with great views and higher quality interior finishes,” Lea continues. “Gerry took Art’s advice 50

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and increased ceiling heights, upgraded restroom and elevator lobby finishes, and provided floor-to-ceiling windows, better indoor air quality, and energy efficiency, to set a higher standard for tenants to follow”—a sort of trickle-down high-design strategy. Workplace design was an early focus and remains a competitive advantage; Adobe, Airbnb, Boston Consulting Group, Campari Group, Dropbox, Facebook, Hyundai Capital, Nvidia, LinkedIn, L’Oréal, and The New York Times count among the powerhouse brands for which Gensler has executed offices. Believing in the power of design to transform organizations, Art considered the typology a locus of life enhancement and a springboard for research; in 2005 and 2006, the firm officially launched its U.K. and U.S. Workplace Surveys. While workplace was the firm’s foundation, Gensler was multidisciplinary from the get-go, and Art was intentional about expanding the firm’s purview as opportunities presented themselves. His relationship with The Gap began when founder Don Fisher kicked sand on him at a La Jolla beach. A 1974 commission to coordinate stores, graphics, and construction for the clothing label ultimately swelled to more than 600 installations. “Luck is not a strategy,” Art said, “but when it comes your way, act on it.” Fisher was not the only notable client Art met purely through kismet. A chance encounter with Steve Jobs at a design conference in the 1970’s led to interiors for Apple’s Cupertino headquarters and first 100 stores. Art met David Neeleman, JetBlue’s founder, on one of the carrier’s flights. The executive was personally walking the aisles offering drinks and chips to passengers. When Neeleman got to the 6-foot-4-inch-tall architect seated in economy, he adjusted the seat, and they began to chat. Soon came an RFP for JetBlue’s terminal at JFK International Airport, where Gensler has since completed a number of other projects. Art’s ability to convert fortuitous meetings into major—and influential—commissions bespeaks the authority with which he pleaded the business case for good design. Art communicated effectively with titans of industry because he was one himself.

“We, not me”: Leading via collaboration Part of being a good businessman, he believed, entailed planning for corporate perpetuity. “Failure to embrace succession planning as early as possible is a roadblock to the test of time,” Art stated. As a natural culmination of his firm-as-family mentality, he transitioned Gensler to an employee-owned entity in 1988 and both a board of directors and an executive committee were instated in 2000, formalizing a collaborative leadership structure that now extends to studios, offices, regions, practice areas, and design disciplines. “Art was a visionary in organizational leadership,” says Martin Koffel, former CEO of engineering firm URS Corporation (acquired by AECOM in 2014), a frequent project partner. “He was a generation ahead of his time in sharing credit with others and creating an inclusiveness in his organization that’s rarely achieved today.” Adds California College of the Arts president Stephen Beal: “Art was so attuned to other people’s ideas—he was a brilliant collaborator. In design, the importance of multiple perspectives often gets overlooked. He didn’t let a singular design ego override the collaborative experience.”

gensler Previous page: M. Arthur ‘Art’ Gensler Jr. (1935–2021), photographed in 1976, founded his eponymous architecture/ design firm—now the world’s largest—56 years ago. Below: The firm’s evolving name and logo from 1965 to the present. Opposite: Contact sheets of publicity portraits from the same 1976 photo shoot.

COURTESY OF GENSLER

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CLOCKWISE FROM BOTTOM LEFT: NICK MERRICK; COURTESY OF GENSLER

Clockwise from top left: Gensler’s Houston office in the 1970’s. IBM Corporation, Houston, 1977. Interior Design, January 1990 Giants of Design cover, which Gensler has topped for 41 years straight. Moscone Convention Center, San Francisco, 1987.

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That ethos defines Gensler today, which, since 2005, has more than tripled in size and gone global, with offices in 15 countries. “We grow the firm by growing our people,” says Cohen. “That is foundational to our ‘one-firm firm’ culture, where we empower the industry’s top talent to pursue their passions and make a difference. We give our people opportunity to lead not only projects but also studios, offices, client relationships, practice areas, design disciplines, new ventures, research, etc.” A testament to this “constellation of stars” mentality is the number of Gensler-ites who have been initiated into the Interior Design Hall of Fame over the decades. There’s Art himself, of course, plus six other firm members: Margo Grant Walsh, Antony Harbour, Don Brinkmann, and Collin Burry in addition to King and Klehr Avia. (Orlando Diaz-Azcuy was tapped in 1988, the year he founded ODADA after 11 years with Gensler.) And in 2009 Gensler itself was inducted—the first and only firm to receive the vaunted designation.

CLOCKWISE FROM TOP LEFT: NICK MERRICK; COURTESY OF GENSLER (3)

Art stepped down from his management role in 2005, ceding the floor to current co-CEOs Andy Cohen and Diane Hoskins—both longtime Gensler employees. He had a belief in the continuity of personnel befitting any efficient business model. “As you gain in size, you need to develop your firm’s leadership abilities,” he wrote in Art’s Principles (Wilson Lafferty, 2015), a plain-speak textbook as well as a blueprint for a thoughtful life, well lived. “It takes time to find talent, to groom, and to generate value.” He invested in his people and took mentorship very seriously. “Art would do anything to support us,” Hoskins says. Design principal Ronette King agrees: “He looked at each of us and saw our potential; that was all it took.” Art’s management style, says regional managing principal Robin Klehr Avia, “was based on a deep trust of our people. He would give you the car keys, trusting you to understand the expectations and chart the best course.” Art didn’t need to ride shotgun.

Clockwise from top left: Capital Bank, Miami, 1985. The young Art and Drucilla ‘Drue’ Gensler in an undated photograph. Art’s Principles, the architect’s 2015 book of professional and personal advice. The San Francisco office staff in 1976.

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gensler

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1997: GAP INC. HEADQUARTERS, SAN BRUNO, CALIFORNIA

1965: M. ARTHUR GENSLER JR & ASSOCIATES ARCHITECTS OFFICE, SAN FRANCISCO

1997: INTERIOR DESIGN COVER, NOVEMBER

ART GENSLER

gensler through the years 1965 Firm founded in San Francisco by Art Gensler 1967 First major contract: Bank of America 1970 Two offices; 45 employees 1974 First of 600+ projects for The Gap 1981 Ranked #1 on Interior Design Giants list 1985 Art Gensler inducted into the Interior Design Hall of Fame 1988 First overseas office, London, opens 1990 Gensler’s 25th anniversary 1993 Atlanta, Detroit, New Jersey, Tokyo, and Hong Kong offices open 1995 First major hospitality renovation: Beverly Hills Hotel 1998 Gensler Design Excellence Awards program established

ART GENSLER’S ROLODEX

COURTESY OF GENSLER

1979: FIRST ANNUAL REPORT

1995: BEVERLY HILLS HOTEL, LOS ANGELES

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2005 Andy Cohen and Diane Hoskins named Gensler co-CEOs

Art Gensler won the U.S. Green Building Council Leadership Award 2006 U.S. Workplace Survey launched 2007 gServe community impact program established 2009 First firm inducted into the Interior Design Hall of Fame 2014 Gensler Research + Innovation Awards established 2015 Gensler’s 50th anniversary

Firm signs Paris Pledge for Action at COP21 conference

2016 Shanghai Tower opens, becoming China’s tallest building at the time 2016 Gensler hosts first Design Forecast LIVE event in New York 2017 10-year anniversary of Gensler Research Program (now the

Gensler Research Institute) 2019 Gensler Cities Climate Challenge announced 2020 Gensler City Pulse Survey launched

Gensler’s five-part Strategies to Fight Racism launched 2021 Art Gensler passes away TODAY 50 offices; 28 practice areas; 10 regions; 5,800+ team members CO-CEOS DIANE HOSKINS AND ANDY COHEN

2007: NEW YORK TIMES HEADQUARTERS 2017: GENSLER RESEARCH 10-YEAR ANNIVERSARY 2016: SHANGHAI TOWER

CLOCKWISE FROM TOP: JIM KRANTZ; COURTESY OF GENSLER (3); BLACKSTATION; NIC LEHOUX

2006: U.S. WORKPLACE SURVEY

2020: STRATEGIES TO FIGHT RACISM

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“Art, with whom I worked when I was at Hyatt, was always interested in anything new, unafraid to question conventional wisdom and encourage his colleagues to explore new ideas and options.” —John Nicolls, John Nicolls Group “I’ve always been impressed with how Art and Gensler managed to create incredible impact and scale while at the same time remaining human-centered.” —David M. Kelley, IDEO

“Art methodically grew his architectural practice to one of the largest and most successful in the world. He was careful to foster a collaborative corporate environment that is regularly listed as one of the best places to work.” —Michael Stanton, 75th AIA president

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COURTESY OF GENSLER

“In the days before we were accessible 24/7, Art would take the month of August off and be completely incommunicado. He’d say, ‘If something comes up, you’ll know what to do.’ That level of professional trust was extraordinary.” —Belinda Presser, Gensler

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Brera25

Product Design Consultant: Gensler

www.ioc.it

SAN FRANCISCO INTERNATIONAL AIRPORT CENTRAL TERMINAL, 1983

CENTRAL TERMINAL, 1983

sfo’s long flight

HARVEY MILK TERMINAL 1, 2021

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process. “He used to come by whenever I was in the office to look at what was being done; he always referred to the airport as his baby.” Gensler design director and principal Collin Burry also has fond remembrances of Art’s involvement in T2. “Once Art did a walk-by during a design charette, glanced at a plan, and within seconds noted that some of our restrooms were not accessible; he was right. He always wanted us to focus on perfecting all that would affect the user experience at all scales.” Subsequent work at SFO entailed the 10-gate Boarding Area E in Terminal 3; REACH, a two-phase process to document and implement design qualities that enhance the passenger experience; multiple United Airlines facilities; and redevelopment of the T3 Checkpoint East area. The firm is now putting final touches on the redevelopment of Harvey Milk Terminal 1, a flexible next-gen design sure to set the passenger experience bar even higher. —Edie Cohen

CLOCKWISE FROM BOTTOM: JASON O’REAR; TIMOTHY HURSLEY (2)

Gensler has done extensive work at San Francisco International Airport starting in the late 1970’s, with the expansion and renovation of Central Terminal (now known as Terminal 2). Unveiled to the public in 1983, it was ground-breaking for its focus on the passenger experience. More recently, the firm was enlisted to reconvert T2 into a functional domestic terminal, completed in 2011. With curated restaurants, shopping, food services, plenty of Arne Jacobsen Egg chairs, and power plugs, the airy and well-lit LEED-Gold facility is like a little slice of San Francisco. Perhaps most enjoyable of all is the art component. SFO operates its own museum with exhibits rotating through terminals. We’ve seen displays of vessels and typewriters, Ettore Sottsass’s Valentine for Olivetti included, and an installation of Yayoi Kusama’s High Heels for Going to Heaven, part of the airport’s public works collection. Ray Quesada, vice president of operations at Merchant Aviation and former SFO project manager, recalls Art’s visits during the multiyear T2 design

TERMINAL 2, 2011

TERMINAL 3 CHECKPOINT EAST, 2015

T3 BOARDING AREA E, 2014

TERMINAL 3 CHECKPOINT EAST, 2015

CLOCKWISE FROM TOP LEFT: BRUCE DAMONTE; JOE FLETCHER (3)

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“Art valued intelligent risk-taking. He set an example of social conscience through the firm’s work as well as by sharing the success of the company—creatively and financially—with his entire staff.” —Orlando Diaz-Azcuy, ODADA

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“Art was one of the most approachable people I’ve ever met. Even the location of his own office spoke to that. He could’ve had a corner one facing the ocean, but instead he had an interior office, close to the middle, so he was accessible to everyone.” —Gary Saulson, PNC Financial Services Group

“Art was a gift from God for those of us who value architectural excellence without compromise.” —Doug Manchester, Manchester Financial Group

COURTESY OF GENSLER

“Art was a big-hearted leader and a giant in architecture and business—a true visionary. With his confidence in the power of design, he both elevated architecture and created a new model of client engagement and collaboration that has become the gold standard.” —Vic Grizzle, Armstrong World Industries

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A L E K S A N D R A G AC A C O L L E C T I O N

Rombu designed in collaboration with Aleksandra Gaca

me m osamp les . c o m

An emphasis on lifelong learning

Clockwise, from bottom left: Firm principals at a meeting in 2013. The magazine’s November 2015 cover, celebrating the firm’s 50th anniversary with a nautilus-inspired stair in the Frankfurt, Germany office of Hyundai Capital. On the April 2014 cover, a table at DIFFA’s annual Dining by Design event in New York, designed by Gensler’s Ed Wood and team and Herman Miller. Cadillac House, a branded experience environment in Hudson Square, New York, made September 2016’s cover. Gracing the September 2014 issue, Markus Linnenbrink’s acrylic, pigment, and gesso on panel in an elevator lobby at the New York office of Morrison & Foerster.

COURTESY OF GENSLER

Another way in which Gensler invests in its people is through education. The firm and its founder have always couched design as a lifelong learning experience. Gensler University functions as an in-house means to develop next-gen leaders through programs and enhanced global knowledge sharing. And in 2007 the firm formalized its support of employee explorations outside dayto-day client work by launching the Gensler Research Program (now called the Gensler Research Institute) with the goal of developing a deeper understanding of the connection between design, business, and the human experience. Falling under the program’s aegis are workplace surveys, the Workplace Performance Index, a formalized RFP and review process, three volumes of research catalogues detailing case studies, and ultimately research into all practice areas. The year 2011 was a milestone, when the program established an annual research grant process accessible to any firm member; in the most recent cycle alone, 51 were awarded. Since 2020, the GRI has established two new centers to focus on critical societal concerns—equity and resilience—as they pertain to the built environment. The pandemic has prompted its own research effort. Gensler wanted to know about urbanites’ responses to COVID-19. Were they staying, leaving, or considering the latter? What constituted governing factors? What defined peoples’ relationships with their cities? The firm’s City Pulse survey of 2,000 respondents in New York, San Francisco, London, and Singapore was conducted twice in 2020. In 2021, an updated version expanded to 10 cities. Beyond the firm’s walls, Art also viewed industry organizations as an important source of knowledge. “He believed associations are where learning happens,” says Cheryl S.

Durst, IIDA’s executive VP and CEO. She had that sentiment in mind a few years ago, when the IIDA teamed with Gensler, under the guidance of managing director Todd Heiser, to conceptualize its new Chicago headquarters. There, she explains, “we flipped the switch,” prioritizing learning space over workspaces—a move that allowed the IIDA to scale up its already robust programming. “Art always said to stay interested in what you love and curious about everything else; never stop learning,” Durst recalls. Art’s commitment to education ran deep, its roots holistic. Acknowledging his alma mater as a launchpad to success, Art and his family gifted $10 million to Cornell APP to sustain its New York program. “Grounded yet optimistic, decisive, and prescient, Art saw things not just as they were but also as they could be,” dean J. Meejin Yoon says in praise. “His unwavering belief in design is a constant reminder the built environment can bring immense value to communities, cities, and society.” As a board chair and trustee of California College of the Arts, he left a deep impression on the school’s president, Stephen Beal. “Art always took a student-centric view of what education should do—not just in terms of curriculum and intellectual development, but also of students’ lives and well-being.” With scholarship programs embedded in Gensler’s DNA, the firm gave academic grants totaling more than $200,000 last year. Among them are Rising Black Designers, the Brinkmann Scholarship, and the Diversity in Design Bursary in the U.K. And Gensler’s focus on education now extends to the pipeline: the next generation of designers. “Around the world, our teams donate thousands of hours annually to supporting local schools—from elementary through high school—to bring awareness of our industry as a career that combines all kinds of backgrounds,” Hoskins says. Recent initiatives have been laser-focused on increasing diversity in the field.

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INTERIORDESIGN.NET Burle™ PANEL @2007 modularArts, Inc.

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SEPTEMBER 2016

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CLOCKWISE FROM TOP: HG ESCH PHOTOGRAPHY; ERIC LAIGNEL (2); GARRETT ROWLAND

SEPTEMBER 2014

Steam™ PANEL @2019 modularArts, Inc. Ansel™ PANEL @2021 modularArts, Inc.

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CLOCKWISE FROM TOP LEFT: HG ESCH PHOTOGRAPHY; GARRETT ROWLAND; CONNIE ZHOU; JAMES JOHN JETEL

Clockwise from top left: Hyundai Capital office, Frankfurt, Germany, 2015. Coca-Cola headquarters, Atlanta, 2016. Nvidia Campus, Santa Clara, California, 2018. Campari Group, North American headquarters, New York, 2019.

“Every voice counts”: Social and global responsibility

Top: Gensler’s Board of Directors, 2021, from left: John Adams, Judy Pesek, Robin Klehr Avia, Andre Brumfield, Karen Thomas, Julia Simet, Daniel W. Winey, Andy Cohen, Diane Hoskins (co-chair), Cindy Simpson, Jordan Goldstein, Joseph Brancato (co-chair), Whitley Wood, Raymond Shick. Bottom: Art Gensler at the opening event for the Shanghai Tower in 2016.

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COURTESY OF GENSLER

Giving back and paying it forward: Philanthropy has been a way for Gensler—both the man and the firm—to do both. In addition to higher education, the Gensler Family Foundation supports the arts and geriatric research. Art sat on the boards of SFMOMA and the National Building Museum in Washington, D.C., among other institutions. And he was tireless in giving back to his beloved San Francisco, serving on the city’s Committee on Jobs, Chamber of Commerce, and Center for Economic Development. Gensler has long held sustainability, the Well Building initiative, and, increasingly, health considerations paramount in every project type. As far back as 2005 the firm received the U.S. Green Building Council Leadership Award; in 2012 Art was bestowed its President’s Award. Three years later Gensler signed the Paris Pledge for Action at COP21. As Gensler has grown, it has doubled down on social responsibility. “As the largest design firm in the world, our diversity, breath, and scale allow us to take on the toughest global challenges, leading the way for our industry in climate change, social equity, urbanization, mobility, and the future of our cities around the world,” Cohen says. The urgency of climate change has prompted intensified focus. “The building industry and its investors have recognized the consequences and risks of climate change and they are looking to Gensler for strategies and action,” Hoskins observes. The firm does not take its role-model status lightly, having committed to making its entire portfolio net-zero carbon by 2030.

During the tumultuous year of 2020, Gensler acknowledged and acted upon one of society’s most pervasive concerns. It established a global race and diversity committee, inaugurated a student design charrette with seven HBCUs, introduced Black Lives and Design research grants, and launched the five-part Strategies to Fight Racism. The latter initiative, Hoskins says, “ensures that we are really a place where a diverse community of designers, architects, and people can thrive.” The big design problems of tomorrow require collaboration between multidisciplinary thinkers, and Gensler is perfectly poised. “Global challenges coupled with supplychain issues, labor shortages, and inflation will mean that design must be smarter and more purposeful than ever before,” Hoskins affirms. Although Art retired from the Gensler board in 2010, he remained an active presence until the very end—mentoring, sitting in on weekly Monday morning global calls—but perhaps even more so for his foundational philosophy that undergirds every aspect of the firm. “As I reflect on Art’s legacy and Gensler’s future,” Cohen says, “his last words to me ring true: ‘You need to make sure everyone’s having fun. The world is heavy, and we must take care of our people and our clients.’ His humility and authenticity to care about and for others redefined our industry, our firm, and how people think about architects and design. It was never about him; it was, and will always be, about our people and the power of design and of Gensler to create a better world.” Designing a better world is the firm’s raison d’être, a responsibility every last team member takes to heart.

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AWARD-WINNING NVIDIA HEADQUARTERS 2018 | Photography by Jason O’Rear

STONE SOURCE IS A PROUD GENSLER PARTNER. BRILLIANT IDEAS LEAD TO LEGENDARY PROJECTS AND IMMEASURABLE IMPACT. 30 YEARS, COUNTLESS AWARDS, MILLIONS OF SQUARE FEET.

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JAMES EWING/JBSA/COURTESY OF GENSLER

aiming high As the following projects from each of the firm’s 10 global regions prove, Gensler continues to elevate—and innovate—design

See page 72 for 550 Madison, the renovation of a landmarked lobby in New York. DEC.21

INTERIOR DESIGN

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northeast u.s. project: 550 Madison location: New York

Renovating the lobby of 550 Madison, Philip Johnson and John Burgee’s 1984 postmodern icon—the city’s youngest landmark—presented numerous challenges, among them striking the right chord between reverence and reinvention. Gensler principal, design director, and Paris office managing director Philippe Paré and the Gensler New York team endeavored to restore a sense of porousness that had been eradicated over the decades and also attend to foot traffic and security needs crucial in the building’s conversion to a multi-tenant property. Perhaps trickiest was to instate a sense of balance: The 2,500-square-foot lobby soars 110 feet. “Its monumental proportions were a bit awkward given the small footprint,” Paré notes. Material choices create continuity between old and new. Original granite walls were crushed for use as aggregate in the new, geometric-patterned terrazzo floor, and a bronze wainscot reiterates metalwork on the facade. The wainscot continues the datum line of elements such as archways and mullions and helps temper the volume’s height. Panels are bronze mesh over acidetched bronze mirror, which lends subtle reflectivity and movement “to give the impression that the space is open to the outdoors,” Paré adds. Floated about 2 feet off the honed Lasa marble walls, the wainscot also hides mechanicals. Even light sources are hidden to give the impression of a cathedrallike radiance. Giving the lobby its center of gravity is Alicja Kwade’s Solid Sky, a 24-ton Azul do Macaubas sphere that levitates on stainless-steel chains. The billion-year-old rock, Paré muses, “is humbling, evoking the passing of time.” Same for the redesigned lobby itself. —Jen Renzi PROJECT TEAM: ROBIN KLEHR AVIA; PHILIPPE PARÉ; MADELINE BURKE-VIGELAND; AMBROSE ALIAGA-KELLY; BROOKS MORELOCK; MEGAN RADEBAUGH; MARIA FRAMIS; MORGAN STACKMAN.

JAMES EWING/JBSA/COURTESY OF GENSLER

“Important was that nothing become a distraction to the pure experience of the dramatic and uniquely proportioned space — one that Philip Johnson intended to be a vitrine for artwork”

JAMES EWING/JBSA/COURTESY OF GENSLER

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europe project: Cargo Crossrail Place location: London

When Cargo Crossrail Place, a 15-story office building in Canary Wharf, was completed in 1991, it was sited at the back of the city’s new financial district. But an underground station built six years ago by Foster + Partners on the structure’s north side changed that. “It’s like a boat sailed in— 150,000 people a day were walking past an elevation of the building that was never anticipated to be seen,” says Harry Cliffe-Roberts, a studio director at Gensler London. To remedy that, Cliffe-Roberts and team transformed the 380,000-square-foot tower from a secure, sealed box into a welcoming hub that serves not just the people working upstairs but also the entire district. The first two levels are dedicated to a public market hall, where tenants and commuters alike can grab coffee, go to happy hour, or take a meeting on the quieter, European oak–floored mezzanine, its whitewood glulam ceiling grid serving as a transition between the public realm and the entrance to the office floors above. “Tenants want that kind of buzz now,” CliffeRoberts continues, “that third space that their employees can use.” Side entrances lead to ample bike storage. Gensler designed Cargo Crossrail Place for flexibility so that the building can keep up with the changing neighborhood for another 30 years. A stick glazing system around the market hall increases transparency today but can be demounted and replaced with another material later. Even the market spaces were conceived to be adaptable to other uses down the road. Adds Cliffe Roberts: “It’s all about creating a loose fit.” —Katie Gerfen PROJECT TEAM: DUNCAN SWINHOE; RICHARD HARRISON; HARRY CLIFFE-ROBERTS; FRANCIS O’SHEA; WARWICK HEMINGWAY; MARINA BIANCHI; BECKY SPENCELEY; MATTHEW BRIEN; LUKE MARCHANT; THANOS TSALKIDIS.

EDWARD REEVE

“Adaptive reuse is key to achieving net-zero goals, and, as a firm, we’re committed to it”

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EDWARD REEVE

gensler DEC.21

INTERIOR DESIGN

Harvest The Best Moments Are Made Together, Outdoors Whether sitting, standing, working, grabbing a bite, or simply enjoying the view, Harvest invites us to settle in to connect with nature and make lasting memories together. Designed in collaboration with our team at Loll Designs, Harvest embodies our shared passion for the environment, the community and outdoor experiences through design. Find us at landscapeforms.com or contact us toll free at 800.430.6205

gensler

south central u.s. project: AT&T location: Dallas

STEPHEN WALSH

DEC.21

INTERIOR DESIGN

gensler south central u.s. The telecom titan’s global headquarters, sited in a cluster of downtown buildings, took a civic-minded turn when Gensler Dallas reimagined its central plaza as the AT&T Discovery District: a 24/7 media-activated amenity space with dining and retail destinations plus a publicly accessible park for use by staffers and locals alike. The ambition, principal Barry Hand explains, was to “create a network of connected experiences across a complex physical ecosystem.” Serving as a sort of portal to this four-block culture zone is the 37-story headquarters tower, whose nearly 20,000-square-foot lobby, visible through a 30-by-60-foot stretch of glass, dissolves the boundary between architecture and media—an approach that unifies the campus. The bi-level space, ringed by an oculus-shape mezzanine with glass balustrade, is activated by more than 70 million pixels. “Every surface, including eight LED-wrapped columns and a 40-foot-wide media display, becomes a canvas,” says project manager Justin Rankin, a member of Gensler’s emergent digital experience design practice area. Even the ceiling is a screen, a stretched-fabric membrane backlit by a low-resolution LED grid, enabling an utterly immersive experience. The elevations showcase data-driven visualizations, branded content, and a rotating collection of digital art by the likes of Refik Anadol and Moment Factory, all accompanied by custom soundscapes. Here, there’s no such thing as too much screen time. —Jen Renzi PROJECT TEAM: BARRY HAND; ROSS CONWAY; JUSTIN RANKIN; CHRISTIAN LEHMKUHL; STEPHEN WALSH; KELLEY HYATT; ADAM TATE; LARS BERG; ANDREW TRIPLETT; JO PANG.

STEPHEN WALSH

“Media components are seamlessly integrated into the lobby architecture and woven into the broader AV network and digital ecosystem”

INTERIOR DESIGN

DEC.21

“Our new model drives connection, enhances student engagement, and amplifies the university’s mission”

TOM HARRIS

gensler

north central u.s. project: Columbia College Chicago Student Center location: Chicago

Despite Columbia College Chicago’s 100-year history, this structure is the school’s first dedicated to serving as a home base for students to not only learn but also connect and recharge with one another, a critical role as universities navigate the pandemic era. Gensler Chicago based the concept for the five-story new-build on what principal and comanaging director Brian Vitale calls an “inside-out” version of the atrium, which is typically found at the center of a building, facing inward. Here, however, it faces outward to the street, linking with the surrounding urban buzz. “You see the atrium from the outside and you interact with it from the inside,” Vitale explains. “The energy and creativity within is magnified rather than just contained.” The center’s 114,000-square-foot interior is utilitarian in feel, its open and airy ground level dominated by raw and polished concrete. “By using simple materials, we allowed the students and their work to shine,” Vitale adds. That’s particularly true in the second-floor maker space, which is wrapped in stained plywood and appears to float over the grand staircase; students can see what their peers are creating

TOM HARRIS

should they choose but also not be distracted by it. It’s slightly more challenging to miss the custom zigzags of long LED tubes meandering across the ceiling. Elsewhere, the center is populated with deliberately ambiguous, multiuse areas. Although it’s pretty clear what goes on in the fourth-floor billiards area. —Wilson Barlow PROJECT TEAM: BRIAN VITALE; DAVID BROZ; MEGHAN WEBSTER; SCOTT HURST; STEPHEN MILLER; ALLISON WEBER; KATIE SMITH; ALYSSA FRIEDMAN; LINDA CHAVEZ.

DEC.21

INTERIOR DESIGN

southeast u.s. project: Bill Richards Center for Healing location: Rockville, Maryland

HALKIN MASON

gensler DEC.21

INTERIOR DESIGN

“We’re continuing to work with the client on how they might be able to deliver this type of facility across the world” gensler southeast u.s.

There’s nothing clinical or impersonal about the Bill Richards Center for Healing, 2,500 square feet of serene, light-filled space tucked into the Aquilino Cancer Center. With walls clad in solid-oak slats, soft PVCfree resilient tile underfoot, a halo of cove lighting overhead, and an expanse of windows overlooking a garden on the adjacent rooftop, the outpatient facility could be the tranquil lobby of an elegant low-key resort. Along with yoga, acupuncture, and other wellness programs, the center provides individual and group therapies that address the psychological distress experienced by cancer patients and their caregivers. And it’s unique in offering a pioneering FDA-approved trial in group-administered psilocybin, which shows promise in helping alleviate depression and anxiety. “From the beginning, we met with all the stakeholders to really understand the journey the patients would be on,” says principal and health practice leader Tama Duffy Day, who headed the project for Gensler Washington, D.C. “That way, we could align the physical setting with the program mindset.” The result is a multifunctional design that supports group activities and communal treatments in an atmosphere that’s “warm, welcoming, but not overstimulating,” senior associate and design director Bonny Slater notes. Staff offices are hidden behind a curved wall while four individual therapy rooms are reached by a corridor that ends in a semicircular space. Above it, a round ceiling fixture—the only visible light source—creates a moment of soft illumination that rightly deserves to be called spiritual. —Peter Webster

HALKIN MASON

PROJECT TEAM: TAMA DUFFY DAY; BONNY SLATER; ALEJANDRA DELGADO; KARLA SEPULVEDA.

INTERIOR DESIGN

DEC.21

Austin Football Club, designed by Gensler

©Gensler / Ryan Gobuty

project: Cadillac House location: Shanghai

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INTERIOR DESIGN

DEC.21

PROJECT TEAM: JOHN BRICKER; WILLIAM HARTMAN; BRIAN VITALE; EJ CHUNG; MIN CHU; RICHARD CHANG; JONATHAN TYLER; HYESOOK AUH; LINGYI CHEN.

FROM TOP: CREATAR IMAGES (2); BLACKSTATION

greater china

When the first Cadillac House opened five years ago in New York, it was a marketing coup for a city not ordinarily associated with the automotive industry. The branded experience environment not only successfully merges social space with car displays but it also won a 2016 Interior Design Best of Year Award. The former has happened again in the second outpost of Cadillac House, completed by Gensler New York, Chicago, Detroit, and Shanghai. “It’s a good example of our firm’s integrated design thinking and col laboration amongst diverse talent,” says New York–based principal and creative director John Bricker, who returned to work with the client, General Motors. He was joined by Shanghai-based senior associate Richard Chang, who led the 68,889-square-foot project. “Cadillac speaks to a different target here than in the States,” Chang adds. “Young and successful, this audience relates to characteristics like modern, craftsmanship, design, technology—all of which we reflected on for Cadillac House.” The result is a ground-up, highly efficient building, its aerodynamic stainless steel–clad upper portion capping a bronze-and-glass base, all surrounded by a reflecting pond. Inside, a crisp white gypsumboard staircase, anchored by a Cadillac CT6, spirals up the site’s three levels, taking visitors on a sensory trip of discovery and immer sion. There is a 3-D badge timeline wall, digital storytelling columns, and souvenir 3-D customization—even a VR experience looking into the car factory. “The New York project was about lifting awareness of Cadillac,” Bricker explains, “but, here, we focused on the intro duction of the brand.” —Nicholas Tamarin

“We devoted nearly two floors to digital interactive experiences so visitors can explore and learn about the brand”

FROM TOP: CREATAR IMAGES; BLACKSTATION

DEC.21

INTERIOR DESIGN

In honor of Art Gensler. A visionary who shaped the way we work and live.

BEETLE: THE GAMFRATESI EDIT GamFratesi, the Danish-Italian design duo has developed four new upholstered editions of their iconic Beetle Chair. This tightly curated edit is collectively titled “A Quartet of Expressions.” EXCLUSIVELY IN THE US THROUGH SUITE NY SUITENY.COM

gensler

ANDRÉS GARCÍA LACHNER

latin america project: Hilton La Sabana location: San José, Costa Rica DEC.21

INTERIOR DESIGN

gensler latin america

“High-quality, original projects like this are very relevant for the region— and crucial to its growth”

Grupo Leumi, the family-run company of developer Steven Rattner, has its own in-house architects and designers thanks to 4 million square feet of projects over its 30-year existence. In fact, Rattner is Grupo Leumi’s director of architecture. But he nonetheless enlisted the services of Gensler Latin America, specifically the firm’s Costa Rica and Mexico offices, for the high-profile Hilton La Sabana, a new ground-up hotel.

Located across from La Sabana Metropolitan Park, San José’s equivalent of Central Park but with a national stadium, the 113,000-square-foot, 14-floor project features a skylike lobby of white oak-veneered slats that undulate and hug the core of the building like passing clouds. “Our concept was about framing the unique views, not competing with them,” Gensler Latin America associate and senior interior designer María Laura Sequeira says, “and also elevating the hospitality and wellness experience with a curated palette and rhythmic pattern that lets visitors drift away through the continuous transformational space.” The light and airy aesthetic permeates the 131 guest rooms, as well. “We worked hand in hand with the client and the brand,” adds George Miller-Ramos, principal and design director of Gensler México, “to create a hotel focused on detail that fostered their ambitious vision.” —Nicholas Tamarin PROJECT TEAM: GEORGE MILLER-RAMOS; MARÍA LAURA SEQUEIRA; YARA TORUÑO; ANA ARDÓN; FRANCHESCA

ANDRÉS GARCÍA LACHNER

SCHIAMARELLI; OLGA MORA; GABRIEL LÓPEZ; GABRIEL MURILLO; SUSAN VILLALOBOS; DAVID GONZÁLEZ.

INTERIOR DESIGN

DEC.21

Pattern shown: Gabarit from the Costura Collection by Arte

Arte salutes the legacy of Art Gensler.

“We recognize that amenities play a key role in bringing employees to the workplace for creative collaboration and camaraderie”

HEYWOOD CHAN

gensler

INTERIOR DESIGN

DEC.21

T-Mobile’s vibrant U.S. headquarters has all the hallmarks of the postpandemic office: hot-desking, flexible collaboration rooms, natural vent ilation, outdoor meeting areas. Yet Gensler Seattle designed it before anyone had even heard of COVID-19. Beginning in 2017, the firm explored how to translate the brand and its culture into a renovated five-building, 1-million-square-foot campus, estimated to be fully completed next year. “T-Mobile’s function is to connect everyone and make it easy to be totally mobile,” design principal and studio director Susana Covarrubias explains. “We brought those concepts to the workplace: Employees are not plugged to their desks—they can be anywhere.” One of the five structures, the 144,995-square-foot Building 2, has recently opened, wholly embodying the lively company culture. Not only does T-Mobile’s trademark magenta appear throughout but two of its six floors are also devoted to amenities, providing myriad spaces for the 6,030 employees to gather: weathered-oak auditorium seating, an Airstream trailer serving frozen yogurt, a pub that opens onto a large balcony with fire pits. One of the two new bridges connecting to the other buildings double-functions as a lounge, its tiered platforms outfitted with comfortable seating; shared spaces on either end form what Covarrubias calls an “amenity street,” encouraging movement across the Fitwel–certified campus. Proof that the project is totally dialed in: T-Mobile staffers have been painting their fingernails and dying their hair pink. —Rebecca Dalzell PROJECT TEAM: RYAN HAINES; JACOB SIMONS; SUSANA COVARRUBIAS; ANNEKE HAGEN; ANDY SU; ASAMI TACHIKAWA CHOE; LEWIS CHU; JULIA HORNER; BARRY ZIMMERMAN; KRISTA REEDER.

northwest u.s. project: T-Mobile location: Bellevue, Washington

HEYWOOD CHAN

DEC.21

INTERIOR DESIGN

asia pacific middle east project: Viettel Group location: Hanoi, Vietnam

gensler

When Vietnamese telecom giant Viettel Group asked Gensler Singapore to create an iconic headquarters, its executives envisioned a tower visible across the capital. But site restrictions limited the height, so design director Carlos Gerhard came up with a creative alternative: an oval structure that would symbolize the future of Vietnam. Visiting Viettel’s previous location, the Gensler team observed a rigid, traditional work environment where employees were siloed. “We thought our design should impact their behavior, bring everyone together, and create a sense of belonging,” Gerhard says. As a state-owned company, Viettel was not about to install ping-pong tables, but its chairman was ready to rethink the workplace, one embodying sustainable, biophilic strategies that yield productivity and align with the corporate identity. The 448,270-square-foot concrete building was conceived like an extension of an adjacent city park. Gensler capped it with a green roof, which reduces heat gain and captures rainwater for irrigation. Five of its eight stories have, on either end, palm-laden terraces, where Viettel’s 600 employees can relax or take meetings. Since the structure is only 77 feet deep, natural light stream ing in from the windows on both sides reaches the entire interior. Gensler also added a lush sunken courtyard beside an auditorium in the basement, where visitors least expect it. “Architecture needs to create surprises,” Gerhard adds. Amid the city’s blocks of high-rises, Viettel does just that. —Rebecca Dalzell PROJECT TEAM: CARLOS GERHARD; AUDRIUS LIAUGMINAS; JOAN CAPDEVILA; ANTONIO PINELO; LIZ CUEVAS; TRAM CAO; JIN CHUAN GOH; EE TIONG LIM.

OWEN RAGGETT

“The powerful connection to nature we made differentiates Viettel as a global corporate leader and caring employer, contributing to client and staff loyalty”

INTERIOR DESIGN

DEC.21

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gensler

RYAN GOBUTY/GENSLER

southwest u.s. project: Gensler location: Phoenix DEC.21

INTERIOR DESIGN

gensler southwest u.s. It was unassuming, the facade of the ex-retail site Gensler Phoenix chose for its workplace in the city’s Esplanade office park. So the team brought in a lenticular brise-soleil of vertical aluminum blades that is silvery on one side and the firm’s signature red on the other. It’s just the jolt of energy needed to usher in clients and staffers to the 10,000-square-foot, ground-level interior, where echoes of the desert landscape context abound through such natural materials as black weathered steel, raw concrete, and plywood. Throughout the office, employee-sanctioned amenities include desks that pneumatically rise from sitting to standing position, a composting station, café, patio, and wellness room that serves as quiet space or a nursing-mothers station. Process is also on display: A north-facing glass wall allows for pas sersby to see the designers at work while simultaneously letting in natural light. Design principal Jay Silverberg dubs it all the “living lab,” a workplace model that’s ultra-agile, collaborative, and resilient. “This office is meant to adjust with the needs of the staff, whether it’s hosting an intimate panel on trends or testing out new furnishings or charettes,” he states. At any given time, the 60-plus employees are either here, on project sites, or at client meetings, or working remote. “That flexibility is in line with how we see the hybrid future of the workplace.” —Georgina McWhirter PROJECT TEAM: MARTHA ABBOTT; JAY SILVERBERG; KELLY DUBISAR; JAMES BAILEY; DIANA VASQUEZ; JEFFERY MAAS; RORY CARDER; BENJAMIN AYERS; PATRICK MAGNESS.

RYAN GOBUTY/GENSLER

“It’s meant to feel like a laboratory, where we’re constantly testing our process and ideas”

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Special Advertising Section

Art Gensler’s influence on the global design industry will never be forgotten.

ESTILUZ, CIRC T-3716 SUSPENSION LAMP

The Interiors from Spain brands continue to be inspired by his work and legacy. Thank you to our Gensler colleagues for leaving your mark on the iconic Chrysler Building, home to our new U.S. Headquarters.

Special Advertising Section

PORCELANOSA, VIOLA BLUE

KETTAL, MOLO

VONDOM, SUAVE MAR

VIBIA, TUBE

Special Advertising Section

PARKLEX, IRUN

A-EMOTIONAL-LIGHT BY ARTURO ALVERZ, INN

ROCA, CC MOSAIC HERRINGBONE

We support the A&D industry and Gensler on the journey for greatness in design. Other Spanish brands represented in the office include: Nanimarquina, Roca, Nomon, Sancal, BN3, Resol, alp_, Benjo Seating, Viccarbe, and Fuentes Fuertes.

ACTIU, SILONES, OFICINA, NOOM

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market

emerging designers

New pieces by rising talents

Fresh off the success of their “Displaced” exhibition, curated for the 20th anniversary of Dutch Design Week in Eindhoven, hometown heroes Bram Verbeek and Sjoerd Geerts of Studio Speciaal debut their monolithic Heavy chair. Owing its name to its sheer weight—around 330 pounds— the unreinforced solid concrete stays upright through the form’s balanced shape and dense materiality. “Our work is characterized by conceptual value and quality craftsmanship,” Verbeek says. “By experimenting with different granulates and pigments for Heavy, we realized many textures and colors without compromising its structural integrity.” studiospeciaal.nl

rock solid

LISA KLAPPE/STUDIO SPECIAAL

HEAVY

edited by Rebecca Thienes text by Georgina McWhirter, Nicholas Tamarin, and Rebecca Thienes DEC.21

INTERIOR DESIGN

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m a r k e t s c a p e emerging designers

Benedikt Stonawski and Hauke Unterburg of Ante Up

Nils Körner and Patrick Henry Nagel of HausOtto

product Patersonia. standout The Vienna studio cofounders have crafted identical powder-coated aluminum discs that ship flat, but slot together to form a sculptural pendant fixture—either 8, 12, or 16 inches in diameter—with no screws required.

product Stair Shelf. standout A storage system/display unit composed of rearrangeable painted-wood pieces is part of the Stuttgart, Germany, studio founders’ Office Z series exploring the future of the workplace under digitalization.

anteup.at

hausotto.com

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DEC.21

Nicolau dos Santos and Stephanie Blanchard of Iammi

Gaston Golstein of Duplex Studio

product B-fora. standout The company’s cofounders— product designer dos Santos and art director Blanchard—offer up 13½-inchtall vases in Baby Blue, Mozzarella, or Paradise Green unglazed ceramic that reference both Greek art and the female form. iammi.eu

product Amai. standout With a neuroscience background, the studio cofounder and product designer has devised Bauhausinspired chairs fabricated from easily deconstructed, reused, and manipulated components: industrial aluminum T-slot profiles. duplexstudio.be

Standouts from Isola Design District, Milan Design Week

Alonso Herrera Rodríguez Teun Zwets of Teun Zwets

1 5

product Bubble. standout The Dutch, self-described “maker to the bone” forges organically shaped lamps in which the shape of the globular polyurethane bubble is determined by the encircling steel armature, which also forms its base. teunzwets.nl

Sander Nevejans of Sander Nevejans Limited

product Sane. standout The Belgian designer’s foldable aluminum tables showcase their manufacturing process via the scratches and serial numbers that sometimes appear on their surfaces due to the nature of the industrial-grade metal and assembly. sandernevejans.com

and Ann Alfaro

of Bodega

product DIY Glue Chair. standout The Central American designers’ chair is intended to be built by you: Its melamine legs, wood panels, and Formica sheet can be bought and cut at most hardware stores, while wood glue and clamps put it together. bodegafurnitureco.com

Valentina Rocco for Agma Group

product Mixi. standout After having the genius idea to add recycled plastic shavings to Agma’s industrial waste and coal ash eco-cement to make the material lighter and more colorful, the Italian architect then went even further, turning it into a lamp. agmageopolimeri.com DEC.21

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CARLOS GUIJARRO, ALEX ORTEGA

“Our work aims to generate visual tension”

a glass act The origins of Sol, a side table by OrtegaGuijarro principals Carlos Guijarro and Alex Ortega for ClassiCon, began three years ago when the two chanced to meet company owner Oliver Holy at IMM Cologne in Germany. After showing him a series of sketches, Guijarro and Ortega spent weeks experimenting with overlapping samples of tinted glass. It then took “years of intense work to find the perfect proportions, cleanest details, and right colors,” Ortega says. The outcome is a strikingly simple construction of three rectangular or square rounded-corner glass panels of different sizes—in translucent Bronze, Gray, or Royal Blue—that layer into a stunning complex whole. classicon.com

SOL

m a r k e t emerging designers 110

INTERIOR DESIGN

DEC.21

Deep blues Soft greys Warm yellows

Let these colors of winter inspire your next creation Fiber matters.

Specify Antron® fiber at your favorite carpet mill or look for running line styles with Antron fiber at your Bentley Mills, Mannington Commerical, Atlas Masland and Tarkett. © 2021 INVISTA. All Rights Reserved. Antron and the Antron family of marks and logos are trademarks of INVISTA. K07151

2 3

m a r k e t emerging designers

Federico Stefanovich of Federico Stefanovich

product Óseo. standout The Mexico City-based de signer’s kinetic mobile is made of walnut or inked oak, powder-coated steel, and paper, the latter a shade that receives and bounces light from the lamp below. federicostefanovich.com

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Chris Miano of CAM Design Co.

Gabriela Zappi of Gabriela Zappi

product Object Project. standout A 24-piece line of quirky topographic furnishings and tabletop items (lamps, benches, ashtrays, candle holders) CNC-cut out of plywood sheets is the brainchild of the 27-year-old, L.A.based architect. gabrielazappi.info

products Squiggle. standout The Parsons-educated industrial designer’s undulating col lection consists of a pendant fixture, mirror, and chair, their serpentine forms formed out of solid American black walnut. chrismiano.com

Brianna Nichole Love of F rn Co.

product Luna Tabouret. standout The current Columbia GSAPP student launched her furniture company during the pandemic, producing such sustainable goods as this stool/table in walnut and reclaimed Golden Jade granite. shop.fernco.space

PRODUCT 1: MARIANA ACHACH AND ALEJANDRO RAMÍREZ; PORTRAIT 1: ALEJANDRO RAMÍREZ; PORTRAIT 4: ELISHEVA GAVRA

LIFE. ILLUMINATED. Trade: Call (855) 954-1619 or email trade@ydesigngroup.com or become a Trade partner at YLighting.com/trade Contract: Call (866)443-0132 or email contractservices@ydesigngroup.com for a quote MESHMATICS CHANDELIER by Rick Tegelaar for Moooi

LAXMI NAZABAL

gantri LUCAS ABAJO

From the innovative U.S. manufacturer that 3-D prints affordable lighting from plant-based materials comes Arintzea, a collection by Muka Design Lab cofounders Laxmi Nazabal and Lucas Abajo inspired by the art deco and Basque architecture of their native northern Spain. The table lamp’s dome diffuser sits off-center on its polymer base, embellished with horizontal linework—a Muka signature; the sconce boasts similar grooves and handily installs with a single screw. Both are around 10 inches tall. gantri.com

In 2019, Ted Bradley quit his job as a product manager at Google to pursue his dream of being a ceramics sculptor. Now, in his Boulder, Colorado, studio, he designs and fabricates pendant fixtures featuring porcelain rings inlaid with dimmable LEDs. Each circle takes over 300 steps to produce. We are especially partial to his Swag series, which dangles multiple circles from braided metal cords. tedbradleystudio.com

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TOP RIGHT: ARIANE ROZ (2); BOTTOM LEFT: BENJAMIN BUREN

m a r k e t emerging designers

Designed by Niels Diffrient One of the first products ever to be Climate Positive. Made with nearly 2 pounds of reclaimed fishing nets, the most harmful type of ocean plastic.

Learn more at humanscale.com/LibertyOcean

Jerome Byron of Jerome Byron product Steel Bench. standout A patinated-steel bench showcases the L.A.-based creator’s love of the elegantly economical geometries of Italian designers from the 1970’s, like Vico Magistretti and Angelo Mangiarotti. jeromebyron.com

Anubha Sood of Anubha Sood product Living Structures. standout The India-born Parsons grad makes experimental sculptures that weave together seaweed, linen, cotton, and rayon to draw attention to the decline of the earth’s kelp forests. carpentersworkshopgallery.com

Tiarra Bell of Bellafonté Studio

here and now Standouts from “The New Guard: Stories from the New World” at Carpenters Workshop Gallery in New York through January 22

product Bondage. standout The mammoth ebonizedoak pendant fixture has a gold-leaf interior meant to express the Phila delphia designer’s Christian faith via its portal-like form.

bellafontestudio.com

Maryam Turkey of Studio Maryam Turkey

market emerging designers

product Illumination Large. standout The paper-pulp lamp evokes an imaginary cityscape inspired by the abandoned buildings the Iraqi designer saw in war-torn Baghdad as well as New York’s vacant skyscrapers mid-pandemic.

maryamturkey.com 4

of Ibiyan product Elombe 013. standout Envisioned as a piece for an imagined multigenerational house in Martinique, where the 20-something studio founders currently reside, a hand-carved chair evokes both Wendell Castle and Caribbean and Sub-Saharan woodwork. carpentersworkshopgallery.com

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COURTESY OF CARPENTERS WORKSHOP GALLERY

Tania Doumbe Fines and Elodie Dérond

f ur n i t u re

lig h t in g

o utdo o r

134 Ma d is o n Av e N e w Yo r k d d cny c . c o m

a c c e sso r ie s

syste ms

“The laborsome nature of our process forgoes the driving idea of convenience above all”

m a r k e t emerging designers GRANT WILKINSON, TERESA RIVERA

CANED SUN

wave hello Partners in both life and work, Grant Wilkinson and Teresa Rivera of Wilkinson & Rivera reimagine English furniture while adhering to traditional woodworking practices, using locally sourced ash and walnut in their East London studio. Their Windsor chair skews from the classic with its squiggly stretchers. The tripod Penny Petal stool makes a feature of its rippled edges. Caned Sun, a playful take on the old-time milking stool, has a seat hand-caned in a sixway weave. “By weaving our work by hand,” Rivera says, “we preserve a technique pushed aside by modernization.” wilkinson-rivera.com

WINDSOR

ZELIE LOCKHART

PENNY PETAL

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The entire Poppin Furniture Collection, including PoppinSpaces, our flexible system of free-standing walls, can be delivered and installed in under 10 days. Our best-in-class furniture is designed to be modular, movable, and always in stock—it’s really that simple.

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Tens of thousands of yards of fabric temporarily obscured the Arc de Triomphe in Paris, a posthumous installation by Christo and Jeanne-Claude

french revolution

1. In 2019, Christo Vladimirov Javacheff stood with L’Arc de Triomphe, Wrapped (Project for Paris) Place de l’Etoile–Charles de Gaulle, which was among his works sold in a Sotheby’s auction to raise funds to carry out L’Arc de Triomphe, Wrapped, a Paris installation conceived by and completed as a tribute to him and his late wife, Jeanne-Claude Denat de Guillebon. 2. Just months before he passed away, Christo worked in his New York studio on concept drawings for the massive project, which draped the 148-by-164-foot stone monument in the equivalent of 6 acres of silver-blue recyclable polypropylene fabric and thousands of feet of red rope. 3. After engineering tests on wind conditions and material permeability and flammability, and a trial run on a 65-foot-high arch mock-up, the fabric was sewn into panels at Geo–Die Luftwerker, a German company that manufactures hot-air balloons. 4. To protect the four relief sculptures at the base of the centuries-old monument, including La Paix de 1815 by Antoine Étex, workers on cherry pickers bolted steel cages into holes drilled into the stone. 5. They also belted rolled fabric to a counterweighted steel armature placed around the perimeter of the arch’s roof. 6. The rolls, most 26 feet wide, were unfurled as climbers descended simultaneously to guide the fabric into place. 7. Utilizing technical information gleaned from the engineering tests, mock-up, and Christo and Jeanne-Claude’s 1995 installation Wrapped Reichstag, the climbers installed the polypropylene rope to contour the draping specific to the artists’ vision.

c enter fold 1-6: WOLFGANG VOLZ/COURTESY OF THE CHRISTO AND JEANNE-CLAUDE FOUNDATION; 7: LUBRI/COURTESY OF THE CHRISTO AND JEANNE-CLAUDE FOUNDATION

10,000 linear feet of rope

30,000 yards of fabric

YEARS IN THE MAKING

1,000+

workers including engineers, climbers, carpenters, and seamstresses carrying out the directives of Christo and Jeanne-Claude

“I wanted to transform the arch, to turn it from an architectural object, an object of inspiration for artists, to an art object itself” —Christo DEC.21

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WOLFGANG VOLZ/COURTESY OF THE CHRISTO AND JEANNE-CLAUDE FOUNDATION

Christo and Jeanne-Claude met in Paris in 1958, and a few years later, Christo became fascinated with the iconic arch when he lived near the monument, which was designed in 1836 by Jean-François Chalgrin. Before his death in 2020, Christo requested that L’Arc de Triomphe, Wrapped be completed posthumously (Jeanne-Claude died in 2009); it was on view from September 18 to October 3, the streets around it closed to cars over the weekends to encourage pedestrian visitors.

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ll Tw i te hi W 85 92

View the entire collection at www.formica.com

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Reflecting on beauty

CREATAR IMAGES

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Gemstone greens—along with a spectrum of other bold, jewel colors—bring unexpected calm to a house in Cork, Ireland, by Kingston Lafferty Design

an emerald isle

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text: dan rubinstein photography: ruth maria murphy/living inside

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When the design history of the pandemic is written, it will be told with tales of firms completing projects without ever physically meeting clients, setting foot inside job sites before they’re finished, and other protracted, unexpected developments. Lovers Walk—a residence in Cork, Ireland, by Kingston Lafferty Design—is one of those stories. “It started as a small decoration job for us,” founder and creative director Róisín Lafferty recounts. “But it grew legs and ended up as a substantial design project.” The two-story, four-bedroom suburban house was purchased by a couple looking to return to Ireland from abroad to raise their young son. As the pandemic struck and timelines extended, the scope kept evolving to encompass every element of the house. “We had to think on our feet,” Lafferty concedes. At first, the house looked solidly built, but project collaborators Kiosk Architects discovered that the structure had major issues with energy efficiency. Original flooring needed to be removed, and the exterior required extra work to meet current standards. “The clients put a lot of trust in us,” Lafferty says, “which was bold and brave considering that we didn’t meet in person until the end of construction.” The house was built in the 1940’s. What attracted the homeowners—and informed KLD’s concept—was the central staircase, part of a ’70’s addition and somewhat in that era’s style. Lafferty loved its warm, almost orange-toned oak joinery, which creates a strong impression on both levels. “It’s quite dominant,” notes the designer, to whom the clients had first turned for her firm’s signature look. The 11-year-old practice has earned a reputation for experimenting with bold swaths of solid color, mostly in paint: blood-red walls for a café in London; a deep-blue theater for a corporate office in Skerries, Ireland; and, most notably, a widely published Victorian house in Dublin with blue walls, a green ceiling, and a ruby-red dining table.

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Previous spread: Verde Alpi marble clads the fireplace wall in the living room of a 1940’s house in Cork, Ireland, renovated by Kingston Lafferty Design. Left: The kitchen’s island, backsplash walls, and countertops are polished quartzite while custom cabinetry and millwork are rosewood veneer. Right top: Upholstered in cotton velvet, the living room’s Mario Marenco sofa is backed by a wall sheathed with painted wood slats. Right center: The oak stair and paneling in the entry hall are part of a ’70’s addi tion to the house. Right bottom: Glossy tile fronting the main bathroom vanity contrasts with its Rosso Levanto marble backsplash and flooring. DEC.21

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The house, located on a cliff overlooking the city, is surrounded by large oak trees. “We wanted to bring in that depth of green,” says Lafferty, who, along with KLD lead designer Fiona Stone, went beyond paint to inject the rooms with warmth and color that complemented the site. Hence much of the living room is wrapped in moss-green marble; forest-green heavy wool curtains hang in the child’s room, which is painted a similar shade, his favorite color; and the primary bedroom’s headboard wall is clad in jade porcelain tiles (by Gio Ponti, no less). The layout of the living room, which had been fussy, was streamlined. A sofa upholstered in deep-navy velvet adds punch to the space. Similar jewel tones were chosen to balance the room’s marble-rich palette, which reminded Lafferty of Ludwig Mies van der Rohe’s Barcelona Pavilion. “We needed a poppiness to jar against that,” she notes. Adding another layer to the mix, the clients allowed their contemporary art collection— mostly playful, abstract works—to be positioned throughout the house as the design best allowed. “They weren’t precious about it,” Lafferty reports. To add drama to the journey from the entry hall to the kitchen and dining area, Lafferty and Stone inserted a tunnellike portal lined with red finger tiles between the spaces. The clients didn’t want the kitchen to be overwhelmed with storage cabinets, so the designers kept them at base level, covering the countertops, island, and two wall-size backsplashes with pink quartzite that’s “like rock candy,” Lafferty says—a move that places added emphasis on the above-sink picture window and its view out onto nature. While Lafferty admits some might consider the rosewood-veneer cabinetry to be outdated, she relished the idea of pushing the materials so they’re “almost on the cusp of clashing.” Upstairs, each of the three bedrooms—for the couple, their son, and guests, respectively—has its own color story. Riffing off the ’70’s vibe, the guest room juxtaposes cobalt blue curtains against walls painted a buff pink called Dead Salmon; a navy shaglike carpet adds to the theme, which Lafferty describes as “almost disgusting.” The designers are particularly proud of the primary bedroom, “a small space that needed to look sleek and effortless,” Stone notes. Access is via a wide, open passageway with chevron-pattern oak flooring and three large, angled skylights set into the sloped roofline. A vanity of burgundy marble is tucked under the eaves on one side of the room; a walk-in closet and the bathroom lie behind the opposite wall, which is Left: Living room lighting includes Juanma Lizana’s painted iron chandelier and a Vico Magistretti table lamp; the floor is polished concrete. Opposite top, from left: Shaglike car peting, a wall of floor-to-ceiling curtains, and a George Nelson pendant outfit the guest bedroom. Debonademeo’s disklike sconce presides over the kitchen dining area’s leather-upholstered custom banquette and sofa. Opposite bottom, from left: In the son’s room, a Roly Poly chair by Faye Toogood and painted builtins pop against curtains and Form Us With Love’s Unfold pendant fixture in the child’s favorite color. Another Debo nademeo sconce hangs on the finger tile– clad wall of the portal connecting the kitchen to the entry hall.

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faced in lacquered walnut-burl veneer that abuts the green tile of the headboard wall around the corner. “It’s like a jewelry box with so many materials used,” Stone continues. “But it feels incredibly calm. There’s almost a nostalgic air about it”—a verdict with which the clients agree. It seems their trust in KLD’s boldly unconventional aesthetic has paid off handsomely. PROJECT TEAM KIOSK ARCHITECTS: ARCHITECT OF RECORD. HERRICK ELECTRICAL: MEP. DFL: WOODWORK. MILLER BROTHERS: STONEWORK. CAMELEO: PLASTERWORK. ROSE CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ARFLEX: SOFA, OTTOMAN (LIVING ROOM). MODERN HILL FURNITURE: ORANGE CHAIR. MOORE O’GORMAN JOINERY: CUSTOM COCKTAIL TABLE. FEST AMSTERDAM: SIDE TABLE. OLUCE: TABLE LAMP. URBAN NATURE CULTURE: VASE. MUURLA: GRAY BOWL. HKLIVING: BLUE BOWL. JUANMA LIZANA: CHANDELIER. JOVER: CURTAIN FABRIC (LIVING ROOM, KITCHEN). FLOS: PENDANT FIXTURE (KITCHEN). MIELE: COOKTOP, OVENS, RE FRIGERATOR. BLANCO: SINK. QUOOKER: SINK FITTINGS. CINCA: FINGER TILE (PORTAL). ASTEP: PENDANT FIX TURE (ENTRY HALL). WOW DESIGN: VANITY FRONT TILE (MAIN BATHROOM). RMC: SHOWER WALL TILE. THROUGH 1STDIBS: CHAIR (GUEST BEDROOM). HAY: PENDANT FIXTURE. EDMUND BELL: CURTAIN FABRIC. SCATTER BOX: BEDSPREAD. JACARANDA CARPETS: CARPET (GUEST, CHILD BEDROOMS). DRIADE: CHAIR (CHILD BEDROOM). MUUTO: PENDANT FIXTURE. KVADRAT: CURTAIN FABRIC. TRUNK FLOOR: CUSTOM WOOD FLOORING (CHILD, MAIN BEDROOMS). &TRADITION: SOFA (DINING AREA). YARWOOD LEATHER: BANQUETTE UPHOLSTERY. ZAVA LUCE: SCONCES (DINING AREA, PORTAL). GUBI: VANITY CHAIR (MAIN BEDROOM). NATUZZI ITALIA: BED, NIGHTSTAND. SALVIATI: SCONCE. TAL: SPOTLIGHTS. TEAMWORK ITALY: WALL TILE. LOUISE ROE COPENHAGEN: VASES. MASON EDITIONS: PENDANT FIXTURE (FAMILY BATHROOM). CROSSWATER: TOWEL RING. NIC DESIGN: SINK (FAMILY, GUEST BATHROOMS). THROUGHOUT ASTRO LIGHTING: DOWNLIGHTS. STONE SEAL: CONCRETE FLOORING. CORK GLASS CENTER: BATHROOM GLASS, MIRROR, SHOWER SCREENS. VOS: BATHROOM SINK FITTINGS. MINIMA HOME: FURNITURE SUPPLIER. FARROW & BALL: PAINT.

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Left: A skylit passageway outfitted with a custom vanity leads to the main bed room, where the headboard wall hosts Gio Ponti porcelain tiles. Right top, from left: GamFratesi’s Tail chair, upholstered in velvet, pulls up to the Rosso Levanto vanity. A Verde Alpi marble frame and walls faced in mirror and terrazzo tile set off Serena Confal onieri’s pendant fixture in the family bathroom. Right bottom, from left: Birch-plywood steps service the built-in bunk bed in the child’s room. The family bathroom materials in a different palette distinguish the guest bathroom, which also sports identical PVD-coated brass fittings and a wall-mounted sink. DEC.21

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making the cut Hariri & Hariri Architecture transforms the New York penthouse headquarters of SIBA Corp/SIBA Residences from a diamond in the rough into a multifaceted gem text: joseph giovannini photography: eric laignel

Hariri & Hariri Architecture—the firm of Iranian sisters and Interior Design Hall of Fame members Gisue and Mojgan Hariri—began the renovation of the headquarters of SIBA Corp/SIBA Residences, a prominent gem dealer and real estate business in Manhattan’s Diamond District, in early 2020, just as COVID-19 was about to grip New York. The architects designed the 3,000-square-foot full floor during the transitional period when the SIBA office staff, like countless others across the country, started Zooming from home. Like anthro pologists unexpectedly equipped with a telephoto lens into the lives of their subjects, the Hariris observed home environments that had become on-screen business backdrops. COVID taught the architects what now seems obvious: People were in no rush to return to the office because they like the warmth, character, crafted touches, and creature comforts of their homes. Specialists in both residential and workplace, the sisters resolved to adapt domesticity to the penthouse site, balancing the amenities of home with office life in a building deep in Midtown’s thicket of highrises. “Zoom confirmed what George Nelson advocated long ago,” Gisue Hariri notes: “‘The office should be a daytime living room.’” The renovation initiated a new era and ethos for the four-generation family business. The third-generation patriarch, Sam Abram, had recently died, and his son Edward, now CEO, was relaunching the company. Three of SIBA’s separate divisions—diamond trading, real estate sales, and building management—shared the floor. Without looking like Fort Knox, the gem side of the business had to be secured away from the real estate and management spaces, which were themselves separate from each other. With multiple zones and numerous dedicated functions—reception and waiting areas, open workstations and offices, a conference room and a jewelry viewing lounge, kitchen and dining—the program presented the organizational challenge of piecing together an intricate puzzle. The existing office looked like a leftover period set from The Honeymooners. Cubicles and rooms were grafted onto each other higgledy-piggledy under harsh fluorescents set in a water-damaged dropped 136

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Previous spread: A custom desk, faceted like a diamond, defines reception at the New York headquarters of gem dealer and real estate business SIBA Corp/SIBA Residences by Hariri & Hariri Architecture. Top, from left: SIBA’s art collection, including a painting by graffiti artist Hektad, adds color to the project’s materials palette, which, in reception, consists of rift-cut oak and solid surfacing. The collection also includes a silkscreen print by Gene Davis and the sculpture Puzzle Man. Robby & Francesca Cantarutti’s Forest chairs and Lievore Altherr Molina’s Branch table outfit the terrace. Bottom, from left: A band of LED strips highlights the elevator lobby’s wraparound aluminum slats and porcelain floor tile. The LEDs and slats continue in the open work area, which is surrounded by etched-glass panels fronting private offices.

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“The architects told their clients that the goal was to build the analogue of a jewel”

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ceiling. A large safe was strapped down like an electric chair. The whole place required a gut renovation. The unsalvageable maze, however, hid two assets. The space had good infrastructure—a wraparound terrace ringed the entire floor, which offered unobstructed, heart-of-the-city views. Then, in and around the principal office, the architects discovered numerous modernist prints and silkscreens that the company had quietly collected, hung up, and left in place for decades, as forgotten as old wallpaper. To their surprise, the Hariris were dealing with a portfolio that included works by Josef Albers, Ellsworth Kelly, Kenneth Noland, and Louise Nevelson. New pieces, including ones by Keith Haring, Andy Warhol, and Alexander Calder, were added to the mix, and the trove became a vehicle that helped the two sisters infuse the project with color and character. Aiming for a daytime living-room effect, the Hariris avoided a systematic, gridded, modular layout. Instead, the floor is organized episodically along a circuit leading to an unfolding sequence of spaces, each highlighting art or special seating. The unique turns in the plan camouflaged the harsh fact that a corridor, for example, might function as a security lock bordered by bulletproof glass. The Hariri team included pockets as socializing zones for passing office chats and break-out moments. They sited the jewelry viewing lounge among the first rooms, beyond which lies a small openplan pool of workstations for real estate management surrounded by a perimeter of private offices. Improvements in technology over the last several decades facilitated domestication. Thanks to the computer, the architects could reduce the number of chilly, metal file cabinets to a minimum. A new ceiling system of parallel Opposite: Dark Gray and White, a screen print and collage by Ellsworth Kelly, hangs in a corridor. Top: Colorful nylon carpet tiles, Matthew LaPenta emoticon sculptures, and an Andy Warhol silkscreen bring a residential vibe. Center: Cabinets flanking an office door display Fred Allard’s resin sculptures. Bottom: Terry Crew’s Lilypad, a table and lounge chair combo, sits under Martín Azúa’s Halo pendant fixtures in the waiting area. DEC.21

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aluminum slats set wide enough apart to accommodate sprinklers let them raise the ceiling from 8 to nearly 10 feet. Compact HVAC equipment replaced large, antiquated units that colonized the outdoor terrace, allowing for an alfresco dining setup plus a meditation garden. Contemporary window frames gave each opening a clear view, turning the urban skyline into a sequence of spectacular pictures. But beyond technology, the Hariris deployed architecture’s traditional tool-set—materials, scale, lighting, and simplicity—to make the HQ homelike. They covered metal access panels with rift-cut oak. Etched glass between perimeter offices and the open work area softly radiate natural light to the landlocked interior. They dimensionalized the floor with patterned carpet tile that creates the illusion of depth, its pile inviting staff to kick off their shoes. Overall, the spaces were kept intimate, with clean planes and edges that defer to the art. The walls, mostly painted white or gray, have the visual clarity of a gallery. At the beginning of the commission, the architects told their clients that the goal was to build the analogue of a jewel—“something light, airy, and tactile,” Gisue Hariri says, “something small, precious, and special, where every turn is unique.” She and her sister crafted that idea right at the front door by chamfering the reception desk like a precious cut stone—its faceted, sculptural quality a trademark of their work. “From early on, we’ve collected rocks and studied geological and crystal formations, fascinated by the abstract, geometric, asymmetrical forms derived from nature, which are also apparent in both Persian and modern Western architecture,” the architect adds. But even more than a built metaphor, the diamond at the door sets the stage for the multifaceted gem of an environment beyond. Top, from left: A Luca Nichetto leather sofa shares a corner of the jewelry viewing lounge with a Shayna La painting. Ludwig Mies van der Rohe’s Barcelona lounge chair and Charles and Ray Eames’s executive and task chairs join custom casegoods in the CEO’s office. Bottom, from left: A restroom is a serene composition of Carrara marble tile and custom lacquered cabinetry. Three Alexander Calder lithographs enliven a corridor. Ceiling-mounted LED fixtures 3 feet in diameter illuminate the kitchen’s solid-surfacing countertop and brushed stainless-steel shelving, both custom.

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PROJECT TEAM BIEINNA HAM; KYUHUN KIM; CHRIS WHITESIDE; MARIA DIGAETANGO-RODRIGUEZ: HARIRI & HARIRI ARCHITECTURE. BLONDIE’S TREEHOUSE: LANDSCAPE CONSULTANT. LIGHTING WORKSHOP: LIGHTING CONSULTANT. ROBERT SILMAN ASSOCIATES STRUCTURAL ENGINEERS: STRUCTURAL ENGINEER. SKYLINE ENGINEERING: SPECIAL INSPECTION ENGINEER. IP GROUP: MEP. NAPOLEON CONTRACTING CORP.: WOODWORK. ICON INTERIORS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT JANUS ET CIE: CHAIRS, TABLE (TERRACE). EXPERT WELDING GATES: CUSTOM RAILING. BENDHEIM: ETCHED GLASS PANELS (OPEN WORK AREA). KNOLL: WORKSTATIONS (OPEN WORK AREA), LOUNGE CHAIR (OFFICE). VIBIA: PENDANT FIXTURES (WAITING AREA). BERNHARDT DESIGN: TABLE/CHAIR (WAITING AREA), SOFA (JEWELRY LOUNGE). SPINNEYBECK: SOFA UPHOLSTERY (JEWELRY LOUNGE). DWR: PILLOWS. HERMAN MILLER: EXECUTIVE CHAIR, TASK CHAIRS (OFFICE). KOHLER CO.: SINK FITTINGS (REST ROOM). FOCAL POINT: CEILING FIXTURES (KITCHEN). JULIEN: SINK. KWC: SINK FITTINGS. WOLF: COOKTOP. MIELE: OVEN. BLU DOT: CREDENZA. THROUGHOUT MOSA: FLOOR TILE. INTERFACE: CARPET TILE. AMERLUX; CORONET LIGHTING: LIGHTING. ARMSTRONG: ACOUSTIC CEILING PANELS. B+N INDUSTRIES: ALUMINUM SLATS. C.R. LAURENCE CO.: DOOR PULLS. KILROY ARCHITECTURAL WINDOWS: WINDOWS. EVENSONBEST: FURNITURE SUPPLIER. BENJAMIN MOORE & CO.: PAINT.

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next chapter For its first outpost outside Shanghai, Duoyun Books turns to Wutopia Lab to tell the retailer’s story in nearby Taizhou text: rebecca lo photography: creatar images

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Chinese culture has always deferred to academics. Socially, imperial scholars ranked equally with the military, and they were treated with as much esteem as the emperor’s courtiers, partly because, for centuries, reading was restricted to just a chosen few. Furthermore, simplified Chinese only became widely adopted 70 years ago, and mandatory education is a fairly recent phenomenon. Try as he might to impose a communist rhetoric over literature, even Mao Zedong’s Cultural Revolution had little effect upon the country’s entrenched reverence for books. However, one thing that significantly impacted literature has been the internet. Online learning, e-books, e-retail, and social media have all contributed to increased access to reading materials but, at the same time, to the decline of bricksand-mortar bookshops. But if anyone knows how to create physical bookstore environments that draw customers, it’s Ting Yu. The Wutopia Lab cofounder and chief architect has completed a half dozen such projects throughout China. His latest and one of his largest, the spacious Duoyun Bookstore in Taizhou, is his second shop for the chainlet, which he again helps realize its aspirations to be more than a retailer. The 19,000-square-foot, two-story store occupies two stone buildings that are part of a quartet of abandoned structures. It was Taizhou Huangyan Yongyun Cultural Development and Shanghai Century Cloud Culture Development that earmarked the buildings for Duoyun Books. “Taizhou has close cultural and economic ties with Shanghai, and this project evolved during the 2020 Shanghai Taizhou Week to further strengthen the connections between the two cities,” Yu begins. “It is also backdropped by Wuyue Plaza, the largest commercial complex in the district.” The district Yu speaks of is Huangyan, a Taizhou suburb and metropolis in its own right. A four-hour drive south of Shanghai, Huangyan is known for its centuries of mandarin orange production and more recent plastic-mold

Previous spread: At Duoyun Bookstore in Taizhou, China, by Wutopia Lab, a ceiling of corrugated galvanized steel panels is meant to mimic the rippling water of the neighboring Yongning River. Left, from top: Painted steel forms a zigguratstyle display underneath a ceiling of translucent acrylic panels. The color of the café’s spiral stair, pendant fixtures, and seating, all custom, nod to the region’s history of mandarin orange pro duction. Right, from top: Steel shelves sur rounded by walnut composite contain the rare books collection. Perforated aluminum screens fronting the pair of 2019 buildings composing the bookstore enclose its courtyard, the gravel dotted with granite paving stones.

Top: A cloud-shape opening CNC-cut in the aluminum panels leads from the courtyard to the main entrance. Bottom, from left: The courtyard had been built around a transplanted hackberry tree, its stone trunk surround echoing the organic shape of the entry. The stairway in rare books doubles as stadium seating. Acrylic forms the café stair’s balustrade, and flooring throughout is terrazzo. A terrace of mirror-finished stainless steel runs between the two stone buildings.

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manufacturing. At its height, 70 percent of the domestic Chinese market’s plastic molds—used in cars and home appliances—originated in Huangyan. Yu incorporated these ancient and modern aspects of the site’s context into his design of the bookstore. But it’s the project’s proximity to the Yongning River that really set the tone and gives it its nickname, Books in Clouds. Symbolizing idealism, “A cloud rises over the riverside, and visitors in the store are inside it,” Yu says of his concept. “Clouds were images that we defined early in the process and are used throughout the interior and exterior.” To achieve this effect, Wutopia fronted the entire complex in a perimeter of perforated aluminum screens that reads as solid white during the day and like a glowing layer of fog against the dark night sky. The organic forms of clouds and Huangyan’s rolling topography also inform the project’s appearance, namely at the entrance. From the side of one of the buildings, a series of shapely apertures CNC-cut into the white perimeter panels beckon visitors inside. After passing through two of these openings, they reach a tranquil courtyard, which Wutopia scattered with white gravel and curvaceous outdoor seating made from recycled ocean plastics, an homage to the city’s manufacturing of the material. The seating, serenity, and plantings, which include a towering hackberry tree, encourage lingering. “I needed a space to control the separate buildings on-site, and creating a courtyard was a natural solution,” Yu continues. “Like a cloud, the store shouldn’t be confined to a square. It should meander like a Chinese garden with pavilions and terraces. It’s an update of the traditional notion that a visit to a bookstore is like a visit to a garden.” White indeed dominates the exterior of the store, but color has its place inside. In the café, for instance, banquettes, pendant fixtures, and the spiral staircase are a saturated orange—referencing the fruit associated with Huangyan—their rounded silhouettes echoing nature. “Architecture should be full of metaphors,” Yu states. Farther in, books are showcased on various steel displays, all painted the green of Duoyun Books’s corporate color. One area has a ziggurat-shape

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podium in the shade, while another has myriad “floating” units in the verdant color. Of the latter, Yu says, “The bookshelves yield a sort of labyrinth. I’ve always been fascinated by the complex organization of spaces to create the experience of time slowing down.” What also may make visitors pause is the ceiling running above the floating shelves, its textured silvery panels mimicking the Yongning’s rippling waters. Deep recesses in the room’s window bays allow for visitors to sit and gaze at the actual river. All these ground-floor areas are anchored in white terrazzo flooring and surrounded by floor-to-ceiling built-ins painted pale gray. The bookshelves continue on the second floor but the mood there shifts quite significantly. What Yu calls the “cultural and creative area” is where Duoyun Bookstore keeps its rare book collection, and he’s given it an environment that’s more like a traditional library. Its central display and stadium stair that’s wide enough to accommodate many seated visitors are clad in planks of dark walnut composite. “Books in Clouds can be a platform for book clubs, exhibitions, and other cultural activities,” Yu notes. Both he and his client believe that for bookstores to survive—even thrive—they need to address what the public wants out of retail experiences today. “If these shops simply sold books, eventually they will be replaced by online sources,” Yu insists. “But if a store can be a cultural complex, a community hub, then it can endure. The value of any physical space is that it can create social interaction.” We are, after all, social animals—ones that hopefully continue to appreciate shared knowledge and life experiences. PROJECT TEAM SHENGRUI PU; ZHUOER WANG; SHENGRUI PU; JUNZHU SONG; BEGOÑA MASIA; YAPING WU; JIAJUN WANG; LEI WANG; YUNFENG DAI; MINMIN ZHANG; JIANV GUO; XIAOYAN WU; XUE’EN CHANG; YE LU; WENSUI ZHANG; DONG MENG; YAWEI JING; KEJIE MI: WUTOPIA LAB.

Left, from top: Deep bay windows encourage visitors to comfortably browse books or enjoy views of Yongning River. The 19,000-square-foot store is backdropped by Wuyue Plaza, the district’s largest commercial complex. Right, from top: Local works are housed in a niche lit by LEDs. Outdoor seating made from recycled ocean plastics stands toward the back of the courtyard. DEC.21

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the new wave

We’ve discovered six emerging firms from around the globe whose names and work you’ll want to know text: peter webster

See page 160 for NDB Design Studio’s Benjamin Moore Experience Center in Jinhua, China. Photography: yuuuunstudio.

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“We knew from our first collaboration that we could communicate and challenge each other with respect, which is the basis of our partnership”

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ALAO founders Aya Maceda and James Carse. project Carriage house, Sharon, Connecticut. standout The architects, who founded their firm shortly after meeting in 2017 and now have studios in Brooklyn, New York, and New Orleans, have developed a distinctive humanistic approach that infuses their work with a sense of play—ergo this contemporary carriage house, which artfully combines garaging for vintage and recreational vehicles; sportsequipment storage; second-floor accommodations for up to eight guests; and an art studio, gym, and gaming patio, all within the footprint of an abandoned shed. photography Nicholas Calcott.

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“Our goal was to reimagine communal living in the context of Berlin’s rich history, to create a balance of vibrant gathering spaces and more private, highly customizable suites”

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Civilian founders Nicko Elliott and Ksenia Kagner. project Bard College Berlin Residences. standout Since establishing their multidisciplinary New York studio in 2018, the architects have completed projects in the res idential, commercial, and product sectors—they just launched Civilian Objects via a pop-up in a Chinatown coffee shop—not least among them these twin red- and gray-brick buildings housing 42 student apartments together with lounge and study areas, the bright and airy interiors featuring a cheerful materials and color palette and custom Gerrit Rietveld–esque furniture that nods to the neighborhood’s 1970’s Neo-Bauhaus architecture. photography Robert Rieger.

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Behin Ha Design Studio founders Behrang Behin and Ann Ha. project Bergen Hudson ENT, Union City, New Jersey. standout The husband-and-wife architects’ studio, founded in 2009 in Jersey City, New Jersey, looks at the constraints of site, budget, context, and typology not as limitations but as possibilities for exploration, an ethos ably demonstrated in this 1,500-squarefoot office for an ear-nose-throat doctor, where custom features include a reception wall emblazoned with thousands of specula, the disposable tips from ear-examination instruments, which create an oversize, marblelike pattern that transforms as the viewing angle changes. photography Garrett Rowland.

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“Clean lines, natural material accents, and crisp colors help enhance the patient experience by providing a bright, spacious, and comfortable environment”

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“The most important thing is to arouse an emotion, to give a unique experience that can only be had in a certain place”

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velvetLAB founder Gianluca Bocchetta. project Puntosette, Turin, Italy. standout For a program requiring that the 2,475-square-foot space (formerly a vintage clothing store) morph through the day from breakfast spot to lunch café to cocktail bar, the founder of the 9-year-old multidisciplinary Turin studio and his team created an experiential design in which simple geometrical shapes combine with evocative materials and surfaces—rough and smooth concrete and plaster, mirror-polished steel, glass brick, warm wood—over which changeable atmospheric lighting plays. photography Barbara Corsico/Living Inside.

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“Lively paint colors are combined with everyday forms, creating varying sensory experiences and evoking interaction”

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NDB Design Studio founder Ni Dongbo. project Benjamin Moore Experience Center, Jinhua, China. standout The designer founded his Jinhua studio in 2019 to investigate the relationships between people and spaces from an independent perspective, an approach he uses in this 1,076square-foot showroom for the U.S. paint brand, breaking with conventional display modes and combining products and art in an experimental way by applying brilliant colors to a series of quotidian objects—shoes, a yoga ball, tiles, a raincoat—that become inspirational totems in a surrealistic prop room. photography yuuuunstudio.

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Intrinsic Designs founders Shivraj Patel and Shruti Malani. project Curves & Dashes, Ahmedabad, India. standout A minimalist philosophy, coupled with attention to functionality, durability, and comfort, characterizes the work of the Ahmedabad studio the architects founded in 2012 (now with satellite offices in Rajkot and Anand), as is evident in this narrow 450-square-foot workspace, shared by a chartered accountant and a fashion designer, which is equably divided by a sinuous birch-plywood partition with desking on one side and display racks and fitting areas on the other, while slatted paneling hides a common panty and restroom. photography Ishita Sitwala.

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“Cement tile flooring patterned with gray and white dashes yields a captivating and playful underfoot surface that appears to stretch the space — and the imagination”

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stone harbor

A Brooklyn, New York, studio by Andrew Berman Architect brings a sculptor’s entire artistic process—boulders and all—under one roof

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Barry X Ball isn’t just an acclaimed artist. He is also a collector. Over the years, he has amassed an impressive cache of stone monoliths that will someday become inspired figurative sculptures exhibited internationally (his work is currently on view at Collezione Maramotti in Reggio Emilia, Italy). The problem with acquiring multi-ton hunks of rock, though, is where to put them. At just 2,500 square feet, his studio in the Williamsburg section of Brooklyn, New York, couldn’t hold them; it was already bursting at the seams with him and his team of artists and technicians. So he kept the blocks in storage facilities around the globe, which meant that whenever he started a new work, he would fly to Italy or Mexico or California, select a stone, and ship it back to the city. After two decades, it was getting old. Enter architect Andrew Berman. Ball’s dream was to have his entire process—from stone storage through artwork fabrication—under one roof. But no existing facility could meet his specific needs—nor his exacting standards. That is until he found an existing two-story warehouse in nearby Greenpoint. Shortly after, the Andrew Berman Architect team immersed themselves in Ball’s artistic practice, ultimately conceiving a 16,000-square-foot studio for him that checks all the boxes and then some. First, the warehouse was shored-up and reconfigured to house a gallery, digital design studio, offices, pantries, and bathrooms. “So much of what we work on are found structures that we’re taking from their first or second Previous spread: At the Brooklyn, New York, studio of sculptor Barry X Ball, Andrew Berman Architect renovated an existing warehouse structure and designed a three-story, steel-clad addition, its penthouse opening to a 3,300-square-foot green roof. Top, from left: The green roof currently boasts grass but has been engineered to support more extensive plantings, even small-scale food production; the existing renovated warehouse adjoins. The warehouse contains the studio’s digital work area. The addition’s fabrication hall opens onto a courtyard where stone for Ball’s future sculptures are stored. Bottom, from left: Sliding glass doors run between the green roof and penthouse, used for quiet work or events but that is zoned residential to host visiting artists. Polished concrete composes the flooring there and in a groundfloor gallery, where Ball can test lighting setups for sculptures bound for other venues. DEC.21

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Below, from left: In the fabrication hall, reinforced concrete flooring can support the weight of multi-ton stone blocks and features an integrated drainage system that can whisk away the wastewater generated by the stone-cutting process. Upstairs in the digital work area, the polished concrete continues, though with no additional reinforcement. Bottom: Above the hall’s 15½-foot-tall folding doors is a run of polycarbonate that forms clerestories; new windows were punched into the existing warehouse that adjoins. Opposite: Every inch of space in the studio was programmed, including this storage room, which was designed specifically to the width of the unitized shelving systems preferred by Ball.

use to a new, totally unanticipated one,” Berman begins. “There’s beauty in the original conception of buildings that they can have these other lives.” Then, ABA added a three-story, steel-clad volume that contains a double-height fabrication hall and opens onto a courtyard where Ball’s stone collection is stored. The layout was designed with one thing in mind: function. “It began with a semi tractor trailer,” Berman states. “We mapped out how a truck with a 20ton stone or crated sculpture would be able to get onto the property, through the gate and doors, and physically back into the studio, where a crane could take the delivery off the truck.” Physical requirements, such as hallways wide enough for a forklift to move a sculpture from fabrication hall to gallery or clear spans to accommodate two 20-ton gantry cranes that can move stones around the fabrication hall and storage terrace, were balanced with less tangible ones. How does staff enter the studio and does that sequence need to be different for visitors, or for Ball himself? How are clean, dry areas kept separate from wet, dirty ones, and how can the mess be contained while people move back and forth? How can the building be tuned to ensure the most efficient workflow at each point in the fabrication process? “These scenarios were drawn out and overlayed, so it became a Rubik’s cube of spaces that had to all flow naturally,” Berman continues. Outside, the charcoal-toned cladding of the existing structure contrasts with the bright corrugated steel of the addition. But inside, the palette is the same throughout: Impeccably white walls, fixtures, and furniture frame polished gray concrete flooring. Variation comes in the grade of materials: heavier-duty Sheetrock for rooms that take more abuse, a lighter-weight concrete mix for the upper levels than the ground, where flooring is engineered to withstand 20-ton point loads as well as a stone-cutting bandsaw and other heavy equipment. Natural daylight filters through the folding doors and clerestories of the fab rication hall and through the windows and skylights added to the existing structure, reaching even those spaces set deep within the floor plate. The monochrome interior “maximizes the clarity of the light and its ability to bounce, reflect, and refract,” Berman notes. “It also helps focus one’s eye to Barry’s work, which taps and extracts the inner colors of the stone itself.” A verdant point of departure is the third-floor penthouse that spans the old and new structures and opens out onto a lush green roof with panoramic views of the Manhattan skyline. The flexible space is currently used for quiet work as well as events but zoned as, and has all the amenities of, a studio apartment that can host visiting artists, staff, or Ball himself, as needed. 168

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Despite its utilitarian nature and expression, “In many ways, the fabrication hall was the most demanding, architecturally, because nearly everything in it is exposed,” ABA senior project manager Dan Misri explains. “Every weld, every bolt was thought through.” And it isn’t just the structural decking and beams that are exposed, all the systems are, too. “The piping for the water and electrical, a compressed air system—all are very tailored to help foster not just the usability but also the structural aesthetic,” Berman adds. “The exposure elevates the work space.” For Ball, the specific and bespoke nature of the studio is already allowing for evolution. “Being able to walk among rows of giant blocks, move them around, and see how what’s inside changes the form of the thing that you’re making is radically renewing for me,” he says. “The work that we’re doing now literally could not have been made in my old studio.” And the parallels between the architectural process and his artistic one were hard to miss. “Everybody’s got The Fountainhead idea of architects making brilliant maneuvers, but it’s like my work: Thousands of little details, cumulatively, make something sing.” PROJECT TEAM MARIKO TSUNOOKA; NATALIE WONG; OTIS BERKIN: ANDREW BERMAN ARCHITECT. GILSANZ MURRAY STEFICEK: STRUCTURAL ENGINEER. PLUS GROUP CONSULTING ENGINEERING: MEP. PILLORI ASSOCIATES: CIVIL ENGINEER. TADA: OWNER REPRESENTATIVE. RICHTER+RATNER: CONSTRUCTION MANAGER. PRODUCT SOURCES FROM FRONT SELUX: PENDANT FIXTURES (DIGITAL AREA). THROUGHOUT TRI-BORO: CUSTOM SHELVING, CUSTOM STORAGE. NUVO: TRACK FIXTURES. ARDEX AMERICAS: FLOORING. MORIN: STEEL CLADDING (FACADE). FLEETWOOD: SLIDING DOORS. EXTECH: POLYC ARBONATE CLADDING. BATOR: FOLDING ENTRY DOORS. SKYLINE WINDOWS: WINDOWS. BENJAMIN MOORE & CO.: PAINT.

Top, from left: A view from the street captures the warehouse and the addition beyond. To bring natural light into the middle of the warehouse’s floor plate, dome skylights were installed over a studio entrance. The addition has two levels of green roofs, and the entire studio encompasses 16,000 square feet. Bottom, from left: Hi-bay light fixtures supplement the hall’s natural light. On the warehouse’s second floor, Ball’s office features built-in shelving and new windows overlooking the stone storage courtyard. DEC.21

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divine refuge text: rebecca dalzell photography: alex filz

In northern Italy, a 17th-century former monastery gets an inspired transformation by NOA* Network of Architecture into the Monastero Arx Vivendi hotel and spa

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For centuries, residents of Arco, a northern Italian commune overlooking Lake Garda, could only guess what was behind the 25-foot-tall stone walls of Serve di Maria Addolorata. There was nothing to see from the road, and passersby on the way to the lake could easily miss it. Stephanie Happacher had never even noticed the imposing structure on the edge of town, though her family has had a vacation home nearby for years. But recently, she and her husband, Manuel Mutschlechner, who were living in Zurich at the time, heard that part of the 3½-acre complex was for sale and arranged a visit. Arriving with no expectations, they were stunned to discover a monastery and an overgrown garden dating to 1689. “It was a whole world behind those walls,” Happacher remembers. The couple bought the property in 2019 and hired NOA* Network of Architecture to convert it into a 40-room hotel and spa, a serene sanctuary now called Monastero Arx Vivendi. NOA partner Christian Rottensteiner was equally struck by the site. Based about an hour north in Bolzano, the 11-year-old firm had experience converting old buildings into hotels all across Europe, such as the Altstadthotel Weisses Kreuz, which occupies a 15th-century Austrian house. Yet the architect had never encountered anything like the monastery. “The first thing you feel is this unbelievably spacious atmosphere,” says Rottensteiner, who led the project with NOA founder Lukas Rungger, who, like co-founder Stefan Rier, is an alum of Matteo Thun & Partners. “There’s an axial system that’s logical but also mystical and philosophical. The strong order gives a sense of security.” As many as 60 nuns once lived in the monastery, but today there are just four, and the youngest is 79. It is a cloister, meaning that the nuns never leave—a way of life that’s “not very compatible with the world today,” Happacher admits. The order stopped using half of the L-shape structure in the 1950’s and sold it to a private citizen in 2010. The remaining nuns occupy the enormous adjacent building, but have no interaction with the hotel; in the garden, a fence and a row of cypress trees separate the sacred from the secular. 174

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Previous spread: On the site of a 17th-century former monastery turned 40-room hotel in Arco, Italy, is a newly built spa building containing a Finnish sauna with acacia seating and laser-cut panels, all part of Monastero Arx Vivendi by NOA* Network of Architecture. Opposite top: High-back Ginestra chairs by Antonino Sciortino line the custom Grigio Carnico– topped table in the breakfast room. Opposite bottom: Faro Barcelona’s Plat pendant fixtures suspend from the original rib-vault plaster ceiling in the bar. Top, from left: Busetti Garuti Redaelli’s Coco chairs furnish the lounge. Terrazzo and restored terracotta tile floor the hotel entrance; the oak doors date to the late 1600’s. Bottom: The Monte Baldo mountain range rises behind the monastery; the region’s heritage office required that the spa have a green roof, so it isn’t visible from above.

Several plans had fallen through by the time Happacher and Mutschlechner bought the 40,700-square-foot listed building. It had been cleaned, but needed to be reinforced, restored, and updated—all under the watchful eye of the local cultural heritage office, which could veto any detail. The site and the bureaucracy called for a light touch. NOA had to nimbly add modern heating and fire systems while restoring the plaster walls and rib-vault ceilings and stone staircases. “It was really hard work, because the technical stuff could have destroyed the quiet, calm feeling that we sought to preserve,” Rottensteiner says. NOA collaborated closely with a conservator to thread wires through the walls and tuck them under restored floors, bringing much-needed electric light to the dark rooms. For the layout of the three-story structure, NOA took cues from the order, which had common areas, like a laundry room, on the ground floor and sleeping quarters above. “The plan was composed of concentric rectangles,” Rottensteiner explains. “On the ground floor, the outer circle was quite empty; you just feel the space. In the inner circle, there are functional areas.” The team put reception, the lounge, bar, and breakfast room downstairs and maintained the surrounding open halls. On the second floor, 24 small dormitories had lined a 23-foot-wide, 165-foot-long corridor, where nuns would pray together in the morning. Rottensteiner and Rungger combined two rooms into one, but kept all of the original oak doors; only 12 now open to guest rooms. They also added guest rooms and suites to the cavernous third-floor attic, installing a skylight along the ridge of the gabled roof and preserving the exposed larch trusses. Throughout the hotel, fixtures and furnishings in black, gray, and white match the austere palette of the monastery. Black-iron sconces line terrazzo-floored corridors, up-lighting the arched ceilings; the bar and reception desk are made of granite. In the breakfast room, high-back chairs by Sicilian sculptor Antonino Sciortino surround a table topped in Grigio Carnico, a dark Italian marble. Though the walls are bare, guest rooms are warm and tasteful, with floor planks of handplaned oak and paper-clay pendant fixtures by Pordenone ceramicist Paola Paronetto. The large second-floor corridor remains unfurnished. Below: Custom oak daybeds outfit a relaxation area in the spa. Opposite top, from left: Aldo Bernardi’s Frasca pendant fixture lights a guest room. In the sauna, laser-cut poplar, pine, and fiberboard subtly depict pomegranates, the hotel’s logo. Opposite bottom, from left: The spa faces the garden, where cypress trees mark the boundary of the hotel property; the monastery’s nuns occupy the building beyond. Custom iron sconces light the archways of a ground-floor corridor.

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“The restrained design preserves a sense of peace, conferring what’s called “the monastery effect”” The spa is composed of seven glass-and-steel boxes that protrude from a central volume of Vicenza stone.

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The new 5,600-square-foot spa building echoes the historic structure, its main volume built in stone and plaster. “We took this concept to the wellness area,” Rungger notes. “There is a strong axis, a colonnade wall made of Vicenza stone, that is like a spine. Then glass-and-steel cubes attach to it.” The seven cubes— their framework also nodding to the region’s lemon houses—contain massage rooms, a sauna, hammam, and relaxation areas. Wooden panels laser-cut in a geometric pattern of pomegranates that refers to the hotel’s logo embellish the otherwise spare interiors, covering parts of the walls, ceilings, and benches. Outside, a new black-tiled swimming pool is at the center of the redesigned garden, now planted with lemon, pomegranate, fig, and olive trees. The property also had a mill, which NOA retained. Since it was completed in May, Monastero Arx Vivendi has welcomed both guests and curious neighbors who stop by for a look—including two of the nuns. “They were impressed and liked it,” Happacher reports. The restrained design preserves a sense of peace, conferring what she calls “the monastery effect.” Visitors instinctively lower their voices when they enter, start to slow down, and, we imagine, feel blessed to be there.

PROJECT TEAM FRANCESCO PADOVAN; BARBARA RUNGGATSCHER; NICCOLÒ PANZANI: NOA* NETWORK OF ARCHITECTURE. BRONZINI LUCA & C.: RESTORATION CONSULTANT. HOFER GROUP: SPA CONSULTANT. LICHTSTUDIO EISENKEIL: LIGHTING CON SULTANT. BAUBÜRO INGENIEURGEMEINSCHAFT: STRUCTURAL, CIVIL ENGINEER. HOLZBAU BRIDA: WOODWORK. TISCHLEREI RIER: CUSTOM FURNITURE WORKSHOP. WSI: PAINTING WORKSHOP. HOTEX: UPHOLSTERY WORKSHOP. PRODUCT SOURCES FROM FRONT VITRALUX: FACADE SYSTEM (SPA). AIRNOVA; TOP LINE: UPHOLSTERED CHAIRS (BREAKFAST ROOM). BAXTER: HIGH-BACK CHAIRS. UHS INTERNATIONAL: CUSTOM TABLES (BAR). CALLIGARIS: CHAIRS (BAR, LOUNGE). POOLSHOP: POOL (SPA). SANIKAL BATH & TECHNOLOGY: TUB (SUITE). THROUGHOUT CONTINUUM; FLIESENSERVICE; FLORIM; SIMONAZZI: FLOORING. GRASSI PIETRE: EXTERIOR STONEWORK.

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Opposite top: Handmade paper-clay lamps by Paola Paronetto frame a custom oak headboard in a guest room; restored larch beams extend to a skylight. Opposite bottom: The light box in the hammam is made of laser-cut oak. Top, from left: The tiled swimming pool is at the center of the geometric Italian-style garden, which was existing but redesigned. NOA preserved a historic mill on the property. Bottom: In a suite, ceramic tile covers the bathroom’s floor and vanity.

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b o o k s edited by Stanley Abercrombie Before we see a written word, this book, which arrives in an untitled but richly graphic slipcase, presents us with 14 pages of a Mahdavi table design seen in many hues and patterns. Almost all the rather large (9½ x 12 ½ inches) subsequent pages by India Mahdavi San Francisco: Chronicle Books, $65 are similarly alive with color, as are the Mahdavi interiors. Amid this happy kaleidoscope, however, is a 28-page interview with the designer by Javier Fernandez Contreras, dean 360 pages, 310 color images of the department of interior architecture at the Geneva University of Art and Design, telling us of her background.Born in Iran, Mahdavi was trained at the Ecole des Beaux-Arts in Paris and at Cooper Union in New York, where her furniture designs were shown by Ralph Pucci. Then, settling in Paris, she was “an artistic director” for Christian Liaigre, before establishing her own showroom and studio with projects in “London, Miami, New York—everywhere but France.” Her work is now global, and she was inducted into the Interior Design Hall of Fame in 2019. The rest of the book is a visual feast, with some captionless pages not of interiors or furnishings at all but of bright abstractions of form and color. When some text is allowed, it is seldom factual but never dull. For example: “Everywhere, the radicality of the lines is assuaged by the softness of the furniture”; and “Color exudes from an unconscious and subliminal memory of the lights I perceived and faithfully transposed into space.” Slipped into the book as a bonus is a 48-smaller-page album of photographs taken by Mahdavi of a variety of subjects, including a few interiors but many scenes of nature. This book, while often puzzling, is the most visually delightful seen in a very long time. Every library needs a copy. India Mahdavi

Peter Marino: The Architecture of Chanel by Pilar Viladas, Felix Burrichter, Sam Lubell, and Peter Marino New York: Phaidon, $125 280 pages, 256 illustrations, 161 color

This is an elegant book showcasing elegant architecture and interiors that are, in turn, showcasing elegant women’s clothing (plus characteristic ropes of pearls and the world’s most famous perfume). The architecture and its interiors are all the work of Peter Marino and the firm he founded in 1978. Inducted into the Interior Design Hall of Fame in 1992, he has designed residences, museums, and Andy Warhol’s Factory, but a large part of his practice has been for the fashion world (Armani, Barneys New York, Bulgari, Fendi, Donna Karan, Louis Vuitton). But perhaps his most loyal client has been the House of Chanel and Karl Lagerfeld, its creative director for a quarter century until his death in 2019. This book shows us 16 of Marino’s Chanel store designs. They are in New York, Chicago, Istanbul, Singapore, Nanjing, Seoul, and Osaka, two in Tokyo, three in Hong Kong, and four in Miami, some of them having gone through several iterations before reaching their present state of perfection. No two are alike, but all comply with Gabrielle “Coco” Chanel’s favorite palette of black and white (with an occasional touch of beige) and her revolu tionary style of radical simplicity—a program not without some similarity to Marino’s own favored costume of black leather. As design writer Pilar Viladas says in her informative introduction, Marino’s showrooms and Chanel’s fashion vocabulary share an approach that is “understated yet luxurious.”

Studio principal– Chicago at Ted Moudis Associates

What They’re Reading... The Address by Fiona Davis New York: Dutton, $17 370 pages

“I choose books for different reasons. Sometimes the subject matter fascinates me; other times I’m looking to be enriched, fulfilled, or inspired. Occasionally, it's out of respect for the person who recommended it. This book was a combination of all those reasons. Whenever I visit my college roommate Shelly, who is sort of a reading guinea pig for me, she sends me home with two or three titles from her book club. The Address was one of them. Historical fiction is my favorite genre, and by combining an iconic New York residential building like the Dakota with a murder mystery, Fiona Davis has crafted a masterful page-turner. And it’s a reminder that good design lasts. No matter what era we're in, the process remains the same, and it acts as a backdrop to the people by supporting their actions and efforts.”

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STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685, Title 39, United States Code). 1. Interior Design 2. (ISSN 520-210) 3. Filing date: 10/1/2021. 4. Published 16 times a year, monthly except semimonthly in April, May, August, and October. 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 2021. Average number of copies each issue during preceding 12 months

DESIGNERS IN SPECIAL FEATURE ALAO (“The New Wave,” page 150), al-ao.com. Behin Ha Design Studio (“The New Wave,” page 150), behinha.com. Civilian (“The New Wave,” page 150), civilianprojects.com. Intrinsic Designs (“The New Wave,” page 150), intrinsicdesigns.in. velvetLAB (“The New Wave,” page 150), velvet-lab.com.

PHOTOGRAPHERS IN FEATURES CreatAR Images (“Next Chapter,” page 142), creatarimages.com. Actual number of copies of single issue published nearest to filing date

15. The extent and nature of circulation: a.Total number of copies printed (Net Press Run)..................................................................................................................49,659..............................48,966 b. Paid/requested circulation 1. Mailed outside-county paid subscriptions/requested............................................37,272.............................37,422 2. Mailed in-county paid subscriptions/requested................................................................0 ......................................0 3. Sales through dealers and carriers, street vendors and counter sales............................................................................................637...................................210 4. Requested copies distribution through other classes mailed through the USPS........................................................................... 1,008...................................963 c. Total paid/requested distribution...............................................................................38,917..............................38,595 d. Nonrequested distribution (By Mail and Outside Mail) 1. Outside-County Nonrequested copies........................................................................ 4,056............................... 3,950 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.................................................... 5,339............................... 6,023 e.Total Nonrequested distribution.................................................................................... 9,395............................... 9,973 f. Total distribution (Sum of 15c and e).........................................................................48,312.............................48,568 g. Copies not Distributed.................................................................................................... 1,347...................................398 h. Total (Sum of 15f and g)...............................................................................................49,659.............................48,966 i. Percent Paid and/or Requested Circulation (15c divided by f times 100)...........................................................................................80.55%............................ 79.47% Average number of copies each issue during preceding 12 months

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16. Electronic Copy Circulation a. Paid Electronic Copies..................................................................................................... 8,867............................... 9,093 b. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a)..................................................................................47,784..............................47,688 c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a)...................................................................................57,179.............................57,661 d. Percent Paid (Both Print and Electronic Copies) (16b divided by 16c x 100)..............................................................................................83.57%.............................82.70% 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-21 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.

Alex Filz (“Divine Refuge,” page 172), alexfilz.com. Eric Laignel Photography (“Making the Cut,” page 134), ericlaignel.com. Ruth Maria Murphy (“An Emerald Isle,” page 126), Living Inside, livinginside.it. Michael Moran (“Stone Harbor,” page 164), Otto, ottoarchive.com.

DESIGNER IN CREATIVE VOICES VenhoevenCS (“The Butterfly Effect,” page 33), venhoevencs.nl.

DESIGNER IN WALK-THROUGH Studio Shoo (“Hidden Treasure,” page 43), studioshoo.com.

PHOTOGRAPHER IN WALK-THROUGH Katie Kutuzova (“Hidden Treasure,” page 43), @katie.kutuzova.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group 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: 800-900-0804 (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 916156479. Publications Mail Agreement No. 40624074.

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The climate crisis is the greatest single threat to health and economic prosperity on the planet, and disproportionately affects vulnerable communities. Interior design professionals must reduce the negative impacts of climate change.

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Newport Brass

Andreu World

The Pardees collection infuses spaces with textural details inspired by the Industrial Age. Handcrafted coin edge features, reminiscent of mechanical gears, perfectly complement the otherwise minimalist design. Available with cross or lever handles.

Forest Club by Starck is a modular sofa design that uses wood to encase a comfortable and ergonomic upholstered interior. It is a collection of 1, 2, 3, 4 and more modular seats, that offers freedom of movement, freshness. Made with 100% FSC® sustainable wood.

newportbrass.com

andreuworld.com

Sonoma Forge Designer Faucets And Showers From our Brut Collection of kitchen and bath faucets, this lav is stunning in Matte Black. Available with Waterfall spout (shown), Elbow or Cap. Tall and Short options. Four other dazzling finishes to choose from. Forged in America. sonomaforge.com

Doug Mockett & Co. Put convenient Power and USB charging at arm’s length on your desk, plus wireless charging on top. Rest phone on the charging surface, a blinking blue light will confirm a successful pairing and charging will commence. t. 800.523.1269 mockett.com

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Edition Modern Handcrafted in the Los Angeles atelier of Denis de la Mesiere, Edition Modern pays homage to the iconic French modernist designers with scrupulous attention to details and materials that are faithful to the timeless spirit of their original masterpieces. editionmodern.com

Infinity Drain Infinity Drain – Distinctive Drains. Dependable by Design. The humble shower drain... now a point of distinction. With over 11 styles, 5 finishes and capability to deliver custom solutions next day — indulge in design flexibility like never before. infinitydrain.com

Vitro Starphire Ultra-Clear® Glass It’s the ultimate blank slate. The design options are endless with Starphire® glass by Vitro Architectural Glass. Create brilliant elements, from decorative murals and acid-etched doors to ultra-clear stairs and shower enclosures. Starphire® glass contains 87% less green than “clear” glass. t. 855.887.6457 starphireglass.com

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Sutherland Furniture An extension of the Great Camp Chair, Sutherland introduces a beautiful twotoned Wenge and Teak option. The seat and legs are made with African Wenge hardwood. The chair has an earthly quality, making it a sophisticated addition, ideal indoors and out. sutherlandfurniture.com

Davis Furniture

Kaswell Flooring Systems

Cantina by jehs+laub encourages the evolving nature of the workplace by providing a modular lounge collection poised to adapt to any office landscape. This low-profile seating system maintains a tailored and modern aesthetic while delivering comfort and flexibility.

Since 1972, Kaswell Flooring Systems has pioneered the use of end grain blocks for flooring and millwork in residential, corporate, hospitality, healthcare applications. Kaswell’s FSC Reclaimed Teak End Grain is available in individual blocks and on mesh backed panels.

t. 336.889.2009 davisfurniture.com

t. 508.881.1520 kaswell.com

INTERIOR DESIGN DEC.21

New York City’s official celebration of design returns for its tenth anniversary

May 10-20, 2022 The Festival

Learn more at nycxdesign.org

Keep your finger on the pulse of the interiors industry. Explore hot topics at the intersection of business and design.

Visit thinklab.design/designers to get involved.

seaside standoff

Since the beginning of the COVID-19 pandemic, social-distancing markers have become ubiquitous in public spaces. But too often they're rendered as generic stickers or hastily taped off squares indicating the recommended 6 feet of separation. For the Millak Waterside Park, which overlooks the Korea Strait in Busan, South Korea, however, the Ministry of Culture, Sport and Tourism launched a competition to design a graphic installation that would designate safe distancing while also enlivening the public experience of the park. Milan’s Migliore + Servetto Architects won the competition with "Waterfront Door/Into the Ocean," a nautically inspired pattern of repeating squares, rectangles, and whimsical marine motifs. The firm’s drawings were translated to full-scale by a team of 40 hometown artists, providing work oppor tunities for a sector that has been seriously affected by the pandemic. “It’s a great example of the fruitful, cross-cultural exchange between Italy and Asia,” Ico Migliore says. The large, brightly colored shapes, which were painted on a nearly half-mile stretch along the waterfront, indicate places for visitors to stand or sit on the promenade. Thin waves of ocean blue flow through the pattern, while shark and octopus silhouettes swim alongside. “It’s now a place that invites people to inhabit it,” Mara Servetto adds. From 6 feet apart, of course. —Wilson Barlow

i n t er vention

FROM TOP: JUN LEE; HOYEON SHIN

DEC.21

INTERIOR DESIGN

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Crypton Fabrics Crypton Fabric

Moooi Carpets Trichroic Collection

Design Within Reach Contract Bollo Collection FilzFelt Hive

Pedrali Blume

Clarus TherMobile

Tuuci Ocean Master Max

Bernhardt Design Queue

TileBar Bond Indio

Eskayel Portico Wallpaper

DESIGNERS: Bloom – Sebastian Herkner; MIAMI - Isabelle Gilles and Yann Poncelet; Portico - Shanan Campanaro;

Colonel Miami

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Interior Design December 2021

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