Interior Design July 2022 by Interior Design Magazine

JULY 2022

new heights

workplace education healthcare

calidon

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CONTENTS JULY 2022

VOLUME 93 NUMBER 8

ON THE COVER In the Czech Republic, the new Nový Hrozenkov Primary School Sports Hall by Consequence Forma features a Luna Rossa rock-climbing wall that rises approximately 35 feet to a James Turrell–like skylight. Photography: BoysPlayNice.

features 64 THE GREAT WALL by Dan Howarth

90 DYNAMIC DUETTI by Rebecca Thienes

This version is glass, belongs to the Banyan Tree Nanjing Garden Expo in China by Cheng Chung Design, and overlooks a quarry that informs the hotel’s interiors. 98 74 DIVING INTO NEW TERRITORY by Pilar Viladas

These talented pairs debuted striking furnishings and installations during Milan Design Week.

07. 22

FEATS OF CLAY by Michael Lassell

For the Ace Hotel Sydney, Flack Studio draws inventively on the neighborhood’s colorful past as a center of ceramics production.

Antares Barcelona, a luxe, wellness-focused project in Spain, is Studio Odile Decq’s first residential tower. 106 NATURAL RESOURCES by Peter Webster 82 TROPICAL MODERN by Michael Snyder FERNANDO GUERRA/FG + SG FOTOGRAFIA DE ARQUITECTURA

São Paulo’s inimitable urban style—hot chaos tempered with cool glamour—finds full expression in an apartment renovated with sustainability-certified indigenous wood by Pascali Semerdjian Architects.

As this globe-spanning quartet of office and athletic facilities attests, modern health-oriented projects privilege connection to the great outdoors.

07.22

CONTENTS JULY 2022

VOLUME 93 NUMBER 8

walkthrough 31 GREEN PARTY by Wilson Barlow

healthcare giants 35 BACK TO BUSINESS by Mike Zimmerman

departments 15 HEADLINERS 19 DESIGNWIRE by Annie Block 26 PINUPS by Annie Block 45 MARKET by Rebecca Thienes, Wilson Barlow, Edie Cohen, Georgina McWhirter, and Nicholas Tamarin 59 CENTERFOLD Change Is Constant by Athena Waligore

Field Conforming Studio employs weathering steel for a sculptural memorial to home, life, and loss in central China. 116 BOOKS by Stanley Abercrombie 117 CONTACTS 119 INTERVENTION by Wilson Barlow

BOYSPLAYNICE

119

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e d i t o r ’ s welcome

it’s a feel-good thing

Design friends and fans: Here, at long last, I present you our issue dedicated to design at its best—doing its best. To our attentive reader, that spells one thing and one thing only (and you would be right): It’s all Health and Wellness, in all its healthy splendor! While we always set our editorial calendar well in advance, project timing and extraordinary events ultimately dictate our press runs; it’s the nature of the beast. For July, however, we kept our plans and famously and effortlessly wound this entire issue around the research and detailed re port from Interior Design’s top 40 Healthcare Giants. Together with our other healthy—and awesome, I might add— features and product stories, the issue weaves a rich tapestry that’s an ever so accurate and mature portrait of this category today. No longer corralled within the boundaries of medical venues, health and wellness has assertively taken center stage in all design genres—be it healthcare, workplace, residential, hospitality, and even retail (did you ever think we’d be showing cannabis dispensaries, as we do in this issue’s Walk-through?). I mean, you name the business or affair, and it’s firmly anchored to all aspects of the practice. Just inside, you’ll see how. We get spiritual at the Banyan Tree Nanjing Garden Expo, a luxury hotel in China so glorious and awe-inspiring (take in that 33-foot-high glass curtain wall overlooking what was once an abandoned quarry mountain) you might think you’ve touched heaven. That plus the local hot springs are soothing features of the spa’s geothermal zone. We get physical with a global project roundup that takes us gliding across the ice (in Canada) and scaling new heights (in the Czech Republic). And a wellnessfocused residential tower in Spain that includes a gym, spa, sauna, and massage rooms makes you go aaaaahhh. This issue not only brings you the facts, figures, and new product inspiration for your next health and wellness project but also provides an emotional lift. I’m feeling good just turning the pages. . .you should, too! xoxo

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thecindygram JULY.22

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headliners

Studio Odile Decq “Diving Into New Territory,” page 74 founder: Odile Decq. firm site: Paris. firm size: 15 architects and designers. current projects: B029 office build ing in Paris; residences in Brittany, France; Brugassur Contemporary Art Center in Antananarivo, Madagascar. honors: Jane Drew Prize; Architizer International Lifetime Achievement Award. credentials: Decq is an international fellow of RIBA, RAIC, and RIAI. collections: Admiring and acquiring contemporary art, particularly blackcolored pieces, is a hobby of hers. odiledecq.com

“With our creative and positive work process for architectural and furniture projects, obstacles are always transformed into advantages”

JULY.22

INTERIOR DESIGN

Sou Fujimoto Architects “Concrete Collaboration,” page 64 architect, ceo: Sou Fujimoto. firm sites: Tokyo and Paris. firm size: 50 architects and designers. current projects: The 2025 Japan International Exposition master plan in Osaka; House of Hungarian Music in Budapest.

Flack Studio “Feats of Clay,” page 98 founder, principal: David Flack. firm site: Melbourne, Australia. firm size: Eight architects and designers. current projects: Residences in Melbourne, Sydney, and Los Angeles. honors: International Design Excellence Award; AIDA Award. small beginnings: Flack was raised in a country town where his parents built him a cubbyhouse that he renovated monthly. taking flight: He’s obsessed with airplanes. flackstudio.com.au

work: Fujimoto claims architecture is his only hobby. play: He does admit to relaxing by building LEGOs and drawing with his 6-year-old son. sou-fujimoto.net

h e a d l i n e rs

Pascali Semerdjian Architects “Tropical Modern,” page 82 principal: Domingos Pascali. principal: Sarkis Semerdjian. firm site: São Paulo. firm size: 13 architects and designers. current projects: An apartment in São Paulo; a house in Punta del Este, Uruguay; and a community center in Saghmosavan, Armenia. honors: iF Gold Award; Good Design Award; German Design Award.

TOP: DAVID VINTINER

mentor: Pascali and Semerdjian met while working for Interior Design Hall of Fame member Isay Weinfeld. founders: They established their own firm in 2010. psarquitetos.com

INTERIOR DESIGN

JULY.22

Burle™ PANEL @2007 modularArts, Inc.

Ansel™ PANEL @2021 modularArts, Inc.

h e a d l i n e rs

Cheng Chung Design “The Great Wall,” page 64 founder, chairman: Joe Cheng. firm sites: Hong Kong; Shenzhen, China. firm size: 1,000 architects and designers. current projects: Mandarin Oriental Qianmen in Beijing; Alila hotel in Suzhou, China; St. Regis Hotel in Kunming, China. honors: iF Design Award; IIDA Award; Red Dot Design Award.

JULY.22

INTERIOR DESIGN

modulararts.com

beginning: Cheng founded CCD in Hong Kong in 2001. growing: His new studio in Shenzhen is launching several sub-brands, including CCD Art Consulting. ccd.com.hk

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Made in the U.S.A.

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edited by Annie Block

It was 1995 when William Lane Architect was commissioned to design five lifeguard towers to replace the ones in South Beach that had been destroyed by Hurricane Andrew. The colorful, art deco–influenced structures were popular, yet it was another 20 years before the city came back to the Miami Beach– based firm to create six prototypes to replace most of the lifeguard towers serving the 8 1/2 mile stretch of Atlantic Ocean coastline. It was 2019 when photographer Tommy Kwak traveled from his home in Montclair, New Jersey, to Miami Beach and first saw the pink tower on 17th Street—the aha moment that sparked his project to catalog all 38 towers and turn them into a book. “I was captivated by its electric palette and solitary form in the early morning light. I then photographed a few more towers and was hooked,” Kwak writes in an email from Art Basel in Switzerland, where images from his Palm series were available for the first time as NFTs. “My goal was to celebrate a kind of ephemeral beauty and, simultanously, transform the entities into more graphic forms,” he says of the project he completed during three trips over three years, each shoot starting before 6AM. On Kickstarter, Kwak raised the $16,000 needed to enable Brooklyn-based Blurring Books to publish the hardcover, due out this fall. In the meantime, limited-edition prints are available through clic.com.

fresh from the beach

TOMMY KWAK

design wire

The cover of Lifeguard Towers: Miami, a forthcoming hardcover by Tommy Kwak, features this structure at the 17th Street beach by William Lane Architect, which prompted Kwak to document all 38 of the South Beach towers. JULY.22

INTERIOR DESIGN

d e s i g n w ire

From top: Mexican architect Antonio O’Connell’s Utopia Lounge Chair No. 2 overlooks a Parota-tree trunk bridging the pool at Casa Naila in Puerto Escondido, one of two sites for the second edition of Mexico Design Fair, founded and curated by architect Carlos Torre Hütt. BAAQ’s Casa Naila is a four-volume construction of concrete and locally sourced slatted wood. Faces chairs in steel and wicker by Edgar Orlaineta were among the fair’s 50 exhibited contemporary Mexican designs.

Many in the A&D community are familiar with Design Week Mexico, the annual program of events and exhibitions throughout Mexico City launched in 2009. But last year, a new platform emerged in a less urban but no less authentic setting: Mexico Design Fair in Puerto Escondido, a surfing mecca on the Pacific Coast of Oaxaca. Presenting furniture and objects from such Latin American– focused galleries as Casa Gutiérrez Nájera, La Invencible, and Marion Friedmann Gallery, MDF took place in Casa Naila, a house by BAAQ’, with the mission of “being an accelerator of the discipline from Mexico and to strengthen the position of contemporary design—especially Mexican design— globally through an invitation-only, weekend-long intimate travel experience,” founder, curator, and architect Carlos Torre Hütt explains. Edition two, which wrapped at the end of May, expanded to a second location, architect Aranza de Ariño’s Casa Tiny, which is also where the Rimowa-sponsored MDF Designer of the Year Award was presented to industrial designer José de la O. Both seaside sites, along with the exhibited pieces, centered on low environmental impact—the naturally ventilated houses constructed of native woods and the furnishings composed of vegetable fibers, such as Edgar Orlaineta’s wicker Faces chairs, or upcycled materials, like Thierry Jeannot’s TEOTL lamp of recycled PET bottles. Additionally, guest collectors were hosted at Federico Rivera Río Arquitectura’s Hotel Escondido, crafted of indigenous thatched roofs, Central American hardwood, and local stone. MDF edition three is scheduled for May 19-21, 2023. 20

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JULY.22

JAIME NAVARRO

curated on the coast

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off the wall

Prior to this summer, Wyatt Kahn was perhaps best known as a painter, specifically his monochromatic multi-panel artworks. But that perception may change for anyone walking through City Hall Park in New York. It’s there that his seven sculptures compose “Wyatt Kahn: Life in the Abstract,” representing not only his first public-art exhibition but also his first pieces in Cor-Ten steel. And he really goes big with it, each piece monumental—the largest clocking in at 3,300 pounds. They’re the outcome of Kahn’s examination of the spatial relationship between painting and sculpture, two and three dimensions, and developing a language that integrates abstract forms with everyday-life items,

Clockwise from top left: “Wyatt Kahn: Life in the Abstract” is on view through February 26, 2023, in downtown New York’s City Hall Park, and features the 15-footwide Parade, the largest of the exhibition’s seven sculptures. All are in Cor-Ten steel and completed in 2021, including The Friends, Morning, and Sideways Curl.

like a comb or sunglasses. “The figures have their own narrative, and I hope visitors will find their own meaning based on their experiences,” Kahn says. “To me, the potted plant in Morning represents nurturing an idea, while someone else may be reminded of the plant they raised during the pandemic.” Each sculpture is constructed of numerous steel sections welded together into blocklike forms, their front and back mirroring each other to create an illusion of drawing in space, their rustedred tone resulting from Cor-Ten’s natural weathering process. The sculptures also evoke the steel structures of the city’s architecture, which, as a native New Yorker with an MFA from Hunter College, Kahn knows well. 22

INTERIOR DESIGN

JULY.22

NICHOLAS KNIGHT/COURTESY OF WYATT KAHN, GALERIE EVA PRESENHUBER, XAVIER HUFKENS, AND PUBLIC ART FUND, NY

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IN PARTNERSHIP WITH BENJAMIN MOORE

Designer: Matthew Patrick Smyth Photography by John Gruen

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p i n ups text by Annie Block

a tale of two cities Gaetano Pesce debuts his latest ode to the Manhattan skyline at Salone del Mobile in Milan

COURTESY OF CASSINA

Tramonto a New York screen, a 7-foot-wide triptych divider in panels of semitransparent cast polyurethane resin with bronzed-brass hinges and feet by Cassina. cassina.com

INTERIOR DESIGN

JULY.22

Reset & Refresh Add a calming energy and inspire new beginnings with Hush — a curated selection of white and off-white shades suitable for the everyday.

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all in one From Milan’s Alcova exhibition, Leo De Carlo’s creation integrates mirror, table, and chair Small Tales console in engraved colored mirror and silver leaf–coated wood, in a limited edition of three, by Vetralia. vetraliacollectible.com

COURTESY OF VETRALIA

p i n ups

INTERIOR DESIGN

JULY.22

Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini

Portraits of me. Kitchen: Intarsio Design: García Cumini

Milano • New York • Paris

cesar.it

walk through green party firm: emily robin design site: toronto

In the storefront of Superette Annex, a recreational cannabis dispensary, a Harman 1 pendant fixture by Ivy Bronx illuminates vinyl floor tile, a tubularsteel stool, and graphics by the brand’s in-house creative team.

ALEX LYSAKOWSKI

JULY.22

INTERIOR DESIGN

ALEX LYSAKOWSKI

Although Canada is miles ahead of the U.S. when it comes to cannabis dispen saries, its provincial regu lations prohibit recrea tional products from being visible outside a store. Furthermore, inside, they must be out of reach to customers prior to pur chasing. It’s a challenge that Superette, which operates seven outposts across the country, with two more on the boards, leans into by hiding in plain view as an everyday minimart. “Familiar retail environments are at the core of our inspiration,” Superette chief brand officer Drummond Munro points out. The newest Toronto location, called Annex, a collaboration between Superette’s in-house creative team and Emily Robin Design, is a case in point.

INTERIOR DESIGN JULY.22

Clockwise from opposite top left: Matte-enameled Formica shelving is stocked with custom prop tomato cans wrapped in Superette labels. The stools’ vinyl matches the “Munchie Phone,” a direct line to a local Jewish deli. In the shop proper, ceramic tile backs bins of lighters and other acces sories for sale. Gooseneck lamps, leftover from the building’s previous life as an antiques store, were repainted. The shop’s menu board and wayfinding signs are custom.

The concept centers on a leafygreen palette and an aesthetic inspired by Italian delis of yesteryear. From the street-facing glass storefront, all that can be seen are shamrock-and-white checkered floor tiles, soda fountain–style stools, and a retro wall-mounted telephone— only regulars know the latter is the “Munchie Phone,” a direct line to Rose and Sons, a nearby actual deli. The two back walls are lined with what looks like cans of imported tomatoes and olive oil but are really custom props branded with Superette labels. They are just some of the whimsical points of discovery in the 810-square-foot space. “Design falls quickly off the priority list,” Emily Robin Sauer explains of dispensaries that often get overwhelmed by the regulations, resulting in utilitarian, pharmacylike settings. “But with this client, we’re given the freedom to bring joy and levity to someone’s day. And that’s design at its best, when people can feel your work.” Farther into the store, out of passerby view, is where Superette’s host of THC-infused goodies can be found and purchased. Amid spearmintpainted walls is a custom menu board as well as a wall of glossy built-ins lined with pre-roll options and a counter display of additional products underneath vitrines in both glass and acrylic. Among the selections are such curios as vegetable-shape candles in deli-paper wrapping. Adds Superette creative director Alex Cirka: “We love to play with people’s perceptions.” —Wilson Barlow FROM FRONT PETERSEN FURNITURE INTERNATIONAL: STOOLS (STOREFRONT). THROUGH WAYFAIR: PENDANT FIXTURES. WILLISTON FORGE: PHONE. OLYMPIA: CERAMIC TILE (SHOP). AWNTECH: AWNINGS (EXTERIOR). TRUE: REFRIGERATOR (SHOP). LITELINE: TRACK FIXTURES. THROUGHOUT ARMSTRONG: FLOOR TILE. LEGACY SIGNS: CUSTOM

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healthcaregiants

back to business St. Elizabeth’s Healthcare in Edgewood, Kentucky, is by HGA [10].

COREY GAFFER

JULY.22

INTERIORDESIGN.NET

h e a lt h c a r e giants

INTERIORDESIGN.NET

JULY.22

We gather here today to look back at the stabilizing effects 2021 had on the Interior Design Healthcare Giants. But in doing so we find we just can’t quit 2020. In our tracking of business trend data for the group of top 40 firms doing significant work in the healthcare arena since 2019, we have seen huge fluctuations driven by the pandemic. But within those ups and downs, we are just now beginning to see what normal business for the sector might look like. Total fees for 2021 came in at $651 million. On first blush, this 18-percent drop from 2020’s $790 million seems troubling. But 2021 is still significantly up from 2019’s $607 million. That pre-pandemic total might be our baseline glimpse of what this group’s total business is, or should, look like—or at least hint at the dollar neighborhood where they work. Firms clocked 128 million total square feet in 2021, down 18 percent from 155 million, but again with the crazy 2020 numbers. About 47 percent each of all that work was split between new projects and renovations, and about 5 percent being refreshes. Some things that haven’t changed much are the healthcare business segments. Acute-care hospitals remain the dominant work environment, accounting for $314 million, nearly half (46 percent) of total fees. Acute-care hospitals made up only 38 percent of work in 2019, but this rate jumped in 2020, to 46 percent, and has held steady. The next two largest segment are facilities for senior living ($92 million) and rehab ($71 million), making up 14 and 10 percent of total fees, respectively. Doctor/dental offices, urgent-care/walk-in clinics, and facilities for mental health, outpatient, skilled nursing, and telehealth all came in single digits percentage-wise. But, lest we disregard the nickels and dimes, all these smaller segments combined made up 30 percent of overall fees. Interior furniture and fixtures (F&F) and construction products were down 35 percent to $12 billion. Were the previous 2020 heights of $18.3 billion just Icarus testing new wings? Perhaps. The 2022 forecast is about even. Firms expect to see growth in hospital and senior-living work in 2022, as well as clinic, outpatient, and mental-health facilities. Though the total expected drop-off is about 24 percent, no appreciable drop-off is expected in any one segment. (More on these forecasts in a moment.) Most of our Giants in all their varied groups—Top 100, Rising, Hospitality—do their work within the U.S., and the Healthcare Giants are no different. Jobs outside the U.S. have trended downward with only 10 percent doing this work in 2019 and 8 percent in 2021. Asia/ Pacific Rim is by far the chosen destination outside the U.S., with significant work also being done in Canada and Europe. That said, it would be no surprise to see even fewer firms doing international work, as not many see any real growth there (though 20 percent think Europe could heat up). Most of the growth is in the southern U.S.—as in the entire South from coast to coast. Now, we suggested there may be things brewing outside the data we collected. The Healthcare Giants we spoke with at a recent roundtable discussion hosted by Interior Design claim that the market gates opened back up in the first half of ’22 and firms are swamped, sporting 12-month backlogs and challenges finding enough talent to handle it. It’s anecdotal but could be possibly significant. Another possibility: underestimated growth in mental-health facility projects. Firms have been receiving requests for emergency department design (with some hospitals building entirely new wings to accommodate demand) that include mental-health spaces—and some Healthcare Giants report that facilities need to expand because they cannot handle the influx of patients right now. Plus, the need for these spaces isn’t limited to patients; some centers are designing them for medical professionals to decompress, reboot, and potentially avoid burnout. Then there’s the new layer of COVID-mindful design—and flexibility—overall. Can a space function as a patient room, a place for ER overflow, and an ICU room for extreme cases? Facilities need to be able to function in different ways depending on caseload. This also applies to finishing touches within that room: Surfaces must be infectionresistant, which means no more woven fabrics and less carpeting than ever before. Ventilation and designing the exterior of facilities for traffic flow to accommodate potential drive-through testing/vaccination/treatment are also new considerations. These points are why 2022 may give a better glimpse of what a normal, healthy year looks like. The Healthcare Giants forecast $570 million in total fees, 3,300 projects, and 150 million square feet of work. Given what the 2019 and 2021 numbers are—sandwiching the worst of a bad stretch for society that required billions in new medical resources to navigate—those predictions don’t look so bad. And the word on the street, at least right now, suggests business is already on a much-welcomed upswing. —Mike Zimmerman

“Firms expect growth in hospital and senior-living work as well as clinic, outpatient, and mentalhealth facilities”

#MolteniGroup RATIO— VINCENT VAN DUYSEN

MOLTENI&C | DADA FLAGSHIP STORES 160 MADISON AVE, NEW YORK NY 10016, T 212 673 7106 BOSTON CHICAGO DALLAS HOUSTON LOS ANGELES MIAMI MEXICO CITY — MOLTENI@HOME - VIRTUAL DESIGN CONSULTANCY AT MOLTENI.IT

h e a lt h c a r e giants WORK INSTALLED

RANK 2022 1

DESIGN FEES

VALUE

SQ. FT.

(in millions)

RANK 2021

HDR Omaha, NE / hdrinc.com

$60.9

$181.2

3 4

FIRM headquarters / website

CANNONDESIGN New York / cannondesign.com

$60.0

PERKINS&WILL Chicago / perkinswill.com

$56.4

$2.0

GENSLER San Francisco / gensler.com

$50.9

PERKINS EASTMAN New York / perkinseastman.com

$41.6

$841.5

AECOM Dallas / aecom.com

$40.5

$789.0

HKS Dallas / hksinc.com

$40.2

$27.0

12,000,000

SMITHGROUP Detroit / smithgroup.com

$34.2

HOK New York / hok.com

$33.3

29,103,000

HGA Minneapolis / hga.com

$28.1

NBBJ Seattle / nbbj.com

$25.5

$26.2

STANTEC Edmonton, AL / stantec.com

$23.9

EYP Albany, NY / eypae.com

$23.5

$442.9

945,263

FLAD ARCHITECTS Madison, WI / flad.com

$21.5

$1,118.3

5,884,391

LEO A DALY Omaha, NE / leoadaly.com

$17.6

ZGF Portland, OR / zgf.com

$17.2

EWINGCOLE Philadelphia /ewingcole.com

$13.3

PAGE Washington / pagethink.com

$11.7

$7.8

SHEPLEY BULFINCH Boston / shepleybulfinch.com

$10.6

$14.3

279,618

LITTLE DIVERSIFIED ARCHITECTURAL CONSULTING Charlotte, NC / littleonline.com

$10.3

$44.9

HMC ARCHITECTS Ontario, CA / hmcarchitects.com

$9.1

CO ARCHITECTS Los Angeles / coarchitects.com

$8.8

HORD COPLAN MACHT Baltimore / hcm2.com

$8.1

$16.0

NK ARCHITECTS Morristown, NJ / nkarchitects.com

$7.4

$1,162.0

3,340,000

WARE MALCOMB Irvine, CA / waremalcomb.com

$6.8

$165.9

2,706,443

25 24

STUDIOSIX5 Austin, TX / studiosix5.com

$6.5

$175.0

5,000,000

NELSON Minneapolis / nelsonworldwide.com

$5.1

HED Southfield, MI / hed.design

$4.5

$65.0

LAWRENCE GROUP St. Louis / thelawrencegroup.com

$4.3

$96.3

520,000

ANKROM MOISAN Portland, OR / ankrommoisan.com

$4.1

$78.8

LS3P ASSOCIATES Charleston, SC / ls3p.com

$3.3

$269.4

3,000,000

KKT ARCHITECTS Tulsa, OK / kktarchitects.com

$2.8

$43.4

ARCHITECTURE, INCORPORATED Reston, VA / archinc.com

$2.7

$38.2

231,636

YITIAN DESIGN GROUP Wuhan, CN / ytdesign.cn

MARGULIES PERRUZZI Boston / mparchitectsboston.com

$2.5

$17.7

THW DESIGN Atlanta / thwdesign.com

$2.1

$381.7

2,200,000

ROGERS, LOVELOCK & FRITZ Orlando, FL / rlfaei.com

$2.0

$9.4

CALLISONRTKL Washington / callisonrtkl.com

$1.6

$31.9

207,282

GALLUN SNOW ASSOCIATES Denver / gallunsnow.com

$1.6

$293.0

958,000

CHIPMAN DESIGN ARCHITECTURE Des Plaines, IA / chipman-design.com

$1.5

$18.0

INTERIORDESIGN.NET

JULY.22

Why overpay for second rate art when you can collect a masterpiece? A MunnWorks mirror is a work of art. It enhances any home, much as a major painting does, creating high impact at a lower cost.

MunnWorks.com openorders@MunnWorks.com 914.665.6100 ext. 11

Extraordinary Mirrors

“Incorporating health and wellness is increasingly important to today’s clients in demonstrating they’re making sure that their employees feel safe.” —Janet Morra, Marguiles Peruzzi

“It’s not only physical wellness but also spiritual, intellectual, emotional, financial, relational, environmental, and vocational wellness that improves quality of life.” —Tara Clemens, THW “So much work is about a vision for ‘what’s next’ across all project types and where do priorities lie in designing for inclusivity, ongoing wellness, and sustainability.” —Brett Shwert, AECOM

“The one word I’ve heard a lot when it comes to healthcare is resiliency.” —Randy Schmitgen, Flad Architects KKT [32] designed the Saint Francis Cancer Center in Tulsa, Oklahoma.

h e a lt h c a r e giants 40

INTERIORDESIGN.NET

JULY.22

ADAM MURPHY

“In addition to freestanding facilities, it seems like there’s always a mental-health component to just about everything we do, whether for staff, families, or patients.” —Margi Kaminski, Canon Design

h e a lt h c a r e giants

fee by project type acute-care hospital 46%(actual 2021) 44% (forecast 2022)

assisted living 2% 2%

senior living 4% 5%

global growth potential (next 2 years)

48%

59%

N O RT H E A ST

MIDSOUT H

55%

43%

rehabilitation facility 5% 5%

outpatient procedure/surgery center 14% 13%

mental-health facility 6% 6%

medical/dental office

70%

MID

S O U T H E A ST

- AT L A N T I C

M I D W E ST

3% 4%

health clinic 10% 9%

34%

61%

11%

health & wellness/fitness center 3% 4%

N O RT

SOUT

H W E ST

CANADA

skilled-nursing facility/hospice 2% 2%

1% 1%

7% NT

other

M E X I CO

2% CA

telehealth facility

L/SOUT H AME

CARRIBEAN

4% 5%

MID

D L E E A ST

CHINA

INDIA

14% AS

18%

AFRICA

EUROPE

14%

20%

TRA

LIA/NEW

most admired healthcare firms

BILL TIMMERMAN

The Phoenix Biomedical Campus is by HKS [7].

Perkins+Will (1) CannonDesign (2) NBBJ (3) JULY.22

INTERIORDESIGN.NET

more projects

fewer projects

hospital (62%)

hospital (2%) assisted/senior living (2%)

rehabilitation facility (29%)

rehabilitation facility (2%)

outpatient procedure/surgery center (69%) mental-health facility (64%) medical/dental office (33%) health clinic (62%) health & wellness/fitness center (44%) skilled nursing facility/hospice (20%) private sector (40%) public sector (40%) other (56%)

no change hospital (20%) assisted/senior living (16%) rehabilitation facility (49%) outpatient procedure/surgery center (7%) mental-health facility (13%) medical/dental office (42%) health clinic (22%) health & wellness/fitness center (38%) skilled-nursing facility/hospice (56%) private sector (33%)

During the next two years, does your firm expect to see more or fewer project activities in these healthcare segments?

assisted/senior living (71%)

outpatient procedure/surgery center (4%) mental-health facility (0%) medical/dental office (0%) health clinic (2%) health & wellness/fitness center (2%) skilled nursing facility/hospice (2%) private sector (4%) public sector (2%) other (0%)

n/a hospital (16%) assisted/senior living (11%) rehabilitation facility (20%) outpatient procedure/surgery center (20%) mental-health facility (22%) medical/dental office (24%) health clinic (13%) health & wellness/fitness center (16%) skilled-nursing facility/hospice (22%) private sector (22%)

public sector (36%)

public sector (22%)

other (0%)

other (44%)

h e a lt h c a r e giants

firms with largest increase in fees 2021

2022

Gensler

$27,081,808

$50,926,397

EYP

$5,589,056

$23,467,756

HGA

$21,403,000

$28,056,074

Little Diversified Architectural Consulting $10,268,060

$2,685,246

$8,080,000

CannonDesign

$56,000,000

$60,000,000

SmithGroup

$30,846,976

$34,237,879

Leo A Daly

$14,870,029

$17,588,510

HDR

$58,953,450

$60,873,600

Ware Malcomb

$5,655,978

$6,766,108 MICHAEL LOWRY

StudioSIX5 [26] designed Legacy Midtown Park, a senior-living community in Dallas.

$4,653,200 Hord Coplan Macht

INTERIORDESIGN.NET

JULY.22

healthcare project types

new construction (47%)

renovation/retrofit (47%) METHODOLOGY

refresh previously completed projects (5%)

The first installment of the two-part annual business survey of Interior Design Giants comprises the 100 largest firms ranked by interior design fees for the 12-month period ending December 31, 2021. Interior design fees include those attributed to: 1. All types of interiors work, including commercial and residential. 2. All aspects of a firm’s interior design practice, from strategic planning and programming to design and project management. 3. Fees paid to a firm for work performed by employees and independent contractors who are “full-time staff equivalent.” Interior design fees do not include revenues paid to a firm and remitted to subcontractors who are not considered full-time staff equivalent. For example, certain firms attract work that is subcontracted to a local firm. The originating firm may collect all the fees and retain a management or generation fee, paying the remainder to the performing firm. The amounts paid to the latter are not included in fees of the collecting firm when determining its ranking. Ties are broken by dollar value of products installed, square footage of projects installed, and staff size respectively. Where applicable, all percentages are based on responding Giants, not their total number. All research is conducted by ThinkLab, the research division of the SANDOW Design Group.

h e a lt h c a r e giants

JULY.22

INTERIORDESIGN.NET

WHITE TULIP www.duravit.us

market Standout products spotted at Salone del Mobile and Fuorisalone during Milan Design Week edited by Rebecca Thienes text by Wilson Barlow, Edie Cohen, Georgina McWhirter, and Nicholas Tamarin

tailored fit

STEFANO GALUZZI

Paul Smith is perhaps best known for perfecting the stripe, whether in men’s socks, women’s swimsuits, or wool rugs. But the knighted 76-year-old British fashion designer has recently paired with De Padova on something else: Everyday Life, a furniture collection that’s a departure from his signature bold lines. As the name implies, the palette for the seating and table line is more subtle, as witnessed in the armchair’s upholstery of brick-red hemp. Other materials are natural, too: stone tops for tables, oak, ash, and steel frames for chairs and sofas, their padding made of kapok-tree fiber and recycled feathers. Their contrast stitching and trouserlike leather pocket display Smith’s everlasting sartorial know-how. depadova.com

E LIF AY RYD E V E

JULY.22

INTERIOR DESIGN

m a r k e t s c a p e milan

product Crochet Trio. standout Cheery color blocks by the Swedish designer pattern oval rugs stitched together into a long runner, pushing the boundaries of what’s possible with crocheted wool fibers. gan-rugs.com 46

Laura Bohinc of Bohinc Studio

INTERIOR DESIGN

JULY.22

product Big Girl. standout Curvaceous and cosseting yet bold and adventurous, the foampadded forms of the scarlet woolupholstered armchair clasp the body of its inhabitant in the warmest embrace. bohincstudio.com

Vincent Van Duysen for Molteni&C

Sebastian Herkner for Emu

product Cleo. standout Want to vege out in syle? The curvilinear shell of this modular sectional with loose pillows looks good from all angles—place it in the center of a room for maximum impact. molteni.it

product Twins. standout The two pieces in this lounge chair set look alike, but their materials are different: One is FSC-certified teak; the other incorporates Emu’s signature aluminum with the wood. emuamericas.com

PORTRAIT 2: TONI MENEGUZZO

Clara von Zweigbergk for Gan

8 7

Ferruccio Laviani for Foscarini

Gabriele and Oscar Buratti for Gervasoni

product Flair. standout Talk about two in one: The outdoor sofa has double-hinged back and armrest modules that can be folded over for a low profile or unfolded for double height. gervasoni1882.com

Edward Barber and Jay Osgerby for VG&P and Isokon

product Tonda. standout The gravity-defying pendant fixture channels Italian Radical Design of the early 1970’s through a blownglass globe held by a sinuous orbit of an orange metal frame. foscarini.com

Junpei and Iori Tamaki for Living Divani

product Loop. standout A quarter century after the debut of their iconic plywood Loop table, the Barber Osgerby cofounders release a blue-tinted anniversary edition.

product Kigi. standout The branching oak structures emerging from this clever domestic accessory’s painted-steel base form a coatrack and a handy catch-all tray.

isokonplus.com

livingdivani.it

JULY.22

INTERIOR DESIGN

ARIANNA LELLI MAMI, CHIARA DI PINTO SHU

ISI

m a r k e t milan

historical significance Arianna Lelli Mami and Chiara Di Pinto, cofounders of Studiopepe, may be young and Italian, yet the stunning sculptural products emanating from their Milan studio have a classical quality suggesting both ancient civilizations and the venerated works of such 20th-century maestri as Constantin Brâncuşi, Isamu Noguchi, and Le Corbusier. All stem from the duo’s ongoing research in anthropology. For Milan Design Week, they collaborated with Galerie Philia to present “Temenos,” a 2,400-square-foot installation named after the word for sanctuary in ancient Greek held in the vacant 1950’s Necchi factory, in the Baranzate district 20 minutes from Milan’s center. Its handmade pieces, named for the nine archetypes of Egyptian cosmogony—like Temu and Isi—include vases, a console, mirror, lamp, and thronelike chairs with backrests of charred wood. studiopepe.info

RA NUT

INTERIOR DESIGN

JULY.22

TEMU

CLOCKWISE FROM TOP LEFT: VARIANTE ARTISTICA; FLAVIO PESCATORI (5)

“We were inspired by the documenting of cultures of all continents at the Luigi Pigorini National Museum of Prehistory and Ethnography”

The globe-trotting fashion designer Arthur Arbesser—a graduate of London’s prestigious Central Saint Martins and a LVMH prize recipient—adds another string to his bow. It’s a first-time collaboration with Abet Laminati, which, since its inception in the 1950’s, has infused its surfacing with compelling graphics by a veritable who’s who of design. Now, straight from the runway, comes Arbesser’s Whimsy collection comprising six prints, including Stripes, Zigzag, Sprinkles, and Cabbage, all as brilliantly colored and full of joy as the line’s name suggests. Whimsy made its Fuorisalone debut at the Triennale Milano cladding pieces of furniture in a fusion of fashion and design. To which we add, bravissimo. abetlaminati.com

print happy

SPRINKLES CABBAGE

STRIPES ZIGZAG

“Arbesser extends his interest in print and color to new territory”

m a r k e t milan

INTERIOR DESIGN

JULY.22

Illustrations by Patra Jongjitirat Pictured: Rosie Li Showroom

There’s a lot of design to explore in New York City. Follow NYCxDESIGN’s Self-Guided Journeys on nycxdesign.org to explore hidden gems in every borough, hear from local designers on inspiration they draw from creative communities around them, and immerse yourself in New York’s vibrant design scene. At NYCxDESIGN, our non-profit unites the diverse design creators and industries of New York City. With our city’s creative community at the heart of our mission, we share the stories that make New York City a true driver of innovation, culture, and design. Join NYCxDESIGN’s Self-Guided Journeys for a designfilled experience that is undeniably defining the future of design locally and internationally. THANK YOU TO OUR ONGOING SUPPORTERS

memphis mania Furnishing debuts nod to the 1980’s design movement born in Milan

1. RS4 Home x Hey football table by RS Barcelona. rsbarcelona.com 2. Natascha Madeiski’s Flaming Stars Lady Madonna table lamp in glazed ceramic by Pulpo. pulpoproducts.com 3. India Mahdavi’s Loop lounge chair in bent beechwood with

padded roller backrest by Gebrüder Thonet Vienna. gebruederthonetvienna.com 4. The Campana Brothers’s Bomboca sofa in a rigid fiberglass-

resin leather-covered shell with removable wool knit or stretch velvet cushions by Louis Vuitton Objets Nomades. louisvuitton.com 8

4 6

5. Marcel Wanders’s Adam sofa upholstered in Origami, a paperfiber fabric with nylon-flocked chenille backing, by Natuzzi.

natuzzi.com 6. Wisse Trooster’s Hugo, Paco, and Luis pendant fixtures in

m a r k e t milan

merino felt, recycled aluminum and PET, and cast-acrylic discs by Stackabl, a collaboration between Stacklab and Maison Gerard. stackabl.shop 7. Ionna Vautrin’s Pion tables with stained-ash tops and lacquered bases by Sancal. sancal.com 8. Clàudia Valsells’s Tones Pieces Tufting rug in wool by Nanimarquina. nanimarquina.com

INTERIOR DESIGN

JULY.22

“We think of Vero as an incubator of talents”

PASQUALE APOLLONIO D1-FE-M

D1-FP-C 01 D1-CD-CT 01

SIMONA FLACCO RICCARDO CRENNA

MATTEO BIANCHESSI

the real deal Meaning real in Italian, Vero is a name that signifies the values behind the brand-new furniture brand from Pasquale Apollonio, Riccardo Crenna, and Simona Flacco, who enlisted an up-and-coming cast of local and international designers for its debut collection. The pieces are titled with an equally matter-offact numerical system. There’s Fredrik Paulsen’s witty and wiggly iron-rod D1-FP-C 01 chair, spray-painted a bright lavender, the rolling green D1-a617-MR 01 magazine rack in lacquered MDF from a617, and the fluid D1-FE-M mirror in MDF lacquered oxide red by Federica Elmo. Those join Cara\Davide’s D1-CD-CT 01, a beveled table-cum-stool veneered in red oak, among other intriguing offerings. verointernational.com

D1–A617-MR 01

JULY.22

INTERIOR DESIGN

m a r k e t milan

about town

HERETOFORE

JOSEPH GRIMA, VALENTINA CIUFFI

Valentina Ciuffi and Joseph Grima launched Alcova in 2018 as a showcase of group exhibitions in overlooked locations of historical significance around Milan (think former military barracks, abandoned villas, and old factories). This year hosted two U.S. makers: Refractory, a new studio out of Chicago, proffers furniture evocative of tectonic forces and erosion, including the Heretofore suspension light; Otherside Objects, from Los Angeles, brought Wavy, a bench in deadstock canvas and salvaged Douglas Fir resembling a futon draped over wooden orbs. Duyi Han’s “Ordinance of the Subconscious Treatment” broaches mental health in a room installation modelled after WAVY A GENTLE GATHERING ORDINANCE OF THE SUBCONSCIOUS TREATMENT

ARCHE #3 AND #4

PORTRAIT: ELISABETTA CLAUDIO

a typical Chinese apartment, its silk upholstery embroidered with the chemical symbols for dopamine and serotonin. Among other highlights: sculptural stoneware lamps (Arche #3 and #4) from Italian ceramicist Elisa Uberti, Formstelle’s Zenso High lounger for Zeitraum, and A. Vetra’s A Gentle Gathering home textiles by Giulia Ferraris. alcova.xyz

“Alcova is an itinerant network of exhibitions in and around the city” ZENSO HIGH

INTERIOR DESIGN

JULY.22

Artematica kitchen system The art of pure volumes Our intuition led us to using “pure” (not bonded) materials on the aluminium structure of the Artematica kitchen doors, a move which opened up endless ideas and combinations. Due to the remarkable reduction of materials used, this kitchen is sustainable yet innovative, designed for those who pay a great deal of attention to their well-being and to living in harmony with nature.

Discover more

valcucine.com

AWARDS

2022

GET YOUR BEST PROJECTS AND PRODUCTS READY! Enter your most impressive designs of the year for a chance to be recognized by the global design community.

Submissions open July 11 – September 7, 2022 boyawards.com

augustine TREATMENT RECLINER

UNIQUELY DESIGNED + CUSTOM BUILT

800-998-5018 | championchair.com

c enter fold

change is constant Field Conforming Studio employs weathering steel for a sculptural memorial to home, life, and loss in central China

1 2

1. For The Vanished House, a permanent steel installation in China’s Wuhan Shimenfeng Memorial Park, Field Conforming Studio began by translating a sketch of a basic pitched-roof home into a cardboard model scaled 1:10. 2. On it, founder and chief designer Quanchun Hu, who studied oil painting before earning his master’s in architecture, drew an interlaced network of thin lines evocative of ivy vines growing across a facade. 3. The model was then dismantled, scanned at high resolution, and, using Rhinoceros, turned into vector files that guided the manufacturing of the Cor-Ten structure. 4. After the plates of ¾-inch-thick steel were laser-cut, a process necessitating multiple machines cutting simultaneously in the factory, support insections and ornamental strips were brought to the site, where they were welded together.

installers led by Field Conforming Studio founder and chief designer Quanchun Hu

2,600

“It symbolizes vanished living space as well as the people and things of the past”

SQUARE FEET

300 HOURS COURTESY OF FIELD CONFORMING STUDIO

LASER-CUTTING THE COR-TEN STEEL

DAYS of installation JULY.22

INTERIOR DESIGN

1. Field Conforming Studio designed The Vanished House for the second East Lake International Ecological Sculpture Biennale in 2021, but it is sited permanently at the tranquil Wuhan Shimenfeng Memorial Park cemetery. 2. Cor-Ten steel was chosen for its crimson appearance, which will darken with sun and rain, making the installation increas ingly prominent, and for its strength, which can support an open-air structure without additional stabilization. 3. Some 30,000 people have visited the work, which is meant to recall a house covered in sprawling ivy and be a symbol of hearth and home.

JIN WEIQI

c e n t e r fold

JULY.22

INTERIOR DESIGN

View the entire collection at www.formica.com/livingimpressions

3704-11 Marbled Gray

july 22

So hot, it’s cool

FERNANDO GUERRA/FG + SG FOTOGRAFIA DE ARQUITECTURA

INTERIOR DESIGN

JULY.22

INTERIOR DESIGN

JULY.22

text: dan howarth photography: ting wang

the great wall This version is glass, belongs to the Banyan Tree Nanjing Garden Expo in China by Cheng Chung Design, and overlooks a quarry that informs the hotel’s interiors

JULY.22

INTERIOR DESIGN

Previous spread: The restaurant at the Banyan Tree Nanjing Garden Expo, a luxury hotel with interiors by Cheng Chung Design, overlooks and is inspired by the abandoned Tangshan Mountain quarry visible through the 33-foot-high glass curtain wall. Top, from left: Limestone fragments sourced from the site are throughout, including in a dry garden along the restaurant mezzanine. A cocoonlike structure in walnut and glowing acrylic disks houses reception. Bottom: The 375,000- square-foot hotel, its architecture by China Architecture Design & Research Group, sits within the quarry that cuts into the side of Tangshan Mountain. Opposite: In the bar, a double-height wall of textured walnut tile resembles a giant cliff face.

Industrial progress can leave deep scars across our landscapes, some of which take a long time to heal. At Tangshan Mountain, once a misty paradise of vegetation and wildlife close to the eastern Chinese city of Nanjing, near Shanghai, mining for ores deep into the hillside destroyed the local ecology and resulted in a man-made chasm devoid of life. Abandoned for a century, the quarry has recently been revitalized in an unexpected way: through the creation of the Banyan Tree Nanjing Garden Expo, a luxury hotel with interiors by Cheng Chung Design. Constructing the Banyan Tree required a major undertaking by the hospitality specialist, which made ecological restoration its priority. “The exploitation and destruction by people have stripped the vege tation, changed the geography, eroded the soil, and damaged the landscape, turning Tangshan into devastated industrial ruins,” CCD founder Joe Cheng says of this area of the Jiangsu province known for its hot springs. “It became imperative to beautify and restore the site to enable the symbiosis of human and nature.” Although contemporary in appearance, with pale stone cladding and glass walls, the five-story building is shaped as if it has been carved out of the mountainside—the work of China Architecture Design & Research Group. Stepping down from the access road, its light-toned tiers follow the hewn contours of the quarry, with 115 guest rooms stretching out from the main public areas like roots clinging to the sheer rock face. Topped with landscaped gardens, these accommodation bands begin a series of planted terraces that descend all the way down to the valley floor, where they connect to paths and bridges across newly restored parkland.

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In such a unique setting, CCD endeavored to ensure that the over 375,000 square feet of hotel interiors feel appropriate for the location, so the firm drew multiple references from nature when considering the materials and spatial qualities. Rough textures, cavernous hollows, striated surfaces, and interplays of light and dark all add to an atmosphere that is simultaneously primordial and modern. “We deconstructed and reshaped various elements such as light, stone, forest, and rain on the abandoned limestone quarry,” Cheng says. “In this way, a new mysterious wonderland is created in the valley.” One approach to harmonizing the interiors with the context involved physically bringing in organic elements directly from the surroundings. CCD transferred stones of all sizes from the quarry into the hotel, placing large blocks within pools of water as sculptures, while inserting smaller chunks into gaps in the walls, or piling them into steel cages to form gabions. “The rocks, eroded by winds and rain, show the traces of nature and enable the interiors to fully blend with it,” Cheng continues. “The rocks also echo the spirit of the site, carrying its memories.” With rebirth as a guiding theme for the project, the concept of “breaking through” appears in reception, where counters are housed within an enclosure formed from a spheroid metal framework. This is shrouded with angled petals of walnut and glowing translucent shells to form what Cheng describes as a “deconstructed” cocoon. “It resembles metamorphosis and a pair of open arms,” he notes, “giving a homelike sense of belonging.”

Left: Stones from the quarry form a gabion along a passageway. Right: A sculp tural staircase is lightly patterned with striations that mirror those found in rock formations. Opposite top, from left: The restaurant’s custom desk is copper. Dark materials and manipulations of natural light create cavelike spaces throughout. The design extracts the mysterious forest elements of Tangshan Mountain, and transforms them into patterns on screens, which separate yet connect areas. Bottom: The restaurant’s lounge offers panoramic views of the quarry.

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“Rough textures, cavernous hollows, striated surfaces, and interplays of light and dark all add to an atmosphere that’s simultaneuosly primordial and modern”

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Opposite: Skylights above the subterranean indoor pool help illuminate a glass sculpture. This page: A platinum-tinted crystal and metal artwork representing the local Tangshan hot springs is a feature of the spa’s geothermal area.

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Top, from left: The palette of the guest bathrooms was directly inspired by the rocky escarpments outside. All furniture, fittings, and fixtures in the 115 guest rooms are custom. Bottom: China Architecture Design & Research Group’s form for the hotel follows the man-made tiered contours of the quarry, which step down to the landscaped valley. Opposite: Each room is equipped with a thermal bath. PROJECT TEAM GOLD MANTIS CONSTRUCTION DECORATION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT HÄFELE: METAL PLATING (RESTAURANT). ZU: DINING CHAIRS (RESTAURANT), SOFA (BAR). CHERRY: LOUNGE CHAIR (BAR). DAJIANG CULTURE: CUSTOM RECEPTION DESK (RESTAURANT). GESSI: SINK FITTINGS (BATHROOM). ALISEO: MIRROR.

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Walking through the bar is intended to evoke the experience of wandering a mountain trail. Directly facing the quarry’s rocky escarpments, this space is curved and cut to mimic the depth and variations visible beyond the expanse of the structure’s double-height glazing. An imposing cliff of mosaiced carved-walnut panels undulates behind the sculptural bar, exaggerating the sense of awe felt when traversing a steep canyon. Luckily, this one requires no physical exertion to appreciate, instead serving cocktails and offering streamlined lounge seating from which guests can enjoy the sunset. “It’s full of poetry, presenting a coexisting relationship with the outdoor environment,” Cheng says. The color palette in the guest rooms was also lifted directly from the views of the exposed rock faces outside. Dusky shades of black, brown, and gray create a moody yet tranquil ambiance, while hints of retro green represent “the vitality of new life, a fusion with nature,” Cheng says. Every room is equipped with a thermal bath, for unwinding and contemplating the connection with the scenery outside. “Visitors experience a lyrical atmosphere.” Adding to that is the Banyan Tree’s spa, a cloistered subterranean center that includes a skylit pool and a geothermal wellspring. Ultimately, CCD strived to “use the power of design to bring economic and cultural value to this area again,” and it succeeded. The completion of the hotel has had a regenerative and healing effect on the quarry and the wider region, marking the return of both visitors and wildlife. Tangshan Mountain is once again recognized and celebrated as a place of beauty, where human impact on the landscape no longer feels jarring or imposed, but more harmonious and symbiotic. The physical scar remains, but the healing has begun.

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diving into new territory Antares Barcelona, a luxe, wellness-focused project in Spain, is Studio Odile Decq’s first residential tower text: pilar viladas photography: fernando guerra/fg + sg fotografia de arquitectura

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The Paris-based Studio Odile Decq is known for work that encompasses architecture, urban planning, and art. Examples include the dynamic expansion of MACRO, a contemporary art museum in Rome; the Confluence Institute in Architecture, a school established by Odile Decq in 2014 in Lyon and now located in Paris; and Maison Bernard, a series of red, bubble-shape structures on the French Riviera that grew along with the family who commissioned it, as well as furniture and lighting for Poltrona Frau and Luceplan. Clearly, the architect has worked in a variety of sectors. But her latest project, Antares Barcelona, a 26-story luxury apartment building, is her first residential high-rise. It’s also her first building in the Spanish city, located at the start of the famed Avenida Diagonal and overlooking the Mediterranean Sea. Decq won a competition in 2015 to design the building, which began construction in 2019 and was completed late last year. Although she had to start with the existing skeleton of a project that was never completed, Decq made it her own. “My vision for the building,” she begins, “was to increase the perception of height. The building is square, and a bit fat. We added between seven and 10 floors, depending on the parts of the structure.” Decq also felt strongly, given its location, that “people feel they’re outside, since most sides of the building look at the sea.” Angled balconies on the four curved facades and floor-to-ceiling windows offer what Decq calls “fantastic views.” To take full advantage of them, Studio Odile Decq conceived the 88 apartments so that only the living rooms and bedrooms face the view. “The larger spaces are totally free,” she adds. There are two penthouses

“One of Decq’s signatures is her use of color, and she employs that technique to full effect at Antares”

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Previous spread: At Antares Barcelona, a residential high-rise in Spain by Studio Odile Decq, a swimming pool is located under the building’s parking-garage ramp, its underside of polished stainless-steel panels reflecting the water. Opposite top: Walls in the lobby are lacquered red, the project’s—and the city’s—signature color. Opposite bottom: The curves of the glass enclosing the entry and the Grand Café Rouge at left echo the waves of the Mediterranean Sea, which Antares overlooks; photography: Carlos Allende. Top: Undulating alder walls define the building’s subterranean wellness area. Bottom: The restaurant’s furniture and chandelier are custom.

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Top: Hemlock chaise longues furnish a relaxation area in the basement. Center: An angular aluminum-clad pavilion is a community space for Antares residents; photography: Carlos Allende. Bottom: Parvati and ficus plants compose the green wall. Opposite top: More alder surrounds the yoga room, its skylight visible outside, in front of the red pavilion. Opposite bottom: A strip of LEDs runs across the pool area’s stone-tile wall; photography: Pere Peris.

on the top floor, and duplex apartments from the 22nd to the 25th floors. They’re capped by a rooftop terrace, its infinity pool intended to “blend into the sea,” Decq notes. One of Decq’s signatures is her use of color, and she employs that technique to full effect at Antares, particularly with red. “It’s the color of Barcelona,” she says. It’s visible from the exterior, as three of the building’s upper-level under-balconies are concrete integrally colored with the hue. Inside, on the ground floor, an undulating glass form that contains the lobby on one side, four elevators each have a different interior: mirrored, white, black, and, yes, red. Behind the custom reception desk, curved walls, covered with crimson lacquer over canvas, create a dramatic effect. On the other side of the lobby, a restaurant aptly named Grand Café Rouge is run by the Michelin-starred chef Romain Fornell. Decq designed the space, as well as its furniture and lighting, including the painted-steel tables and chairs and the striking metal and glass chandelier. A staircase, cloaked in more scarlet, bends sharply, leading to a mezzanine above. In the garden, for which Decq chose the plantings, the vivid color reappears on the facade of an angular pavilion, which serves as a community space for Antares residents and a private party venue for the restaurant. In front of it, a stepped wooden dome has a glassed opening at the top that sends daylight down to the subterranean yoga room. It’s part of the project’s extensive wellness area; measuring over 10,000 square feet, it contains a gym, a spa, a sauna, steam and massage rooms, and a green wall—all nestled among another array of undulating walls, this time made of alder. Also here, under the ramp of the building’s parking garage, a moody, hammamlike room with layered, black stone walls encloses a swimming pool and a Jacuzzi. The underside of the ramp is clad in polished stainless steel that reflects the water, the rhythmic movement appearing like an art installation. Above-ground, on the building’s 10th floor, Decq conceived the interiors of three model apartments, with the London office of Hirsch Bedner Associates completing furniture arrangements. Each residence has a theme based on the work of a legendary Spanish

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artist: Eduardo Chillida, Joan Miró, and Antoni Tàpies. Furnished with a mix of contemporary and classic 20th-century pieces, the rooms display their works, the décor’s palette borrowed from the art; for instance, in the Miró residence, a pair of George Nelson Coconut chairs has bright yellow upholstery. In these and the building’s other apartments, which range from one- to four-bedrooms, Decq designed the kitchen islands, tubs, sinks, and door handles. The architect’s current projects include an office building in Paris, a competition for a house in Saudi Arabia, and two homes in Brittany, where the architect grew up. “I like doing houses when the clients are very particular,” Decq says. “When I did Antares, I was thinking how I’d love to live in it, and about the continuity between inside and outside.” Indeed, that continuity is seamless.

PROJECT TEAM FITÓ ARQUITECTES: ARCHITECT OF RECORD. FERRÉS ARQUITECTOS Y CONSULTORES: FACADE. STATIC INGENIERIA: STRUCTURAL ENGINEER. JG INGENIEROS: MEP. HIRSCH BEDNER ASSOCIATES: MODEL APARTMENT CONSULTANT. CARRÉ FURNITURE: WOODWORK. PRODUCT SOURCES FROM FRONT OSCARINOX: RAMP PANELS (POOL). PORCELANOSA: WALL TILE. DADRA: CUSTOM CHAIRS, CUSTOM TABLES (RESTAURANT). GEOMETRIA VIVA: CUSTOM CHANDELIER. FREIXANET WELLNESS: CHAISE LONGUES (RELAXATION AREA). ALUCOBOND: FACADE (PAVILION). VERDTICAL URBAN BIOTECHNOLOGY: GREEN WALL (WELLNESS AREA). CHRISTOPHE DELCOURT: SOFA, COCKTAIL TABLE (MODEL). VITRA: CHAIRS. FERM LIVING: FLOOR LAMP. MERIDIANI: RED STOOL. MOSO: FLOORING (MODEL), DECKING (ROOF). THROUGHOUT CRICURSA: EXTERIOR GLASS.

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Opposite top: The curved facades and glass-walled balconies maximize views of the city, mountains, and Mediterranean. Opposite bottom: Studio Odile Decq, with HBA, designed each of the three model apartments to reflect the work of legendary Spanish artists, this one an homage to Joan Miró; photography: Pere Peris. Top: Another pool is featured on the roof, which has bamboo decking. Bottom: The top floors of the 26-story building are integrally colored concrete.

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tropical modern São Paulo’s inimitable urban style—hot chaos tempered with cool glamour—finds full expression in an apartment renovated with sustainability-certified indigenous wood by Pascali Semerdjian Architects

text: michael snyder photography: fran parente

The first time Brazilian architect Sarkis Semerdjian met clients Renato Lulia Jacob and Emily Perry, the chemistry between them was obvious. Semerdjian, who is coprincipal with Domingos Pascali of the São Paulo-based firm Pascali Semerdjian Architects, had gone to London in late 2019 to visit friends. Jacob and Perry, originally from Brazil and the U.S., respectively, had lived in England for a decade. When the couple learned of Semerdjian’s visit, they invited him for a meal at their Edwardian townhouse in North London. “Being there with them was like sitting at a bar with old friends,” Semerdjian recalls. From then on—despite the challenges of the project they were about to embark on—the relationship “just flowed.” Not long before that dinner, around the time Perry became pregnant with her and Jacob’s second daughter, the couple had decided to move to São Paulo, where Jacob had grown up. “There was a kind of gravity pulling us back,” he says. They wanted their daughters to grow up speaking Portuguese and have more time with their Brazilian grandparents. “The window for both,” Perry adds, “was getting smaller.” They hired Pascali Semerdjian, which had worked with several of Jacob’s friends, and began looking for a suitable apartment in Vila Nova Conceicao, a leafy neighborhood adjacent to São Paulo’s Ibarapuera Park, one of relatively few green spaces in a city famously choked in concrete and asphalt. They were looking for a place they “wouldn’t feel guilty over destroying and rebuilding,” as Jacob puts it, eventually settling on a spacious flat in a nondescript 1990’s building, previously owned by an elderly couple who had moved out five years earlier.

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Previous spread: In the dining room of a São Paulo apartment renovated by Pascali Semerdjian Architects, Bertjan Pot’s Prop pendant fixtures hang from the exposed original ceiling, which is complemented by walls paneled in board-formed concrete. Top, from left: A vintage Kurt Østervig lounge chair upholstered in sheepskin sits next to a custom sofa in the living room, where flooring is basalt. A built-in brass key bowl protrudes from a niche in the entry hall. At the other end of the living-room sofa, backlighting turns a panel of Pakistani onyx into a glowing artwork. Bottom, from left: A custom cocktail table joins an Oscar Niemeyer chaise longue, a two-sided Siri bench by Claudia Moreira Salles, and a pair of vintage Svante Skogh armchairs. In the dining room, a wall sculpture by Brazilian-Polish artist Franz Krajcberg hangs near the entrance to the kitchen.

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Jacob and Perry returned to London, intending to visit São Paulo frequently during the gut renovation of the apartment—a plan the pandemic quickly nixed. “All our process was via Zoom,” Pascali reports, noting that the couple was only able to return to the city shortly before the project’s completion. Having spent practically their entire adult lives as renters—in Buenos Aires, Lisbon, and London, where they’d moved three times in 10 years—the new homeowners “had a checklist of mistakes we wouldn’t make and things we liked,” Perry says. This included wall space for a growing art collection; public areas that were generous but not palatial; avoidance of leather or synthetic fabrics; and certificates of sustainability for every piece of wood used in the renovation. The goal: “A home that was proud of São Paulo,” a city, she adds ruefully, “that people love to hate.” Gutting the 4,000-square-foot apartment was relatively easy. Removing the worn-out gypsum ceiling revealed the building’s elegant concrete formwork, which is left exposed in some rooms. Save for an unmovable plumbing pipe—wrapped in rope, it’s now part of the daughters’ playroom—there were few structural constraints, allowing the couple to organize the layout as they saw fit: The public areas and guest suite occupy the southern half of the apartment, while sliding doors allow private circulation between the three family bedrooms and the kitchen, an intimate sanctum within the larger context. In particular, the clients worked with the architects to develop social zones that are both deeply Brazilian and vividly cosmopolitan. In the entry hall, a hemicycle of light blazes through a panel of jade-color Pakistani onyx, “like a sunset at the end of the corridor,” Semerdjian suggests. Board-formed concrete panels line the walls, from which a small, brass key bowl projects like a font of holy water: a secular blessing for the domestic space. The panels continue throughout the public areas, curving around the building’s idiosyncratic chamfered corners to create what Pascali describes as “a kind of tunnel” connecting the entry to the dining and living rooms. In the latter, the panels frame a pair of built-in sofas sitting in a large niche that formerly accommodated a fireplace— the type of fanciful gesture toward old-world glamour that Jacob and Perry were looking to avoid. The residence comes to life in the refinement of its details, a punctilious approach to junctures and joints, to the points where materials meet. In one corner of the kitchen, shelves in washed freijo wood and pale gray quartz meet in a complex concatenation of boxes and panels, as precise as frames crafted for museums. Nearby, a 9-foot-long table, also fashioned from freijo, cantilevers weightlessly from the side of a monolithic concrete island—a cool, calm defiance of physics that recalls São Paulo’s most iconic buildings, which take heavy concrete masses and levitate them above the earth. Opposite top, from left: Millwork in the playroom is freijo, an abundant South American timber. Works by Brazilian artists— Ana María Tavares (left), Gabriela Costa (right), and Matias Mesquita (background)—line the entry hall. Opposite bottom, from left: Custom fittings enliven the main bathroom, clad entirely in Branca Paraná marble. Served by Alvar Aalto stools, a freijo

table cantilevers from the kitchen’s solid concrete island, which was hoisted in through a window. Above: Vintage Erik Buch chairs surround Pascali Semerdjian’s Monica table in the dining room; flooring here and throughout much of the four-bedroom apartment is European oak. JULY.22

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Another aspect of the sprawling inland metropolis—its constantly evolving relationship with a tropical environment that it has never fully suppressed—is reenacted on the apartment’s many planted terraces, which encircle it with an exuberant jungle worthy of neighboring Ibarapuera Park. “The garden is chaotic, like a forest,” Semerdjian acknowledges. “Our goal was to really surround the space. The foliage, the concrete—there’s a lot of identity in those elements.” The residence’s tranquility does not so much erase the stimulating excess of the urban environment outside as highlight its intoxicating beauty, the irresistible pull that brought Jacob and Perry and their young daughters here in the first place. PROJECT TEAM ANA LUISA CUNHA: PASCALI SEMERDJIAN ARCHITECTS. RODRIGO OLIVEIRA PAISAGISMO: LANDSCAPE CONSULTANT. COMPANHIA DE ILUMINAÇÃO; DIMLUX: LIGHTING CONSULTANTS. AVELART MÓVEIS: WOODWORK. DIX ARTE METAL: METALWORK. TRESUNO: CONCRETE WORK. STEEL ENGENHARIA E CONSTRUÇÕES: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MOOOI: PENDANT FIXTURES (DINING ROOM). ETEL: TABLE (DINING ROOM), CHAISE LONGUE (LIVING ROOM), DESK CHAIR (MAIN BEDROOM). THROUGH STUDIO SCHALLING: CHAIRS (DINING ROOM, LIVING ROOM), FLOOR LAMP (MAIN BEDROOM). VILLA REMATE: CUSTOM SOFAS (LIVING ROOM). MARSET: SCONCE (ENTRY). PEDRAS BELLAS ARTES: CUSTOM COCKTAIL TABLE, BASALT FLOORING (LIVING ROOM). ESPASSO: BENCH. SÉ: BLACK SIDE TABLES. VITRA: LAMP. PHENICIA CONCEPT: RUG. LUMINI: SCONCES (PLAYROOM, CHILD BEDROOM). DECA: FITTINGS (MAIN BATHROOM). ARTEK: STOOLS (KITCHEN). NUURA: PENDANT FIXTURES. DOCOL: SINK FITTINGS. SAVOIR BEDS: BED (MAIN BEDROOM). BERT FRANK: TABLE LAMP. ARTE FINAL PLACAS: CUSTOM STORAGE (CHILD BEDROOM). THROUGHOUT ARTEAL ARTEFATOS DE ALUMÍNIO: WINDOWS. OSCAR ONO: WOOD FLOORING. SUVINIL: PAINT.

“The apartment comes to life in the refinement of its details, a punctilious approach to junctures and joints where materials meet”

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Top, from left: A Luiza Ladeira Lavorato photograph hangs above the main bedroom’s brass table lamp and custom desk. Pascali Semerdjian’s Duna sconce, which contains sand and can be rotated like an hourglass, lights a niche in a child’s bedroom. Its closet incorporates custom acrylic storage lit by LEDs. Bottom, from left: An artwork by Katrin Korfmann joins a Zanine Caldas armchair and a rare vintage floor lamp attributed to Hans Bergström in the main bedroom. Its bathroom niche and sink are custom made of copper.

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dynamic duetti These talented pairs debuted striking furnishings and installations during Milan Design Week

LEFT: COURTESY OF MOOOI

text: rebecca thienes photography: monica spezia/living inside production: alice ida/living inside

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Front Sofia Lagerkvist and Anna Lindgren’s Serpentine chandeliers for Moooi. frontdesign.se; moooi.com

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Draga & Aurel Draga Obradovic and Aurel K. Basedow’s Tito bed, Joy Circle lights, and Reverso screen, through Galleria Rossana Orlandi. draga-aurel.com; rossanaorlandi.com

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Cara\Davide Cara Judd and Davide Gramatica’s installation of X-Kin wallcovering by Fenix with illusory shadows by artist Gustaf von Arbin. caradavide.com; fenixforinteriors-na.com; gustafvonarbin.se

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Palomba Serafini Associati Roberto Palomba and Ludovica Serafini’s Goddess lounge and Stilleto side chair installation for Versace Home. palombaserafini.com; versace.com

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Barber Osgerby Edward Barber and Jay Osgerby’s 10th Anniversary Edition of their Tobi-Ishi table in Carrara and Verde marbles for B&B Italia. barberosgerby.com; bebitalia.com

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Toiletpaper Home Maurizio Cattelan and Pierpaolo Ferrari’s Shit rug, Trumpets armchair, and Lipstick and Gun sectional seating installation, all produced by Seletti. seletti.it

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Masquespacio Ana Milena Hernández Palacios and Christophe Penasse’s “Forms & Textures” installation made of Tarkett’s Eclipse Premium Spectra vinyl, 3-D machined by IberPoligraph. masquespacio.com; commercial.tarkett.com

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feats of clay For the Ace Hotel Sydney, Flack Studio draws inventively on the neighborhood’s colorful past as a center of ceramics production

text: michael lassell photography: anson smart

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Founded in 1999, the Ace Hotel Group has claimed an enviable slice of the hospitality pie with a chain of high-profile luxury boutique properties aimed at a creative clientele. Since opening its first location—a renovated former Salvation Army halfway house in Seattle—the brand has specialized in transforming rescued buildings of some urban significance into state-of-the-art facilities. The group currently comprises nine hotels, including the latest, which opened in May in Sydney. The interior of the new property was designed by Flack Studio, a small firm based in Melbourne, best known for residential and retail spaces. Surprisingly, the studio had never worked on a hotel before. “The scale of the job was more than we were used to,” founder and principal David Flack acknowledges. “But I was confident that we could do it. There aren’t many hotel companies that I would want to work for, but Ace is clearly one of them.” Flack joined the renovation project early on. Bates Smart, one of Australia’s oldest architectural firms, was responsible for gutting the Tyne Building, a 10-story brick structure dating to the early 20th century in the city’s Surry Hills suburb. The architects incorporated the exterior masonry walls into an 18-story, glass-and-steel tower that now houses 257 guest rooms and suites, but “there really wasn’t anything much to salvage of the interior,” Flack observes. Although the Tyne was not officially landmarked, the designer wanted to pay homage not only to the building but also the fascinating history of the neighborhood where, in 1788, the recently arrived British discovered a deposit of pottery clay and built Australia’s first kiln.

Previous spread: At the Ace Hotel Sydney by Flack Studio, the reception desk is a James Lemon installation of polychrome ceramic bricks—a nod to the neighborhood’s history of pottery production—backed by a Jason Phu wall hanging. Top, from left: Commissioned artworks by Julia Gutman (left) and Joanna Lamb (back) enliven a preevent space accessed by a honed Rosso Francia marble staircase. One wall in a meeting room is texturized with cement render, a finish used in many parts of the hotel. Bottom, from left: Vintage rattan armchairs join custom banquettes upholstered with ruched leather in the sunken lobby lounge where flooring is custom terrazzo tile and brickwork is original to the 1916 building. In the lobby restaurant, perforated panels of blackbutt, a kind of eucalyptus, clad the ceiling, herringbone-pattern oak boards cover the floor, and Mart Stam tubular-steel chairs mix with custom booth seating and tables. JULY.22

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom concrete sink serves the men’s bathroom. Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

Within 40 years, Jonathan Leak, a transported convict, established his own pottery works there and was soon cranking out bricks, tiles, bottles, and domestic earthenware. In 1916, Leak’s factory was razed to be replaced by the Tyne Building—originally a pharmaceutical warehouse, later a garment workshop, and then a school for underprivileged kids. Over the years, Surry Hills was home to Chinese immigrants in the gold rush era, dangerous razor gangs in the 1920’s, bootleggers in the ’30’s, boho artists in the ’60’s, and a burgeoning LGBTQ population in the ’70’s, who established the renowned annual Sydney Gay and Lesbian Mardi Gras. Flack wanted to reference all of it. Early on, he decided that he would stick to straightforward industrial materials used in both traditional and innovative ways. These include the existing brick, along with boardformed concrete, terrazzo and oak flooring, solid woods and veneers, and a variety of metals. There is also stone, such as honed Rosso Francia marble from Italy for the main staircase. Acoustic ceiling panels are used to line guest-room walls—not so much for soundproofing purposes (even though rooms are equipped with turntables, a selection of vinyl records, and, yes, guitars) as for aesthetic reasons: “It’s a rudimentary material, not fancy,” Flack explains, “but it has a beautiful depth and texture to it.” As for the color palette, Flack chose a singular combination of earthy tans and ochres, burnt oranges, a variety of greens, and, most surprisingly, purple. The inspiration came from the landscape paintings of Albert Namatjira, one of the country’s best-known 20th-century artists of indigenous ancestry. Both Flack and Mark Robinson, his partner in work and life, collect modern art, which plays a large Top, from left: Applied to a guest room’s walls, acoustic ceiling panels form a kind of tall dado that, despite in-room guitars and stereo equipment, is more about aesthetics than soundproofing. In another guest room, custom wool blankets and vibrant carpeting offset custom oak millwork. Bottom, from left: A custom solidoak stool joins the freestanding tub in a terrazzo-floored guest bathroom. Original brickwork and boardformed concrete frame a view of the lobby library featuring an artwork by Nadia Hernández and shelves backed with rattan wallcovering. Terra-cotta floor tiles are complemented by a custom vanity of oak and honed Italian marble in another bathroom. JULY.22

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PROJECT TEAM MARK ROBINSON: FLACK STUDIO. BATES SMART: ARCHITECT OF RECORD. PLANT CHARMER: LANDSCAPING CONSULTANTS. STUDIO ONGARATO: CUSTOM GRAPHICS. ELECTROLIGHT: LIGHTING CONSULTANT. MARQUES INTERIORS: CUSTOM FURNITURE WORKSHOP. SIGNORINO: STONEWORK. PRODUCT SOURCES FROM FRONT CORSI & NICOLAI: FLOORING (RECEPTION). AKARI: LAMP (RECEPTION), PENDANT FIXTURES (LOUNGE, RESTAURANT). ALUSTAIN: STAIR RAILINGS (RECEPTION, PRE-EVENT). RMS TRADERS: WALLCOVERING (RECEPTION, LIBRARY). DCW EDITIONS: SCONCE (LOUNGE). FLOS: CEILING FIXTURES. NSW LEATHER CO.: BANQUETTE UPHOLSTERY. THROUGH CASSER MAISON: ARMCHAIRS (PRE-EVENT). RAMLER: TABLE (MEETING ROOM). WESTBURY TEXTILES: CURTAIN FABRIC (MEETING ROOM, RESTAURANT). LIVING EDGE: SIDE CHAIRS (MEETING ROOM, CONFERENCE ROOM). THONET: CHAIRS (RESTAURANT). WOODSTOCK RESOURCES:

Top, from left: David Rowland’s archetypal 1964 stacking chairs, never out of production, outfit a conference room where blackbutt panels line the rear wall. Honed Arabescato Corchia marble forms a plinth and backdrop for a suite bath room’s custom vanity and mirror. Bottom, from left: In the its living room, a Charles and Ray Eames table and Mario Bellini chairs stand under a triangular artwork by Sydney Ball. Most of the room’s other furniture is custom, including the armchairs and built-in sofa, which are overlooked by a finger-painted acrylic on mirror by Michael Lindeman.

FLOORING (RESTAURANT, LIBRARY). HOUSE OF BAMBOO: WALLCOVERING (LIBRARY). WARWICK TEXTILES: CURTAIN FABRIC (GUEST ROOMS). STANSBOROUGH: CUSTOM BLANKETS. PARISI: TUBS, TUB FITTINGS (BATHROOMS). REECE: SINKS. MARK TUCKEY: CUSTOM STOOLS. ARTEDOMUS: TERRA-COTTA FLOOR TILE (BATHROOM). THROUGHOUT ELECTROLIGHT: CUSTOM LIGHTING. HALCYON LAKE: CARPETING. TERRAZZO AUSTRALIAN MARBLE: FLOOR TILE. CLASSIC CERAMICS; TIENTO: BATHROOM WALL TILE. KNAUF: ACOUSTIC PANELING. BISHOP MASTER FINISHES: CEMENT RENDER. KVADRAT MAHARAM: UPHOLSTERY FABRIC. INSTYLE: UPHOLSTERY LEATHER. DULUX: PAINT.

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part in the design. Commissioned pieces in many forms by a diverse group of living Australian artists populate the property. The front desk, for example, comprises a multihued patchwork of variously sized ceramic bricks—a gobsmacking installation by James Lemon. “I’m not afraid of using color,” Flack happily concedes. The furnishings are a mix of vintage pieces—both anonymous and pedigreed—and custom designs. The lobby lounge features Paul Frankl–style mid-century rattan swivel chairs surrounded by bespoke banquettes upholstered in heavily ruched leather. “I do that with leather a lot,” the designer notes. “I think it makes the seating look more inviting.” The lobby restaurant booths, upholstered in similar fashion, are joined by Mart Stam’s classic 1931 tubularsteel chairs, now manufactured by Thonet, their cantilever frames painted fire-engine red. Guest rooms and suites are equally eclectic, with Mario Bellini’s iconic 1977 leather Cab chairs pulling up to Charles and Ray Eames’s round oak-top tables in some of them. Most of the hotel’s striking light fixtures, which include columnlike sconces of aged-finish perforated brass, are custom Flack designs. Staying “on brand” was a top concern for Flack. “Ace had rules,” he reports. “But they also allowed that rules were made to be broken.” He eventually determined that the chain’s trademark was not so much a look as a feeling. “An Ace hotel wants to engage people on an aesthetic and social level, to encourage them to congregate and interact with others, both guests and locals,” he concludes. “I wanted this hotel to be an authentic Australian experience without losing the slightly renegade history of the neighborhood. In my view, Australia’s greatest strength is our diversity.”

“I wanted this hotel to be an authentic Australian experience without losing the slightly renegade history of the neighborhood”

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See page 108 for the Nový Hrozenkov Primary School Sports Hall, which includes a vertiginous rock-climbing wall, in the Czech Republic by Consequence Forma. Photography: BoysPlayNice.

natural resources As this globe-spanning quartet of athletic and office facilities attests, modern health-oriented projects privilege connection to the great outdoors text: peter webster

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“We wanted to bring contemporary architecture that would fit into the town while introducing something fresh and original”

Consequence Forma project Nový Hrozenkov Primary School Sports Hall, Czech Republic. standout A brilliantly colorful rock-climbing wall topped by a James Turrell–like skylight dominates this 9,700-square-foot small-town school gymnasium that’s also open to the public. Located in a picturesque valley, the larch-clad facility, which replaces an outdated predecessor, connects to its surroundings through a courtside wall of glass, while more larch appears on ceilings and other interior surfaces. photography BoysPlayNice. 108

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Lemay and Ardoises Architecture project Centre de glaces de Quebéc, Quebéc City, Canada. standout Composed of fluidly continuous forms, this oval structure embodies the speed, dynamism, balance, and skill of the skaters—professional and amateur—who glide across the 145,000 square feet of ice comprising a 400-meter elliptical track and two Olympic-size rinks. A 360-degree ribbon of windows connects the interior to the rolling landscape outside, which includes a beloved community skating rink. photography Stephane Groleau.

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“By focusing on absolute transparency, we have decompartmentalized the space to open it up to the community, connecting skaters to the outside world”

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“The goal is to bridge the gap between University of California graduate students, life-science startups, and established biotech companies by providing well-equipped research space”

MBH Architects project Bakar BioEnginuity Hub, Berkeley, California. standout The design, which includes a glass-fronted addition and two new public plazas, transforms the former Berkeley Art Museum and Pacific Film Archive—an important 1970 brutalist building by Mario Ciampi—into a modern coworking life-science lab that honors the original architecture’s intent. The team also uncovered and replaced skylights in the central double-height circulation space, bathing dramatic cantilevered ramps in warm daylight. photography Bruce Damonte. 112

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Skylab Architecture project Serena Williams Building, Nike World Headquarters, Beaverton, Oregon. standout Named for the tennis superstar, the 1 million-square-foot, LEED Platinum–certified office building, the largest of the over 75 on the 400-acre campus, comprises three wings connected by a series of sky bridges; filled with works by women artists, including Sarah Rutherford’s emerald-toned mural in the US Open café; and brightened by lush greenery on terraces and suspended public spaces. The site’s timber-covered Shoe Dog footbridge by PLACE is an homage to Nike cofounder and chairman emeritus Phil Knight and his life experiences. photography Jeremy Bittermann.

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“Our concept for the Serena building is a branch form that abstracts the wing of Nike, the goddess of victory”

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books

edited by Stanley Abercrombie

Affinities: A Journey Through Images From The Public Domain Review

Design Emergency: Building a Better Future

by Adam Green New York: Thames & Hudson, $60 368 pages, 407 color images

by Alice Rawsthorn and Paola Antonelli New York and London: Phaidon, $30 320 pages, 41 illustrations (39 color)

Designers looking for inspiration from unusual images (or just wanting the refreshment of unexpected sights) will find it here in abundance. Comprising 406 examples of image-making from the last two millennia, the book draws its content from the online nonprofit journal Public Domain Review, cofounded in 2011 by author Adam Green. It's an imaginatively curated compen dium of out-of-copyright material that The New York Times called “a gold mine of fantastic images and stories.” The book is arranged as a chain of (sometimes only slightly) related sub jects. The first picture is a solid black square captioned “The nothingness prior to the creation of the universe.” This leads to “The separation of light and dark,” depictions of Adam and Eve, and then on to a kaleidoscope of visual wonders. Some of them are by wellknown artists—Bruegel, Beardsley, Copley, Goya, Ledoux, Manet, Piranesi— but most have more exotic origins, such as rare museum catalogs, ship logs, or a 1902 Japanese design magazine. We see sunspots and eclipses, comets and meteors, whales and Indonesian starfish, giraffes and unicorns, Japanese and Roman fireworks, Burmese maps, Korean dominoes, Vesuvius in eruption, a tattooed German stowaway at Ellis Island, three-headed pythons and other real and imaginary monsters, a Stieglitz photograph of Georgia O’Keefe’s hands, J.M. Gandy’s A Bird’s-eye View of the Bank of England, and much more. At the end of this great journey, eight pages of notes and another eight of sources provides welcome information about what we've seen. It’s not your usual picture book.

What They’re Reading...

With its alarming title but positive subtitle, this is a book of promise. Coming at a “crossroads where we urgently need our lives to be radically redesigned after the grief and turmoil of the COVID-19 pandemic,” the authors (Rawsthorn, a London-based design critic and former columnist for The New York Times, and Antonelli, senior curator for the department of architecture and design and director of research and development at the Museum of Modern Art in New York) present us with the recent and disparate creations of 26 “different specialisms. . .on different scales in different parts of the world.” These are grouped under four headings—Technology, Society, Communication, and Ecology—each with five to eight subheads and each of those with its own group of experts. Among these are a designer of refugee camps, a medical illustrator for the Center for Disease Control and Prevention, a British architect of housing for the homeless, an interior designer for community kitchens and children’s mental-health centers, an Italian astrophysicist, and a leader of a restoration project called the Great Green Wall of Africa. The fascinating and encouraging survey ends with a benediction for these and other activists: “May your sacrifices change us, forever, and help us make the world a better place—for all.”

Matt Baran

“This memoir was timely for me. In it, Dave Eggers is a college senior finding his way with his 7-year-old brother after they are some what suddenly orphaned, and I have recently become a single father raising my daughter half-time. It's a literary work that operates outside of standard definitions of prose and narrative style, and I, being fascinated by parallels between architecture and literature, have always been interested in architecture that operates outside of defined styles. A Heartbreaking Work One of our recent projects, a nine-unit apartment complex in West Oakland, California, uses a mix of style of Staggering Genius and design methods that are representative of the surprise and emotion found in Eggars's book. The forms by Dave Eggers and spaces are not homogenous. They offer alternatives that can accommodate a variety of conventional and New York: Vintage, $13 unconventional lifestyles. 437 pages As for my next book, I’m considering another memoir, The Liar’s Club by Mary Karr. I think it may have parallels with my own tumultuous past and raising a daughter under unconventional circumstances. These stories often give me not only personal insight but also ideas on how to approach architecture and navigate difficult design problems.”

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BOTTOM LEFT: BENEDICTE LASSALLE

Principal at Baran Studio Architecture

DESIGNERS IN SPECIAL FEATURE Ardoises Architecture (“Natural Resources,” page 106), ardoises.ca. Consequence Forma (“Natural Resources,” page 106), consequence.cz. Lemay (“Natural Resources,” page 106), lemay.com. MBH Architects (“Natural Resources,” page 106), mbharch.com. Skylab Architecture (“Natural Resources,” page 106), skylabarchitecture.com.

PHOTOGRAPHERS IN FEATURES Carlos Allende (“Diving Into New Territory,” page 74), studi75.com. Fernando Guerra/FG + SG Fotografia de Arquitectura (“Diving Into New Territory,” page 74), ultimasreportagens.com. Alice Ida (“Dynamic Duetti,” page 90), Living Inside, livinginside.it. Fran Parente (“Tropical Modern,” page 82), franparente.com. Pere Peris (“Diving Into New Territory,” page 74), pereperis.com. Anson Smart (“Feats of Clay,” page 98), ansonsmart.com. Monica Spezia (“Dynamic Duetti,” page 90), Living Inside, livinginside.it.

DESIGNER IN WALK-THROUGH Emily Robin Design (“Green Party,” page 31), emilyrobindesign.com.

PHOTOGRAPHER IN WALK-THROUGH Alex Lysakowski (“Green Party,” page 31), alexlysakowskiphoto.com.

DESIGNER IN CENTERFOLD Field Conforming Studio (“Change Is Constant,” page 59), fcstudio.art.

c o n ta c t s Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group is a division of SANDOW, 3651 Fau Boulevard, 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 91615-6479. Publications Mail Agreement No. 40624074.

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Moooi Carpets Trichroic Collection

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stretch pad The Moravian-Silesian region in northeastern Czechia was once an industrial powerhouse known for its steelmaking capabilities and vast coal fields. But after the last of the fossil fuel was mined in 1994, attention shifted toward one of the landscape’s other assets: its natural beauty. As part of an initiative to improve the area's public spaces, the regional government worked with Václav Kocián and Zdeněk Liška of local firm KLAR to create simple structures where people can exercise in communion with nature. The modest timber pavilions, called Yogapoints, are designed to be easily assembled throughout the area’s parks and nature reserves. “The object is the same, it’s just the location that changes,” Kocián says. Comprising a square platform, four sturdy columns, and a roof grid, the structures are made of hand-sawed domestic larch fastened with galvanized-steel joints. A top sheet of translucent polycarbonate allows sunshine to flow through the roof beams while keeping the heat and other elements at bay. “We love the games of light and shade created by the sun’s rays,” Liška adds. So far, five pavilions have been erected in two sizes—90 or 295 square feet—the larger of which can accommodate up to six yogis. Clearly, the huts are named with yoga in mind, and the principles of the exercise practice—stability, lightness, simplicity— guided KLAR's concept. But Kocián and Liška invite anyone, from playing children to hikers seeking a moment of shelter, to utilize their pavilions and connect with the natural world. —Wilson Barlow

BOYSPLAYNICE

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