Interior Design June 2022 by Interior Design Magazine

JUNE 2022

stand tall

Image by Imperfct*

Arbor Ceiling Baffles

Hear yourself think Hear the future

turf.design

ZEN

SASH

SCOOP

DUO

FIBONACCI

NIWA

BUTTERFLY II

COAST

SLANT

NICHE

RALLY

VINO

GIGI II

LUCY

FOREST

GINA

EASY

NICHE

ARBOR

CHAMFERED

RELAIS

EDWARD II

JANUS UMBRELLA

TANGENT

CANNES II

FIBONACCI

ARBOR

WING

DOLCE VITA

ANATRA

ARBOR

TABLE TENNIS

GINA

WHISKEY

FACET

KUDO

BOXWOOD

AZIMUTH

RALLY

OASI

RUSH

AMARI

AMALFI

RION

ANATRA

GET-TOGETHER

DOLCE VITA

ANATRA

STRAUSS

ARBOR

PACIFIC

AMARI

KNOT

QUINTA

NEXUS

SUKI

EVE

CHRYSANTHEMUM

DRUM

RELAIS

SKETCH

MONTPELIER

BON VIVANT

EASY

ALLSIZE

JANUS UMBRELLA

AKUU

ZEBRA

CIRCLET

MATISSE

ORIZON

PACIFIC

KOKO II

KNOT

KATACHI

KOKO II

ANATRA

TOLEDO AIRE

CAPSULE

AMARI

FOOSBALL

DUO

KATACHI

ROCK GARDEN

AMARI

RELAIS

ECHO

S TOC K E D

KOKO II

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STRAUSS

MATISSE

TRAPEZ

FOREST

VINO

FIBONACCI

GRANDE ARCHE

RIO

SAVANNAH

BELL

QUADRATL

KYOTO ALU

KNOT

NISHIKI

CONE II

AMARI

HABITAT

DITTO

FOREST

KYLIX

FATA MORGANA

HABITAT

FITS IN. AND STANDS OUT.

DESIGN THAT SUSTAINS

The Melete family of chairs. Elevated style for every space.

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Look Sharp. Seeing Things. Trained Eye. The eyes have it. And the Modern Curator frames it. Long view, side view, rear view, world view. A point of view.

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CHROMALIS by Bradley Bowers Four patterns vividly explore color and movement, imparting dimension to upholstery textiles and wallcovering. The designs are realized on high-performing Supreen® fabric which blends the best of woven and coated technologies to create a liquid-barrier upholstery textile.

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CONTENTS JUNE 2022

VOLUME 93 NUMBER 7

06. 22

ON THE COVER In Prague, the glazed exterior of the Borislavka Center by Aulík Fišer Architekti provides an admiring mirror for Aerial, a monumental concrete sculpture by CzechArgentinian artist Federico Díaz. Photography: BoysPlayNice.

features 108 CRYSTAL PALACE by Peter Webster

The dramatically faceted glass facades of the Bořislavka Center by Aulík Fišer Architekti reflect Prague, old and new. 116 ALL ABOARD by Rebecca Dalzell

For the Atlanta head quarters of freight rail operator Norfolk Southern, HOK helped consolidate thousands of employees into one streamlined, amenities-fueled workplace. 126 ROSETTA STONES by Joseph Giovannini

At the Narbo Via Museum in Narbonne, France, Foster + Partners translates one great architectural language, classicism, into another, modernism.

134 CLASS ACTS by Peter Webster

From Switzerland to China, architects and designers are creating educational facilities that are as aesthetically pleasing as they are intellectually stimulating. 144 POWER TOWERS by Laura Fisher Kaiser

In LSM’s Washington office for eminent legal firm Paul Hastings, a pair of tall sculpture installations evoke and defy the laws of logic. 152 MEET THE PRESS by Michael Lassell

Vintage printing machin ery enlivens new offices for Square and Cash App in St. Louis, housed in a former newspaper building renovated by CannonDesign.

152

ERIC LAIGNEL

ﬁnd your nature

06.22

CONTENTS JUNE 2022

VOLUME 93 NUMBER 7

walkthrough 59 COME TO BED by Fred A. Bernstein

iida awards 65 BOLD STROKES by Wilson Barlow, Edie Cohen, Lisa Di Venuta, and Joseph Giovannini

departments 31 HEADLINERS 35 DESIGNWIRE by Annie Block 42 BLIPS by Georgina McWhirter 46 PINUPS by Annie Block 53 CREATIVE VOICES Return Engagement by Giovanna Dunmall

Through reuse and recycling, architect Mario Cucinella preaches sustainability— and practices it, too. 85 MARKET by Rebecca Thienes, Georgina McWhirter, and Carlene Olsen 103 CENTERFOLD Natural Wonder by Wilson Barlow

Using local pine, Luo Studio transformed a warehouse into a medicinal-plant mecca, simultaneously building green and revitalizing industry in Jiaozuo, China. 197 BOOKS by Stanley Abercrombie 198 CONTACTS 203 INTERVENTION by Athena Waligore

JASON O’REAR

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T H E U LT I M AT E B L A N K S L AT E

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e d i t o r ’s welcome Ordinarily, our June issue would be a heavenly mix of categories, with projects portraying the whole spectrum of our industry as it’s readying for the summer. Ordinarily, however, is such a pre-pandemic word. Everything in our business—just like the supply chain—has been moved back a couple months, warm weather dolce far niente is not yet on anyone’s mind, and we, too, have decided to go heavy on workplace in the following pages…for just cause. Good manners first, workplace and all things commercial are the right company to keep when going out to the big markets in our industry. More importantly, the great exodus from work is proving to be mainly information media hyperbole. Which, BTW, I’m really learning to despise (news outlets, that is—I’m still very much in love with hyperbole). In any event, the tsunami of COVID (work) quitters is actually a wash. Remote work is indeed now entrenched in our society and a net positive addition to our production streams. And yes, people are going back to offices, at least part-time, in fits and starts, worldwide. Our June issue is proof of that. We’ve got you totally covered: In St. Louis, vintage printing machinery from a former newspaper building animates a high-tech financial services and digital payments company. Major amenities—think fitness center, food hall, game room, and daycare center—fueled a homier headquarters for a freight rail operator in Atlanta. And major art installations were the major inspiration for a stunning and oh-so-chic legal office in Washington D.C. Speaking of work and community, I can’t wait to see you all shortly—and to be inspired together—in Chicago at NeoCon! So jump on board; we are taking off!

works worth

xoxo

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JUNE.22

INTERIOR DESIGN

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Fractal Fluency Developed by 13&9 Design, Mohawk Group and Dr. Richard Taylor of the University of Oregon and Fractals Research, Fractal Fluency delivers a geometric approach to fractal designs. The two styles tap into our innate affinity for natural patterns helping to create a more relaxing environment. With Mohawk Group’s new EcoFlex ONE backing, Fractal Fluency is Living Product Challenge Petal Certified, for a net-positive impact in both carbon and water. Showroom 377 | mohawkgroup.com

Learn More

Cova Lounge + Helio Table + Bonh Planter

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headliners

“We define and realize our clients’ business ideals, meeting real-world needs through customized spatial solutions”

LSM “Power Towers,” page 144

founding partner: Debra Lehman Smith. firm sites: Washington; New York; London. firm size: 50 architects and designers. current projects: Lever House marketing center and Brookfield Properties headquarters in New York; Covington & Burling office in London. honors: Interior Design Best of Year Awards; IIDA National, Honor, and Global Excellence Awards. abroad: Lehman Smith is the chair of the State Department Industry Advisory Group, Bureau of Overseas Building Operations. domestic: She is on the board of directors for the British Architectural Library Trust, an American nonprofit that supports the library and collections of the Royal Institute of British Architects. lsm.com JUNE.22

INTERIOR DESIGN

Foster + Partners “Rosetta Stones,” page 126 partner: Hugh Stewart. firm headquarters: London. firm size: 1,032 architects and designers. current projects: Varso Tower in Warsaw; Salesforce Tower in Sydney; Suhe Center in Shanghai; Kuwait International Airport; 50 Hudson Yards in New York. learning: Stewart joined the firm in 1995, after completing his studies at the Bristol and Edinburgh Universities. living: Having grown up in the south of Scotland, he enjoys the outdoors— whenever work and family commitments allow. fosterandpartners.com

HOK “All Aboard,” page 116 firm-wide director of interiors: Tom Polucci, FIIDA, AIA. director of interiors, atlanta: Betsy Nurse, IIDA. firm headquarters: New York. firm size: 1,200 designers and architects. current projects: Invesco headquarters in Atlanta; confidential

headquarters projects in the Midwest and Southeast. honors: Prix Versailles. guys: A gearhead, Polucci is currently obsessed with an old BMW convertible he affectionately refers to as “Gina Lollobrigida.” dolls: Nurse has a collection of Wonder Woman paraphernalia, including a WW bobble head. hok.com

CannonDesign “Meet the Press,” page 152 vice president, commercial and civic market leader:

Ken Crabiel, AIA.

associate: Olivia Gebben, IIDA. firm sites: New York; Chicago; St. Louis. firm size: 900 architects and designers.

current projects: Electric Works mixed-use development in Fort

Wayne, Indiana; LinkedIn in Toronto; Block, Inc. worldwide.

honors: Interior Design Best of Year Award. outdoors: Crabiel indulges his passion for exploring our nation’s beautiful wilderness as much as possible. indoors: Gebben, whose current hobby is renovating her 1980’s-era home, decompresses by watching binge-worthy TV. cannondesign.com

Aulík Fišer Architekti “Crystal Palace,” page 108 owner, principal architect: Jan Aulík. owner, principal architect: Jakub Fišer. firm site: Prague. firm size: 17 architects and designers. current projects: Brumlovka mixed-use development, Terasy

Cervený Vrh residential complex, and a city block development incorporating the conversion of an industrial hall, all in Prague. honors: International Property Awards; Best of Realty Award.

h e a d l i n e rs 32

INTERIOR DESIGN

JUNE.22

work: Aulík and Fišer, who met as students in the Faculty of Architecture at the Czech Technical University in Prague, cofounded their firm in 2007. play: Since their professional work involves cities and urban environments, both partners create balance by spending their free time pursuing outdoor activities and enjoying the open landscape. afarch.cz

MAXI SLIDING PANELS, SELF BOLD CABINET. DESIGN GIUSEPPE BAVUSO

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Calum Lounge — Comfort design Simon Pengelly 2022

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community spirit Clockwise from right: I Love You, a 1970 silkscreen print, is featured in “Lou Stovall: The Museum Workshop” at the Phillips Collection in Washington, July 23 to October 9. Miles Davis and Sun Ra, both 1968 silkscreen prints by Llyod McNeill and Stovall. COURTESY OF LOU STOVALL

It has been said that Lou Stovall was responsible for turning silkscreening into an art form. Born in Athens, Georgia, in 1937, he moved to Washington to earn his BFA from Howard University and never left. That’s where, in 1968, he established his second claim to fame: Workshop, Inc., a collaboration studio for local creatives that grew into a professional printmaking facility ultimately called the Dupont Center used by the likes of Sam Gilliam and Robert Mangold. Stovall’s own art practice is also noteworthy, characterized by sophisticated silkscreen prints with lush palettes and allusions to nature and collaborations with such prominent artists as Jacob Lawrence and Lloyd McNeill. All these facets come together in “Lou Stovall: The Museum Workshop” on view this summer at the Phillips Collection. Guest curated by his son Will, the show’s more than 80 prints, paintings, sculptures, and photographs encompass work produced by artists at the workshop and collected by Stovall between 1969 and 1973, Stovall’s own silkscreens, plus his early community posters, which document DC in a time of protest and upheaval.

design wire

edited by Annie Block

JUNE.22

INTERIOR DESIGN

d e s i g n wire Marketing activations come in all shapes and sizes nowadays. Witness Memory Functions, Yuko Nishikawa’s immersive installation commissioned by the Brooklyn Home Company for the Butler Collection, the firm’s latest residential development in Park Slope with 41 condominium units for sale. More than 200 delicate mobiles crafted from paper-pulp waste hang throughout a model apartment, the colors shifting from space to space— varying whites in the living room, happy hues in the primary bedroom. “It’s exciting to display in an environment that will hold and witness living. I like to make work that accompanies ordinary, everyday moments,” says Nishikawa, who dabbled in interiors for Clodagh and Alexandra Champalimaud before launching her eponymous art-and-object studio in 2018. When the Butler installation comes down this month, some mobiles will travel to Heron Arts in San Francisco for Nishikawa's group show opening July 9; the remainder will be broken down and recycled at her East Williamsburg studio.

Ceramicist and industrial designer Yuko Nishikawa stands amid Memory Functions, her temporary installation of paper-pulp mobiles commissioned by the Brooklyn Home Company for a model apartment at the Butler Collection, the firm’s new residential complex in Park Slope, New York.

INTERIOR DESIGN JUNE.22

MATTHEW WILLIAMS

artful living

Duda Stool by Aristeu Pires

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d e s i g n wire

gem state

The thirtysomething cofounders of Tokyo firm I IN strive for work that “creates a long-lasting memory.” They accomplished that goal in the renovation of a Cartier office located in the city’s Hanzomon area. The supremely pared-down but luxe palette is dominated by two colors, champagne and, naturally, Cartier red. The com bination is most impactful in the project’s jewel of a circular lounge, its perimeter defined by a ring of golden louvers, its interior outfitted with scarlet sofas and a rug in gradating ochre tones. Paying homage to Japanese aesthetics is another lounge: a raised tatami-mat space with unique red mats where employees can take off their shoes, relax, and decompress. An original abstract artwork of scattered gold leaf on the wall in reception not only welcomes guests with contemporary majestic flair but also nods to Cartier’s principles of artisanal craft and innovation. .

TOMOOKI KENGAKU

A Cartier office in Tokyo by design firm I IN features upholstery in the brand’s signature red paired with gold-finished furnishings and artwork, plus a raised tatami-mat employee lounge.

INTERIOR DESIGN JUNE.22

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

bl ips

That’s drawing crowds to theMart this spring. Art on theMart, launched in 2018 by executive director Cynthia Noble to expand commission opportunities for artists and engage new community stakeholders, presents Ba Boom Boom Pa Pop Pop, a new video work by Nick Cave that’s being pro jected twice nightly on the 1930 building’s expansive art deco facade through September 7. Expect to see Cave’s iconic Soundsuits—figures masked in head-to-toe costumes concealing race, gender, and class—in jubilant, kaleidoscopic motion. The installation coincides with his career-spanning solo show, “Forothermore,” on view through October 2 a mile away at the Museum of Contemporary Art Chicago. Fun fact: Art on theMart is the world’s largest permanent digital art projection. —Georgina McWhirter

INTERIOR DESIGN

JUNE.22

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text by Annie Block

on a roll Shiny or matte, flat or fluted, the Mar Di tile collection by Studiopepe is a towering success of options Mar di Banda, Mar di Flores, Mar di Giava, and Mar di Kara in handmade porcelain in more than 25 colors, including Black, Ruby, Rose, Forest, Nude, White, and Cloud, by Theia Tiles.

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INTERIOR DESIGN

JUNE.22

CELEBRATING 50 YEARS

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catch the waves A single aluminum plate bent into shape forms the sinuous base of a pair of tables by Julia Chiaramonti

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INTERIOR DESIGN

JUNE.22

Palette Today’s workplace requires furniture and office space to be multi-functional, allowing employees to maximize their in-office productivity through equal access to space, privacy and technology. Designed in collaboration with STUDIOS Architecture, Palette is a family of furniture and technology support that can be configured to create ideal conference and huddle rooms, as well as shared and private office space.

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c r e at i v e voices

return engagement Through reuse and recycling, architect Mario Cucinella preaches sustainability— and practices it, too

Mario Cucinella is an Italian architect with offices in Milan and Bologna. Born in Palermo, and raised in Genova, where he also studied, Cucinella worked with Renzo Piano in Paris, founding Mario Cucinella Architects there in 1992 before relocating to Italy. His practice specializes in architectural design that focuses on holistic and integrated environmental strategies (his firm has an internal R&D department dedicated to the topic). In 2015, Cucinella established the School of Sustainability in Bologna, which offers post-graduate training in the field; three years later he launched a design studio and now collaborates with leading Italian brands on products that emphasize recycling and the circular economy. Recently MCA has completed projects as diverse as an emergency center for San Raffaele Hospital in Milan, a “modern baroque” church for the community of Mormanno in southern Italy, and a contemporary insertion into the heart of a medieval Tuscan hill town. Cucinella has also authored several books. His latest, The Future Is a Journey to the Past, is the opposite of a dry or self-congratulatory monograph—rather, it’s a small paperback comprising 10 stories about historic structures, places, and cities around the world where the indigenous knowledge, materials, and resources of the place were used to create authentically sustainable architecture. We talked to Cucinella about all this, plus an installation he’s creating for this year’s Salone del Mobile in Milan.

FROM TOP: GIOVANNI GASTEL; DUCCIO MALAGAMBA

c r e at i v e voices Alexandra Barker, FAIA, founder and principal of Barker Associates Architecture Office, and assistant chairperson of the graduate architecture and urban design program at The Pratt Institute, in a Fifth Avenue penthouse From top: founder of Mario Cucinella Architects andshe thedesigned. School of Sustainability in Bologna, Italy. MCA’s 10-story emergency center for Milan’s San Raffaele Hospital, its facade featuring titanium oxide–coated louvres that break down smog particles and transform them into salt while reducing solar-heat gain and energy consumption.

JUNE.22

INTERIOR DESIGN

c r e at i v e voices

The church’s interior has a tactile yet numinous quality. How did you achieve this? MC: The structure is made of concrete but inside we used a special render made of lime and hemp, which was applied to the curved walls with the help of bamboo sticks so that it almost vibrates. Baroque

churches always have domes with interesting details and geometries, so we designed a series of translucent drapes that hang from the 52-foot-high skylit ceiling in swirling patterns, creating a strong sense of the spiritual. What can you tell us about “Design with Nature,” your installation for Salone in Milan? MC: It’s a landscape of curved layers of birch that looks like a large table with clusters and functions as a bar and restaurant, a conference area, an exhibition space, a bookshop, and so on. It explores three themes: The first looks at 12 natural materials that aren’t petroleum-based; the second explores the way people are increasingly using their homes

as places of work; and the third is about viewing the city as a mine. Cities are already full of the materials we need for construction—steel, glass, aluminum— so why don’t we reuse and recycle them? Did you find many companies making sustainable materials in your research? MC: So many! I was shocked by the number that have been making renewable and sustainable materials for years and even decades. We found one company that reuses the roots of felled trees to make timber panels. They started back in the ’70’s!

CLOCKWISE FROM TOP LEFT: ©MARIO CUCINELLA ARCHITECTS; DUCCIO MALAGAMBA (2); ©MARIO CUCINELLA ARCHITECTS

What was it like to create a new church, Santa Maria Goretti, in Calabria? Mario Cucinella: In Italy, a lot of the modernists who have designed churches didn’t really connect with the history of the typology. Their churches were big boxes with no real emotional heart. The model for me was the baroque churches by Bernini and Borromini with their curved walls and unique geometries.

Your Palazzo Senza Tempo project—a multiuse complex that combines new construction with renovated houses in the Tuscan hill town of Peccioli—has breathed new life into the community. MC: The former mayor, Renzo Macelloni, was a clever man. He set up a landfill site whose profits are invested in the town, built a new school, open-air theatre, and car park with a lift leading to the center, and started putting on lots of cultural events every summer. This project shows how contemporary architecture can be used to relaunch a small city.

DUCCIO MALAGAMBA

What was the impetus behind your latest book, The Future Is a Journery to the Past? MC: I’m fascinated by the way buildings worked with the elements in the past, that empathic relationship between people and their local climate. I didn’t write it from a nostalgic point of view but rather to say there is a lot of knowledge from the past we have forgotten about but could learn from to make buildings work with the environment in the future. —Giovanna Dunmall

Clockwise from top left: A rendering of “Design with Nature,” a layered-birch land scape exploring different ways of building and fabricating without consuming raw materials, for Milan’s Salone del Mobile. Santa Maria Goretti church in Mormanno, Calabria, entered through a cross-shape incision that is lit at night. The church interior featuring walls of hemp-and-lime render and light-diffusing drapes. A café with bleacher seating at the Palazzo Senza Tempo, a multiuse complex of new construction and repurposed houses in Peccioli. A 6,500-square-foot piazza cantilevering out from the complex. Cucinella’s sketch of the Salone installation. JUNE.22

INTERIOR DESIGN

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Kengo Kuma’s architectural intervention on Gaudí’s Casa Batlló

info@kriskadecor.us kriskadecor.com

The Japanese architect has covered the new 8-story staircase of the modernist building with a second skin of aluminum chain links.

MADE YO U LOO K

come to bed firm: architecture research office site: new york In a lounge on the lower level of Casper’s two-story headquarters, Reframe armchairs by EOOS mingle with Anderssen & Voll’s Connect sectional and Five Pouf ottomans and Margrethe Odgaard’s Ply rug, backdropped by a staircase paneled in solid white oak, the round recess upholstered in wool felt.

JAMES EWING

JUNE.22

INTERIOR DESIGN

INTERIOR DESIGN JUNE.22

JAMES EWING

Casper, the mattress maker that calls itself the Sleep Company, wouldn’t want to do anything jarring. “It was important to present a relaxing environment,” says Kim Yao, a principal of Architecture Research Office, which designed the company’s lower Manhattan headquarters. “Our use of curves and arches helps set the tone.” There is no showroom in the space, but as Yao’s coprincipal Adam Yarinsky points out, “We’re presenting the brand through its workplace.” Luckily ARO had already designed a product for FilzFelt called Plank, a pillowlike acoustical panel covered in felt. An oversize version of it now surrounds Casper’s reception desk. Beyond reception, ARO had to provide space for 300 or so workers—who are there on a hybrid basis—while maintaining the quality of softness associated with the brand. There are few private offices, in part because the views from the headquarters, which occupies 37,500 square feet on the 39th and 40th floors of 3 World Trade Center by Rogers Stirk Harbour + Partners, are as spectacular as the sunlight pouring in. With the floor-to-ceiling glass entirely exposed, everyone at Casper gets to enjoy those amenities. Away from the windows, personal workstations alternate with pods, or

w a l k through

collaboration booths, that are about 5 feet high. “When you’re in one, you feel very sheltered,” Yao notes. Conference rooms and telephone booths hug the building’s core. Upper and lower common areas include a café big enough for all-company meetings. The new stairway connecting them, sheathed in solid white oak planks, contains a circular felt-lined cutout for somebody to lounge in. Casper wants its workers to be aware of how it presents products to consumers, so retail vignettes pepper the space, including one near reception. Other furniture, Clockwise from top: ARO’s Plank 1 felt-covered acoustical panels sur round the custom oak reception desk. The spun-aluminum pendant fixtures hanging from the exposed ceiling are also custom; arches are in keeping with the client’s theme of softness. The same white oak slats used for the stair balustrade enclose the kitchen. Flooring throughout is polished concrete; Casper’s graphics team designed the mural.

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INTERIOR DESIGN

which ARO chose in conjunction with Casper’s in-house design team, is a mix of pieces from Muuto and Herman Miller. “Our goal was a very direct connection to the architecture,” Yarinsky says, explaining the decision to expose the concrete floor slabs throughout and leave mechanical equipment visible overhead. Also hanging from the ceiling are boat-shape acoustical panels, covered in felt and targeted by LED uplights. The panels bring noise down to a soothing level, which is exactly what a sleep company deserves. —Fred A. Bernstein FROM FRONT GEIGER: ARMCHAIRS (LOUNGE). CARVART: WORKSTATIONS (OFF ICE AREA). VODE: CUSTOM LINEAR FIXTURES. SOFTLINE: ARMCHAIRS. INTERFACE: CARPET TILE. C.R. LAURENCE: DOORS (ENTRY). ROCKWOOD: DOOR

From top: The stairway connecting the office’s two floors is new. Custom acoustical panels, uplit by LEDs that hang from them almost invisibly, shelter workstations by Layout Studio. Beyond the glass entry doors and reception is a small Casper bedding vignette.

PULLS. THROUGHOUT MUUTO: DINING CHAIRS, DINING TABLES, SOFAS, OTTO MANS, RUGS. KVADRAT: SOFA FABRIC, OTTOMAN FABRIC. FILZFELT: FELT, ACOUSTICAL PANELS. HERMAN MILLER: HIGH TABLES, TASK CHAIRS, DESKS. SHINNOKI: PANELING. AMERLUX; FLOS: RECESSED CEILING FIXTURES. HDLC: LIGHTING CONSULTANT. LONGMAN LINDSEY: ACOUSTICAL CONSULTANT. TMT: AUDIOVISUAL CONSULTANT. BENHAR OFFICE INTERIORS: FURNITURE SUP PLIER. WSP: STRUCTURAL ENGINEER. AMA: MEP. METROPOLITAN ARCHITEC TURAL WOODWORK: WOODWORK. CLUNE CONSTRUCTION: GENERAL CONTRACTOR.

JAMES EWING

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INTERIOR DESIGN JUNE.22

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iida awards

bold strokes The enduring International Design Competition is in its 49th year. The annual event, hosted by the International Interior Design Association, honors innovation in the design, architecture, and furnishing of interior spaces. Its counterpart, the Will Ching Design Competition, in its 30th year, celebrates excellence in commercial interiors by firms composed of five or fewer employees. This year’s submissions were judged for their suitability and originality—with special attention paid to how finishes and furnishings are integrated— by a jury consisting of Shimoda Design group partner Susan Chang, Interactive Design Architects president Dina Griffin, and Studio Munge founder and design director Alessandro Munge. Two of the awardees they selected have appeared in the pages of Interior Design: LSM’s Paul Hastings office in Washington on page 144 of this issue is the Large Corporate Space winner, and the Audrey Irmas Pavilion in Los Angeles by OMA and Gruen Associates featured in our April issue won for Public Spaces & Commercial Lobbies. The jury’s other picks are Prefix Design’s own office in Chengdu and One Plus Partnership’s Cinesky Cinema in Shenzhen, both in China; a Napa Valley, California, residence by Aidlin Darling Design; and Genesis House in New York by Suh Architects and HLW; Stüdyo AB’s Cocoon Istanbul takes home the Will Ching Award. All are toasted—and the Best in Competition winner revealed—at the IIDA’s black-tie Revel in Design gala in Chicago on June 12, the kickoff to the annual NeoCon trade fair. —Nicholas Tamarin

JONATHAN LEIJONHUFVUD

See page 66 for the Entertainment category winner, One Plus Partnership’s Cinesky Cinema in Shenzen, China. JUNE.22

INTERIOR DESIGN

entertainment

i i d a awards

one plus partnership When a repeat client approached cinema-design honchos One Plus Partnership to design a new movie theater for local and international films, the goal was a high-concept space with a strong visual identity. Firm director Ajax Law and founder Virginia Lung, multiple Interior Design Best of Year Award winners, used the theater’s name as a jumping-off point, delivering clouds floating in a blue sky in the form of custom-fabricated arcs of aluminum alloy suspended weightlessly from the ceiling. In several places they curve back down to earth to become part of the ticket counter or a bench for waiting. “They’re not just to look nice,” Law says, “they serve practical functions, too.” Terrazzo flooring, heavy in contrast with the floating ceiling panels, anchors the concept to the ground. But the airy vibes continue elsewhere, like in the 10 theaters (one of them IMAX), where decorative acoustic panels are illuminated with arcing LED strips. The women’s restroom, allwhite with a custom bench and lit by more LED strips, feels like sitting in the sky. “When guests walk from the hallway, they are walking into this mysterious space,” Lung says, “as if people are floating into the cloud with the wind.” Also impressive: Due to COVID-19, the project was executed without One Plus being able to monitor the work in person. —Wilson Barlow

AJAX LAW; VIRGINIA LUNG: PROJECT TEAM.

INTERIOR DESIGN

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JONATHAN LEIJONHUFVUD

Cinesky Cinema, Shenzen, China

JONATHAN LEIJONHUFVUD

JUNE.22

INTERIOR DESIGN

suh architects and hlw Genesis House, New York If car-buying were ever elevated to a multicultural experience, it’s at Genesis House, the three-level, 9,600-square-foot endeavor that’s part showroom (for Genesis vehicles, the luxury division of South Korea’s Hyundai Motor Group), part hospitality venue. “We love that the project creates a conversation with New York,” says Kyungen Kim, principal of Suh Architects in Seoul. HLW principal and managing director Edward Shim, Kim’s Manhattanbased counterpart, concurs: “Our intent was an immersive experience that’s traditionally Korean, yet distinctly New York.” The powerful brand-ethos connection begins at street level, where a metallic mesh curtain spanning the front facade drapes over new car models and a stunning installation of hinged portals (think automotive gull-wing doors) hangs against a wall of weathering steel. Adjacent to the showroom, more than 91,000 flip-top copper discs tell the story of where the new Genesis introductions have recently arrived. The second floor, accessed by a connecting stair, alludes to a Korean village. Below a dimensional oak roofscape, inspired by Seoul’s Unhyeongung Palace, are zones for a central tea pavilion set with a curated library and artisanal vessels, plus a restaurant, bar, gift shop, and seating areas. An adjacent terrace with views of the High Line and the Hudson River extends the experience. The third level is a below-grade auditorium, its concrete, blackened steel, and wood finishes plus an all-encompassing stage with LED panels as striking as any event to ensue. —Edie Cohen

FRANK OUDEMAN

EULHO SUH; KYUNGEN KIM: SUH ARCHITECTS. EDWARD SHIM: HLW.

INTERIOR DESIGN

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showrooms & exhibition spaces

i i d a awards

FRANK OUDEMAN

JUNE.22

INTERIOR DESIGN

i i d a awards will ching

stüdyo ab When tasked with an indoor playground and learning center situated on the second floor of a bustling shopping mall, architect Asli Baysan Birgen drew inspiration from the motto of her client, Cocoon Istanbul: “playful learning.” “We aimed to promote curiosity and let kids use their imagination,” says Baysan Birgen, whose Stüdyo AB, the Turkish studio she founded in 2015, won this category for projects by firms with five or fewer employees. “Our work had to address developmental needs of various age groups as well as ensure their safety,” she adds. Cocoon’s 20,000-square-foot, semi-open floor plan accommodates a panoply of tactile, ageappropriate activity zones for infants, toddlers, and preteens, as well as a café and a bookstore for their parents. Eschewing the bright tones and plastic accessories commonly associated with children’s spaces, Baysan Birgen gravitated toward a gentle palette: Walls, arches, and seating areas are swathed in soft pastel fabrics, accentuated by bleached beech paneling and beams. She worked closely with local contractors to design and produce child-size furniture and fixtures, including the custom Corian sinks in the restroom. One of many bespoke features, a curvilinear playhouse without walls or a roof, inspires children to use it as a cave, reading nook, or balcony. Above, daylight filters through dreamy wallpaper, evocative of Ebru, a traditional Turkish marbling art, and inspired by Cocoon’s branding. “We did our best to give kids their first taste of design,” Baysan Birgen concludes, “and trigger their appetite for aesthetics.” —Lisa Di Venuta

INTERIOR DESIGN

JUNE.22

ÖZLEM TURAN AND VOLGA YILDIZ

Cocoon Istanbul

Revisit. Reintroduce. Reinterpret.

Through our new relationship with the Frank Lloyd Wright Foundation, we are looking back to see forward with our first collection for a modern generation – the Frank Lloyd Wright Racine Collection by Steelcase. Coming fall 2022. steelcase.com/flwcollection

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Three Arktura Architectural Systems Come Together to Create a Dynamic Workspace at IntelliCentrics Headquarters Vapor® Cluster Featuring Arktura Backlighting

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Custom Aluminum Paneling

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Fueling Possibilities¨

IntelliCentrics Headquarters, Flower Mound, TX, a collaboration with Boka Powell, installed by Greater Metroplex Interiors. Photo by Gary Logan.

www.neolith.com

i i d a awards public spaces & commercial lobbies

Designed by architect Abram M. Edelman and built by Hollywood moguls in 1929, Los Angeles’s Wilshire Boulevard Temple is pure Cecil B. DeMille, a cameraready, domed architectural extravaganza waiting for a cast of 1,000 congregants. But by the second decade of the new millennium, the synagogue was looking to present a more appealing and open public face for a more inclusive mission. In 2015, the congregation held a competition for an ecumenical “gathering space” to be built on the temple’s parking lot. The brief was simple: rooms— small, medium, large. The architectural issue was how to design a building that neither cowered from nor competed with the synagogue next door. Led by partner Shohei Shigematsu with associate Jake Forster, OMA won the competition. The architects basically created a five-story, 54,600-square-foot object-building that, from some angles, looks like a truncated pyramid warped in a distortional field. The interior organization is straightforward to the point of being diagrammatic. Lobbies, conference rooms, reception spaces, and service facilities flank

oma and gruen associates Audrey Irmas Pavilion, Los Angeles

either side of the hall and chapel in simple, orthogonal layouts. On the roof, OMA cut a circle that opens to a glass-enclosed sunken garden one floor below. A symmetrical set of stairs zigzags through an airy atrium, connecting the plaza entry to the chapel and the planted rooftop above. Including terrace furniture by Renzo Piano Building Workshop, the new pavilion is fresh, spirited, and brashly colorful. With a jolting change in visual mode, the contrast in eras jumpstarts the campus into the new millennium. —Joseph Giovannini CHACON; CAROLINE CORBETT; NILS SANDERSON; ANDREA ZALEWSKI; NATASHA TRICE; MARIE CLAUDE FARES; WESLEY LEFORCE; SANDY YUM; JADE KWONG; SHARY TAWIL; JOANNE CHEN: OMA. DEBRA GEROD: GRUEN ASSOCIATES.

INTERIOR DESIGN

JUNE.22

JASON O’REAR

SHOHEI SHIGEMATSU; JAKE FORSTER; JESSE CATALANO; DAVID

Jovalie

With distinct curves that create cozy comfort, Jovalie is more than just lounge seating. Its welcoming style and versatile shape easily fit into a variety of environments, creating spaces where conversations flow and interactions thrive. Shown with: Wixler Occasional Tables ®

Join us in Chicago | 6/13 - 6/15 Kimball International Showrooms 325 North Wells Street Suites 100 & 110

nationalofficefurniture.com

i i d a awards small corporate space

prefix design office Chengdu, China Once a store on the ground floor of an office building, the now bright and sophisticated Prefix Design studio shows off the prowess of the firm, founded by Liao Shuheng in 2020 to tackle commercial, residential, and branding commissions. To increase the 1,076-square-foot space’s usable floor area, Shuheng and team added a mezzanine, made possible by the 17-foothigh ceiling, while still coming in under the this category’s project limit of 1,000 square meters (roughly 10,500 square feet). Upstairs is the workplace, but the fashionable downstairs—furnished with a Mario Bellini Camaleonda sofa and a cocktail table by Hangzhou-based Tells Studio, its base influenced by Jeff Koons’s Balloon Dog sculpture—is the calling card for meetings, thanks to its stylish East-West setting. Handmade square red bricks provide warmth and texture inside and out, while the new door-and-window configuration allows for abundant daylight “to make people feel happy,” Shuheng states. The formula is indeed working: Prefix has many projects underway, including a hotel, a café, and even a car wash. —Edie Cohen

WANG YINGZHOU

ZHOU GUANLING; LIAO SHUHENG; ZHANG YADIAN; YANG CHENGCHENG: PROJECT TEAM.

INTERIOR DESIGN

JUNE.22

WANG YINGZHOU

JUNE.22

INTERIOR DESIGN

arcadiacontract.com

ODETTE LOUNGE NeoCon, Showroom #340

ENHANCING LIVES THROUGH DESIGN

YOTA

K I TC H E N S

B AT H S

C LO S E T S

INTERIOR DOORS

FLAGSHIP STORES: LOS ANGELES 310.657.5497 . NEW YORK 212.980.6026 . MIAMI 786.662.3850 Chic Design Group COSTA MESA, CA 657.232.0001 . MandiCasa HOLLYWOOD, FL 954.923.9860 . EBL Interiors NAPLES, FL 239.431.5003 For Dealership Opportunities: Sales@MandiCasa.com MandiCasa.com

aidlin darling design Napa, California

For Aidlin Darling Design and “passionate clients with exquisite taste and humble values,” according to co-partner Joshua Aidlin, this house, perched atop 10 acres overlooking California’s Napa Valley, is a phoenix rising from the ashes. Literally. The firm’s original design was destroyed by a wildfire midway through construction. Fearless, owner and architect were determined to rebuild, making the resulting 4,000-square-foot home both resilient and an homage to its owners, specifically, the entrepreneur husband’s rural Welsh roots and the wife, who’s transitioning from her high-power law career to a passion for farming. Ergo the project’s name, Three Gables. The moniker also serves as the organizing scheme, since the residence is composed of three structures, each with said roof formation and built of board-formed concrete, standing-seam steel, and glass, with weathering steel used for landscape walls at the open-air entry procession. Each structure is dedicated to a family member. The main house is the project’s heart, containing the industrial kitchen and living-dining expanse with an oak ceiling and access to a pair of cantilevered decks. Upstairs, an open loft is conceived as a study area for the couple’s son. Similarly, the wife’s office is an airy expanse accessed by a rooftop bridge setting up a treehouselike environment. The husband’s retreat is conveniently located over the garage. —Edie Cohen JOSHUA AIDLIN; PETER LARSEN; RYAN HUGHES; MASON HAYES; SEAN KAKIGI: PROJECT TEAM.

i i d a awards residences

INTERIOR DESIGN

JUNE.22

MATTHEW MILLMAN

CHERIE LAU; TORY WOLCOTT GREEN; MICHAEL PIERRY;

Nuez Lounge BIO® by Patricia Urquiola

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AMAi Flexibility at its finest From enjoying a cool drink, to working outside, standing or seated, in the sun, in the shade or under the evening sky, AMAi elevates any experience.

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Neocon preview June 13-15, theMart, Chicago

market edited by Rebecca Thienes text by Georgina McWhirter, Rebecca Thienes, and Carlene Olsen

no limits SPINO

This year, a slinky, snaky form welcomes NeoCongoers at the entry of the Scandinavian Spaces showroom on the 11th floor. It’s Spino by Stefan Borselius, a modular sofa system by Skandiform now available with a slimmer curve creating a rounded 90-degree corner. “Spino is growing and doesn’t want to be restricted,” Borselius says. The new pieces—still perched on a gravity-defying upsidedown triangle base—have been adapted so that they can be positioned back-to-back or eye-to-eye or other configurations. The modules can take wider turns across the room, accommodate sharp corners, make tight U-turns in compact spaces, or line up straight as an arrow. Through Scandinavian Spaces. scandinavianspaces.com

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INTERIOR DESIGN

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

Alain van Havre of Ethnicraft

Elisa Passino for Astek

product Oak Eye. standout The seat of the solid oak chair by the Belgian maker’s in-house designer perches on angled front legs, but it’s the curved backrest shaped like a winking eye that demands the most attention. ethnicraft.com 86

INTERIOR DESIGN

JUNE.22

product Little Haiti. standout Miami’s art deco architecture inspired the Italian designer’s digitally printed wallcovering that mixes precise geometry with a risograph-printed texture, all rendered in a pleasing pastel palette. astek.com

Markus Jehs and Jürgen Laub for Davis

Brandon Walker of Stylex

product Umo. standout The in-house senior designer crafted these accent tables, made in Upstate New York of solid maple, oak, or walnut, with angular legs that cul minate in arched porticos where they join the tabletop. stylexseating.com

product Helio. standout Adding to their steel table collection introduced four years ago, the Jehs + Laub cofounders debut a rounded rectangular shape in three sizes and heights that are perfect for nesting. davisfurniture.com

Jeannette Altherr, Delphine Désile, and Dennis Park for Arper

product Ghia. standout Create an artful cluster or constellation with the Altherr Désile Park partners’s system of low-slung tables offered in a dizzying array of heights, forms, and finishes that go with everything. arper.com

Béatrice Bostvironnois of Larsen

product Baya. standout The design director of the decidedly modern fabric house founded by Jack Lenor Larsen em broidered shapes inspired by land scape forms on linen available in two colorways. cowtan.com

Harald Gründl, Martin Bergmann, and Gernot Bohmann for Keilhauer

product Forsi. standout The upholstered conference chair by the founders of frequent collaborator EOOS comes in a unique “working lounge” height meant to encourage creative thought in relaxed collaborative spaces. keilhauer.com

Jonathon Kemnitzer for Loftwall

product Buffer. standout Just aluminum and PET compose the KEM Studio cofounder’s clean-lined partition meant to bestow privacy with the utmost minimalism (note the lack of visible hardware). loftwall.com

JUNE.22

INTERIOR DESIGN

market

neocon

not your granny’s knit In 2022, Haworth continues its experimentation with state-of-the-art knitting machines with the debut of Cardigan. The design by Studio Urquiola founder and Interior Design Hall of Fame member Patricia Urquiola stretches digitally knit, recycled PET over a powder-coated steel frame, producing a lightweight lounge chair with a rib texture across its cocooning, malleable back and plush seat cushion. Because the knits are engineered to each frame’s exact dimensions, there is no offcut, which supports the company’s zero-waste mission. Available in myriad dusty pastels and weighing less than 50 pounds, Cardigan is also easy to ship, fitting into courier-friendly packaging. haworth.com

“The design communicates extreme comfort and lightness at first sight”

CARDIGAN

INTERIOR DESIGN

JUNE.22

PATRICIA URQUIOLA

BUZZIRUG BUZZISHIELD LIGHT BUZZICOCOON BUZZISPARK LOW

the latest buzz “Four new acoustic furnishings meet the needs of the workplace of the future”

Belgian furniture, acoustic, and lighting company BuzziSpace gets down by introducing its first-ever flooring collection, BuzziRugs. In Gold, Seal, Moss, and Jean colorways, the round and rectangular rugs incorporate the brand’s characteristic sound-absorption qualities, crafted with long thread loops for a soft, silky feel that allows chairs on castors to easily glide over. Also new is BuzziSpark Low, which expands Alain Gilles’s hit seating range with a chic sheltering lounge. The upholstered foam shade of BuzziShield Light, a gently curved linear fixture with integrated dimmable LEDs, is embellished with stitch detailing. Finally, BuzziCocoon is a 2.8-inch-thick temporary divider that can be propped atop desks or used as a telephone booth when wallmounted. buzzi.space

m a r k e tcollection

neocon

INTERIOR DESIGN

JUNE.22

Vamizi WSW-VA-01

WOV EN SI L I C A WA L LCOV ER I N G Award-winning innovation

MomentumTextilesAndWalls.com

CleanAir technology enhances air quality

Naturally made from sand

“I like to challenge the need for uniformity within patterning, while still understanding the importance of balancing a design”

GRAFFITO PHANTOM

m a r k e tcollection

neocon

ways of seeing

BOREALIS

Bradley L Bowers works in many mediums, from paper twisted and scrunched into lanterns to clay turned into delicate vessels. He’s also a dab hand at digital media and surface design. To wit, his new line for Wolf-Gordon, Chromalis: a heady exploration of visual depth and movement. The series was influenced by Bowers’s varied interests—art, gardening, thermodynamics. Among the choices is Borealis, the collection’s sole Type II vinyl wallcovering, its glowy gradients inspired by change (the only constant). Bowers programmed computer algorithms to generate intersecting line work for Phantom, a Supreen woven polyester upholstery inspired by moiré. Graffito, in the same fiber, references dual art traditions: spray-painted street art and Impressionist pointillism. Each mesmerizing offering comes in four rich colorways. wolf-gordon.com BRADLEY L BOWERS

INTERIOR DESIGN

JUNE.22

Complex incisions create flexibility, transparency, and sound absorbing properties unexpected from wood. These innovative wood sheets developed by Switzerland-based Dukta, adapt to a wide range of interior applications. See the possibilities at spinneybeck.com/flexible-wood. “Through experiments and systematical testing of parameters, we push the limits of the material, always between the poles of flexibility and stability.” – Dukta, designers of Flexible Wood

WANNABE RIB ROLL WITH IT HILLSIDE

designtex Give a warm welcome to a trio of dimensional and graphically charged new goodies from the applied materials manufacturer. Circles decorated with colorful pinstripes animate Roll With It, a digitally printed celluloselatex wallcovering that brings boundless energy to any room. Cutely named Wannabe Rib is, well, like a rib knit: felt wallcovering made from 100 percent recycled PET with thin vertical linear grooves texturing its soft, fuzzy surface. Then there’s the outdoor upholstery Hillside in solution-dyed Bella-Dura olefin yarn, its bold solid colors embellished with a dazzle camouflage stitch pattern. designtexdrop.com

market

neocon

heller Design runs deep for John Edelman, who hails from an entrepreneurial family. (His parents started Edelman Leather, his brother, Sam Edelman footwear.) An alum of Esprit and DWR, he continues the legacy with the acquisition of this long-admired product company. “I love a brand that’s bigger than its business. And I love bringing authentic modern design to people craving it,” Edelman says of the JOHN EDELMAN 51-year-old company with the tagline “iconic accessible design.” As president and CEO, he plans to build its digital presence while staying true to founder Alan Heller’s spirit of creativity. In the meantime, such famous Heller pieces as Frank Gehry’s Twist cube and Massimo and Lella Vignelli’s Vignelli table and cube and Stacking dinnerware are at the company’s new 11th-floor location in theMart. hellerinc.com

VIGNELLI

STACKING

TWIST

INTERIOR DESIGN

JUNE.22

From the whimsical mind of Swedish designer Mia Cullin, Tuck + Turn acoustic wall tiles create a myriad of dimensional patterns in over ninety colors of pure wool felt. filzfelt.com/tuck-and-turn

market

neocon

red hot Warm tones are defining standout new products

1. Patty Madden’s C.A.R.E. x Stinson Too! woven and nonwoven high-

performance textiles for healing environments by CF Stinson. cfstinson.com 2. Centric upholstery in polyester and post-consumer recycled polyester by Mayer Fabrics. mayerfabrics.com 3. Dirk Wynants’s Walrus outdoor sectional with galvanized-steel

frame and legs, weatherproof tarpaulin upholstery, and Sunbrellacovered blankets and pillows (which can tuck into storage concealed in sofa back) by Extremis. extremis.com 4. Matt Cheadle’s Lowe Loop desk benching system in solid wood and steel with divider by Mantra Inspired Furniture. mantrainspiredfurniture.com 5. On Neutral Ground EcoWorx-backed carpet tiles in Eco-Solution

Q100TM yarn with post-industrial recycled content by Patcraft. patcraft.com 6. Forces of Nature flooring collec-

tion in solution-dyed nylon with recycled content by J+J Flooring. jjflooringgroup.com

INTERIOR DESIGN

JUNE.22

The Feeling of Home Today’s workplace should foster belonging and create spaces of engagement and collaboration. Our design partnership with West Elm embraces the warmth and comfort of home wherever you may find yourself. Our collaboration brings to life inspiring West Elm designs, paired with Shaw Contract performance. Experience our new collection of rugs, tile & broadloom at NeoCon 2022. THE COLLECTION WILL BE AVAILABLE ON SHAWCONTRACT.COM AND ON WESTELM.COM THIS SUMMER.

Experience advanced design with the Clark Street Collection Bring ﬁnely crafted geometric forms into your next project with Sloan’s new touch-free faucets and soap dispensers. The smooth curves and deﬁned angles make this pairing ideal for catching light and turning heads. See them in action as part of our Clark Street Collection. Learn more about the Clark Street Collection at sloan.com/collections

AN ELEGANT EMBRACE

CH78

Mama Bear Chair by Hans J. Wegner

The CH78 Lounge Chair by Danish furniture designer Hans J. Wegner was first introduced in 1954. Affectionately known as the Mama Bear Chair, it was an antidote to the often-heavy lounge chairs of the time; the chair’s elegant and expertly crafted silhouette is defined by a series of inviting curves that offer up a warm embrace. Find an authorized dealer near you at CARLHANSEN.COM

Flagship Store, New York 152 Wooster St New York

Flagship Store, San Francisco 111 Rhode Island St #3 San Francisco

Showroom, New York 251 Park Avenue South, 13th Floor, New York

1954

it’s in to be out

Apero Collection by Martin Drechsel ®

Apero takes the traditional, German, wooden chair and skillfully gives it a contemporary look. E M U ’s k n o w - h o w o f w o r k i n g w i t h m e t a l m a k e s t h e t u b u l a r m e t a l s e a t a n d b a c k a p p e a r l i g h t and airy resulting in a fine, smooth silhouette. Light between the horizontal and vertical lines playfully reflects an unusual pattern of squares. Its minimal, graphic, multi-purpose design d i s c r e e t l y a d a p t s t o a n y t y p e o f e n v i r o n m e n t a n d s t y l e . T h e c o l l e c t i o n c o n s i s t s o f a c h a i r, a r m c h a i r, a n d b a r s t o o l . emuamericas llc

800.726.0368

www.emuamericas.com

70 years of manufacturing experience in outdoor furniture. “Made in Italy” at its best.

It takes humans to protect humanity. Our products are carbon neutral everywhere in the world.

M/PACT CARBON NEUTRAL PROGRAM

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“For showcasing products, a space with character is indispensable”

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FOUR 1,024 fabricators led by founder Yujie Luo

INDIVIDUAL COMPONENTS

natural wonder Using local pine, Luo Studio transformed a warehouse into a medicinal-plant mecca, simultaneously building green and revitalizing industry in Jiaozuo, China

40 FEET LONG

COURTESY OF LUO STUDIO

1. Isometric CAD renderings model the latticelike shelves, inspired by centuries-old bamboo weaving techniques, Luo Studio created for the Yuntai Ice Chrysanthemum Industry Park, an outlet for ice chrysanthemum medicinal products in an existing building in Jiaozuo, China. 2. Thin, 2-inch-wide ribbons of locally sourced, inexpensive pine were bent into shape by hand. 3. They were then bolted to an iron frame work. 4. The resulting structure was attached directly to the building’s steel armature creating a canopy with cor ridors below it.

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c e n t e r fold

WEIQI JIN

The 17-foot-tall canopy system nearly fills the 6,500-square-foot industrial building, its handmade quality nodding to how each piece of ice chrysanthe mum is manually picked, dried, and baked by villagers (much of this industry disrupted in the last two years by COVID-19 and flooding); the 12 local vari eties displayed here are for tour groups and distributors to browse before participating in livestream auctions. Like the canopy, the freestanding display units are also pine.

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

3705-58 Sugar Glass

june22

Fresh twists on workplace

ERIC LAIGNEL

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crystal palace The dramatically faceted glass facades of the Bořislavka Center by Aulík Fišer Architekti reflect Prague, old and new text: peter webster photography: boysplaynice

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Evropská, a major thoroughfare linking central Prague to the main airport, has seen a lot of development—corporate headquarters and other imposing buildings—over the last few decades. But in planning to add a new office and retail center to the broad street, KKCG Real Estate Group envisioned a facility that didn’t just satisfy commercial interests but also enhanced the livability quotient of the surrounding residential neighborhood, a heterogenous mix of family villas, mid-rise apartment blocks, and even a communist-era housing estate. “Besides the business functions of the complex, our main goal was to supplement public services and amenities in the catchment area,” CEO Petr Pujman says. An international competition led the developer to engage a likeminded local practice, Aulík Fišer Architekti, to design the proposed center. “We considered the greatest strength of the brief was the ambition to reach out and help improve the neighboring areas,” acknowledges Jan Aulík, coprincipal with Jakub Fišer of the firm. For client and architects, the common goal was to provide the community with a vibrant urban complex offering amenities, cafés, restaurants, and shops in the

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form of a refined public space—a contemporary reinterpretation of the small squares and intimate plazas that make the Czech capital’s famed historic district such a perennial delight. The narrow 4.2-acre site’s positive aspects—a prime location directly above the Bor̆islavka metro station, for which the center is named, plus sweeping views of the city, including iconic Prague Castle—were offset by its awkward triangular shape and uneven topography. Aulík Fišer pored over historical street maps, which not only revealed how the quirky lot had evolved but also suggested ways its problems could be resolved. “We used the existing geometry, developed it further, and reopened passage through the site,” Fišer explains. “Then we subdivided the site into self-similar fractal segments”—treating it, in other words, as if it were a micro-neighborhood in an old town realized in modern architectural terms, which include meeting today’s environmental and sustainability requirements. The resulting 751,000-square-foot complex comprises four faceted volumes sitting on a stoneclad, two-story plinth. The latter, which contains a partly subterranean shopping mall, addresses

“The greatest strength of the brief was to help improve the neighboring areas”

Previous spread: Aerial, a sculptural installation by Federico Díaz, guards entry to the Bor̆islavka Center, an office and retail complex in Prague by Aulík Fišer Architekti. Opposite: The office buildings sit on a stone-clad plinth dotted with public spaces that emulate the squares, plazas, and passageways of historical European town centers. Top: Part of the shopping mall is belowground, where the stretch-membrane ceiling is 100 percent recyclable. Bottom, from left: Acacia-wood posts covered with moss, orchids, and other epiphytic plants form an installation in the largest lobby. The Iceberg, an arrangement of fused-glass plates that emerge from reception’s slatted ceiling, is the biggest work yet produced by the Lasvit glassworks. A walkable skylight set into the entry piazzetta illuminates an escalator leading down to the mall and metro entrance. JUNE.22

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the changes in street elevation, integrating the center into the surrounding cityscape while providing a base for the quartet of glass-clad office structures. The irregular crystalline forms, up to seven stories tall, are carefully positioned to create narrow alleys and small open spaces between them, a permeable civic precinct that’s reassuringly familiar in scale and function while excitingly modern in execution and style. A tiny pre-existing square was transformed into a piazzetta, which provides barrier-free access to the whole complex and the metro station vestibule. Czech-Argentinian artist Federico Díaz created a monumental sculpture for this entry court, a towering assemblage of robotically engineered highperformance concrete that suggests ancient figures formed from sedimentary rock. It’s reflected in the multiangle facades’ structural glass, which is formulated to transmit ample daylight to the interiors while avoiding undesirable levels of solar glare on the outside. The individual buildings are set into stepped green gardens, while entrance lobbies and public areas are filled with lush vegetation, including creepers growing up through atria and other soaring spaces. Inspired by tropical rainforests, an experimental form of indoor planting was specifically designed for the project: In the largest lobby, 76 rough-hewn acacia-wood posts the size of small trees rise in a gladelike cluster from a pool of shallow water, their trunks festooned with orchids, moss, and other epiphytic plants—a waft of the jungle that’s repeated on a smaller scale elsewhere in the complex. “It is not just vegetation, but an artwork that is alive and changeable,” says Zdenĕk Sendler, a landscape architect who collaborated on the project. Top: In a conference room, sleek corporate furniture is juxtaposed with wood slats on the ceiling and walls and the pendant fixture of mouth-blown glass. Center: The complex sits on a major thoroughfare linking the center of the city to the main airport. Bottom: Heavily textured walls in a lounge area recall geological striations. Opposite: Glass and steel are treated with remarkable fluidity in a custom spiral staircase connecting two levels in the main building. 112

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Top, from left: Extensive glazing and backlit membrane ceilings keep interior office spaces light and airy. Seen from below, the spiral stair is like a fanciful oculus. Czech typographer Vojtĕch R̆íha helped develop a custom font for the center’s signage and branding. Bottom: While comprising an integrated ensemble, each of the complex's four crystalline buildings has a unique form. Opposite: The steel ribbon around which the spiral staircase turns becomes a standalone sculptural element on a lower level.

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The abundant greeney is complemented by an extensive program of commissioned artworks and large-scale installations. Chief among the latter is The Iceberg, a diaphanous, light-filled arrangement of 120 fused-glass plates that emerges from the main reception area’s slatted wood ceiling like the softly glowing peaks of an inverted mountain range. Designed by Maxim Velc̆ovský, it’s the biggest piece the innovative Czech glass studio Lasvit has yet produced. The Bor̆islavka Center is not all gardens and art, however. The four crystals house handsome office space, much of it occupied by KKCG Group and its associated divisions. (In a twist, the company sold the complex earlier this year and has become a tenant in its own development.) Aulík Fišer balances

the interiors’ elegantly uniform fittings and furnishings—name-brand products characteristic of the modern corporate workplace worldwide— with custom elements and crafted pieces that bring a sense of individuality and surprise with them. And there is often a natural rawness to the materials, finishes, colors, and textures the team has chosen to use throughout. The biophilia extends beyond aesthetics: Thanks to extensive green roofs, sophisticated rainwater management systems, elevator-energy recovery equipment, heat exchangers, and a slew of other environmentally friendly features, the whole complex has gained LEED Gold certification— affirmation that this crystal palace glitters in more ways than one.

PROJECT TEAM LEOŠ HORÁK; JAKUB HEMZAL; GABRIELA KRÁLOVÁ; DAVID ZALABÁK; ALENA SEDLÁKOVÁ; PETRA COUFAL SKALICKÁ; EVA MAŠKOVÁ; JAN DLUHOŠ; ONDR̆EJ C̆ERNÝ; PETRA MĔRKOVÁ; OLEKSANDR NEBOZHENKO; VOJTĔCH ŠTAMBERG; KRISTÝNA ZÁMOSTNÁ: AULÍK FIŠER ARCHITEKTI. MATOUŠ HYDROPONIE; ZDENĔK SENDLER: LANDSCAPE CONSULTANTS. NOVECON; PBW GROUP: INTERIOR OUTFITTERS. RUBY PROJECT MANAGEMENT: CONSTRUCTION MANAGER. FERI; METROSTAV; ZAKLÁDÁNÍ STAVEB: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT DU PONT: DESK SOLID SURFACING (RECEPTION). LASVIT: CEILING INSTALLATION. STUDIO PERSPEKTIV: FURNITURE (SHOPPING MALL). THROUGHOUT SPIRAL: GLASS FACADES. ALLEGRO; BARRISOL; KOVPROF: CEILINGS. LLENTAB: SKYLIGHTS. EXX; HORMEN; LUMIDEE: LIGHTING. JEŽ: STONE CLADDING, PAVEMENT. BOCA: CARPET. HUNTER DOUGLAS; PURSTYL: WINDOW SHADES.

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all aboard text: rebecca dalzell photography: eric laignel

For the Atlanta headquarters of freight rail operator Norfolk Southern, HOK helped consolidate thousands of employees into one streamlined, amenities-fueled workplace

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Transportation company Norfolk Southern Corporation traces its history back to 1827. But today it’s firmly rooted in the 21st century. Its subsidiary, Norfolk Southern Railway Company, which oversees 19,000 miles of train tracks across 22 states, relies on technology to ensure safety, move goods efficiently, and reduce fuel emissions. But to be innovative and nimble—and attract top coders and engineers—NS needed to consolidate into a state-of-the-art headquarters. For decades, the corporation was based in Norfolk, Virginia, but its operations and technology teams were in Atlanta. In 2018, NS decided to bring everyone together, and HOK won the bid for the interiors of a new 750,000-squarefoot complex in Midtown Atlanta’s Tech Square. “The client didn’t want this to be treated like a train museum,” HOK firm-wide director of interiors Tom Polucci begins. “The existing buildings had beautiful models of locomotives, but NS said, ‘No, we’re more sophisticated than that.’” Betsy Nurse, HOK Atlanta’s director of interiors, adds: “Norfolk Southern sees itself as a tech company, not a railroad company.” The client envisioned a timeless concept where track workers and administrators alike would feel at home, with ample flex spaces to help the 3,000 on-site employees meet and collaborate. Robust amenities—fitness center, food hall, game room, childcare center—would help the company compete for talent against the likes of Google. With architecture by Pickard Chilton, the ground-up headquarters is composed of two office towers (10 and 17 stories tall) joined by a five-story podium, which houses the lobby, amenities, and parking. HOK was at the table from the beginning and helped shape some of the architectural solutions, especially in the podium. The parking deck constrained the volume that would become the lobby, which could have been one to three stories high. “We studied different options and how the floors wove together,” Polucci says. The team landed on a 32-foot-high lobby that’s open to loungelike collaboration zones on the second floor and creates energy and buzz. This gave HOK the opportunity 118

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Previous spread: A three-story staircase of Corian-clad steel and white oak forms the center piece of the Norfolk Southern Corporation headquarters in Atlanta, with interiors by HOK. Opposite: The stair begins on the second level, which is populated by various flex and gallerylike spaces united by white oak flooring. Top, from left: Can’t You See, a weathering-steel sculpture by Pennsylvania artist Dee Briggs, alludes to train tracks, movement, and tunnels. Every two office floors share a double-height break room, furnished with LVT flooring, Jehs + Laub tables, and custom banquettes. Bottom: In a second-floor lounge, Lievore Altherr Molina armchairs flank a live-edge table made with sycamore from a tree in Bronson Forest, North Carolina, which Norfolk Southern owns.

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Standing on the plaza outside the building, a new structure by Pickard Chilton that consists of a pair of 10- and 17-story towers joined by a five-story podium, the sculpture is visible from the honed sandstone and natural quarried stone–floored lobby, simultaneously echoing and juxtaposing the Corian stair.

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This page: The stair’s Corian ribbon, with double LEDs on its underside, curls down to form the custom reception desk. Opposite top, from left: Custom light fixtures outside the fitness center. The stair’s con sistent 15-degree slope. Opposite center, from left: The conference center’s custom quartz counter with built-in seating. LED pendant and recessed linear fixtures in the nerve operations center. Opposite bottom, from left: The HOK-designed, Meg Mitchell– painted mural in the public café. Carrara-clad walls in the main elevator lobby.

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to create a monumental circular stair, the defining element of the interior. The firm conceived of the stair as an iconic sculpture that would make the headquarters unique. Its ribbon of Corian-clad steel twists from the ground floor to the fourth, but the white-oak treads only begin on level two. In the lobby—detached from the stairs for security reasons—the Corian curls to wrap the reception desk. “Our goal was a pure form,” Polucci says. “The ribbon is consistent all the way up; it doesn’t flatten out at each floor.” The stair grew out of the idea of movement, the guiding theme of the project. “Norfolk Southern was looking to celebrate the idea of motion in subtle, special ways,” Polucci notes. Outside the building’s entrance, a site-specific sculpture evokes tunnels and curved tracks in weathering steel. Nurse points out that the artwork is right outside the lobby, where you can see its relationship to the stair: “One is super refined, the other is raw.” Artwork populates the interior, as well. In the ground-floor café, which is open to the public, there’s a 19-foot-high mural by HOK’s Experience Design team of a train on a track under a golden moon. Nearby, a painting by local artist María Korol hangs at the end of the main elevator lobby. On the fourth floor, the stair terminates in front of the nerve operations center, which is like an air-traffic control room for trains. “From a visitor experience, it tells a story, because you land at the heart of the facility,” Nurse says. The room vividly channels the concept of motion with angular pendant fixtures and 2,000 feet of recessed LED strips that streak across the ceiling and down the walls. The center, which operates 24/7, also glows with blue lighting chosen to be soft on the eyes of dispatchers staring at screens all day. Employees come together in the fifthfloor canteen that doubles as an all-hands meeting space. Designed like a food hall with six different vendors, it sits between two outdoor terraces; one has a retractable glass wall so the spaces can flow together. Totaling 55,000 square feet, the outdoor areas include another terrace by the gym on the floor below, where employees can do laps on circular walking paths. “Movement is also important to Norfolk Southern from a health and wellness perspective,” Nurse states. Glass-walled stairs in both towers further encourage physical activity. While the array of amenities might seem like a post-pandemic bid to lure workers back to the office, the program had already been in place. The headquarters was midconstruction in March 2020, and Norfolk Southern stuck to the plan—even keeping

a permanent desk for each employee. “That was a key tenant from the beginning,” Annie Adams, Norfolk Southern’s chief transformation officer, says. “It was important that everyone have a space to call their own.” The company, which had a phased move-in that began last fall and was completed in April, had always planned on accommodating hybrid work; meeting rooms are wired to connect remote participants seamlessly. Adams estimates that the headquarters is typically at 80 percent capacity. For her, the project’s success goes well beyond its anticipation of flexible work schedules. “The design reflects who we are and where we’re going,” she says. The future of freight rail, it seems, is right on track. PROJECT TEAM DANIELLE SCHMITT; KAY SARGENT; DIANA STANISIC; VIVIEN CHEN; RICHARD SAUNDERS; WERONIKA CICHOSZ; FRANCESCA MEOLA; CRYSTAL LATHAM; VALERIE ROOSMA; IRINA SAI; ERIN EZELL; EMILY PAYNE; BETHANY FOSS; CLAIRE PELLETTIERE; MATT MC INERNEY: HOK. HKS: ARCHITECT OF RECORD. OJB: LANDSCAPE CONSULTANT. HOK EXPERIENCE DESIGN: CUSTOM GRAPHICS. ONE LUX STUDIO: LIGHTING CON SULTANT. UZUN + CASE: STRUCTURAL ENGINEER. INTEGRAL CONSULTING: MEP. ONSITE WOODWORK CORPORATION: CUSTOM FABRICATION WORKSHOP. HITT: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MASLAND CARPETS: RUG (LOBBY). HBF: SOFA (LOBBY), CHAIRS (CAFÉ). LUUM: SOFA UPHOLSTERY (LOBBY), CHAIR FABRIC (LOUNGE). SHAW CONTRACT: LVT (BREAK ROOM); RUGS (BREAK ROOM, LOUNGE), CARPET TILE (DAYCARE). DAVIS: TABLES (BREAK ROOM). JAMIE STERN DESIGN: CUSTOM BANQUETTES. POLLACK: BANQUETTE UPHOLSTERY. MORTENSEN WOODWORK: CUSTOM SCREENS (LOUNGE). CURRY SAWMILL CO.: CUSTOM TABLE. ANDREU WORLD: CHAIRS (LOUNGE, CAFÉ). HOLLY HUNT: CHAIR (RECEPTION). ART & ASSOCIATES: CUSTOM LIGHT FIXTURES (GYM ENTRY), CUSTOM WALLCOVERING (GYM). WOLF-GORDON: WALLCOVERING (GYM ENTRY). BENTLEY MILLS: CARPET TILE (CONFERENCE CENTER). RUSS BASSETT: WORKSTATION (OPERATIONS CENTER). LAMBERT & FILS: PENDANT FIXTURES (CAFÉ). NYDREE FLOOR ING: FLOOR TILE (CANTEEN). MARTIN BRATTRUD: TABLES. SANDLER SEATING: STOOLS. TON: CHAIRS. NANAWALL: FOLDING GLASS WALL. ATOMIC 50: CEILING PANELS (GAME ROOM). FLOR: CARPET TILE. CB2: CEILING FIXTURES. HIGHTOWER: RED CHAIRS. OFS: PING PONG TABLE. BIG ASS FANS: FANS (GYM). PLITEQ: FLOOR TILE. FLOS: TRACK FIXTURES (DAYCARE). EF CONTRACT: LVT. THROUGHOUT DU PONT: CORIAN. BASALTITE: STONE FLOORING. KÄHRS: WOOD FLOORING. AXIS LIGHTING; GENLED BRANDS; HUBBELL; LED LINEAR; 3G LIGHTING; USAI LIGHTING: LIGHTING. DECOUSTICS; RITZ ACOUSTICS; USG: ACOUSTICAL CEILINGS. BENJAMIN MOORE & CO.: PAINT.

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Opposite: Beneath train track–inspired custom ceiling baffles, the employee canteen is fur nished with Graham Design tables, Alexander Gufler armchairs, and black stools by Daniele Lo Scalzo Moscheri, and opens to a terrace on one side. Top, from left: In the gym, ceiling fans are painted to match the custom digitally printed wall covering. Tin-plated ceiling panels and Donna Piacenza’s flush-mount fixtures bring a vintage vibe to the game room. Bottom: Nylon carpet tiles and LVT floor the childcare center.

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rosetta stones

At the Narbo Via Museum in Narbonne, France, Foster + Partners translates one great architectural language, classicism, into another, modernism text: joseph giovannini photography: nigel young/foster + partners

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Some commissions might tempt an architect to dial back time. But for the Narbo Via Museum in Narbonne, France, which displays Roman antiquities, Foster + Partners eschewed pediments, columns, capitals, or other elements of literal historicism. Rather the firm worked in a completely contemporary architectural language, combining state-of-the-art concrete construction, prefabricated building components, and simple notions of mass and spatial gravitas to evoke ancient building traditions. Present-day Narbonne was once Narbo, the first capital of Roman Gaul, and an important Mediterranean riverine port. In the Middle Ages, the city’s Roman buildings and funerary monuments became quarries for constructing fortified walls. Centuries later, in the 1860’s, when the walls were dismantled for a modern, expanding city, antiquarians retrieved stone blocks carved with figures and texts, and stored them in stacks in a Romanesque church. In 2012, Narbonne held an invited competition to build a regional museum and study center for the reliefs, one that would also serve, more broadly, as an introduction to all of Rome in the south of France. The blocks needed a controlled, protective environment, a more effective method of display, and facilities for conservation and research. The ruins of a Roman villa had also been discovered 20 years before, and they needed special accommodation, too. With their mastery of concrete and masonry, Romans were inspired engineers and builders. But they were, in their way, proto-modernists, producing construction components in a handcrafted “industrial” process for what we would now call systems design. Just down the road in Nîmes, a 24,000-seat amphitheater offers an early example of a systems building, with stones—modular, fitted, and carved, some in distorted, non-Euclidean geometries—that were all sized and shaped for designated positions in the oval structure. That Roman savoir faire established a precedent for the Foster team, which approached the project with comparable respect, skill, and efficiency, but in an industrialized systems design. Founder and executive chairman Norman Foster himself Romanized the agenda: “Norman was very insistent that if we were expressing the design as massive, it should be massive, to refer to the language of Roman architecture, instead of covering a frame with finishes, as we normally do,” partner and project architect Hugh Stewart notes. 128

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Previous spread: More than 800 Roman funerary stones are displayed in a custom industrial shelving system at the Narbo Via Museum in Narbonne, France, by Foster + Partners. Opposite top: A wall map of the Roman Empire greets museumgoers in the entry atrium. Opposite bottom: Concrete roof beams extend beyond the perimeter walls, creating graphic shadows that animate the facade; photography: Philippe Chancel. Top, from left: The permanent collection includes such rarities as this sculptural timber fragment from a Roman boat. Dubbed the lapidary wall, the display rack spans the full width of the building, dividing it into a public section and a back-of-house zone for research, restoration, and administra tion. Bottom: The single-story building comprises structural walls of packed dry-mix concrete sup porting a cast-concrete roof.

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Like a Roman military formation going into battle, the 104,300-square-foot building is square in plan, with walls of dry-packed, pigmented concrete manually tamped in layers—rosy striations that recall the sedimentary rock canyons of Petra, Jordan, carved with Hellenistic funerary temples. Organized in strict rectilinear geometries, the weighty, 32-inchthick walls convey a monumentality whose traditions reach beyond Rome back to ancient Egypt’s Karnak. A tall, cathedral-like hall divides the building into two rec tangular sections. The soaring space houses more than 800 funerary stones, which are stacked in a clifflike grid of galvanized-steel racks. This is the public-facing side of an industrial storage system with a factory-style gantry that allows museum

staff on the other side to retrieve any artifact needed for study or conservation. Otherwise, the stones remain in full view of museumgoers, who can access information about them on interactive touchscreens. Dubbed the lapidary wall, the enormous structure turns what would normally be a back-ofhouse area into an exhibition hall. The prefabricated concrete roof extends beyond the loadbearing perimeter walls, providing shade from the meridional sun. Since the museum sits on a plinth, all HVAC ducts and the like run under the floor—another very Roman idea—leaving the underside of the roof as an unadorned ceiling. The interior spaces are modular, “to allow a large degree of flexibility and also an interpenetration of public and professional Below: The galleries are modular, with polished concrete flooring, like this one dedicated to the remains of a recently discovered Roman villa. Opposite top: The gridded storage wall emulates the ancient Roman’s love for regular, repetitive, engineered structure; photography: Philippe Chancel. Opposite bottom: An open courtyard, one of three in the administrative section, recalls the atrium in a Roman house.

“With their mastery of concrete and masonry, the Romans were inspired engineers and builders”

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zones,” Stewart says. “The modular approach to planning gives you all sorts of visual axes penetrating the plan.” The public entry is like the atrium of a Roman house, a lofty courtyard centered on a shallow reflecting pool with a roof opening above. It leads into the larger of the museum’s two constituent sections, which houses galleries for temporary and permanent exhibitions (including appropriately scaled spaces for frescoes and other artifacts from the ruined villa) along with a restaurant, shop, and small auditorium. Meeting rooms, administrative offices, workshops, and research areas occupy the smaller of the two sections, on the other side of the lapidary wall. With its dry-packed walls, precast-concrete roof, galvanizedsteel storage racks and fittings, and polished concrete flooring, the museum is “a true brutalist building: no finishes on anything,” Stewart acknowledges. “The project harks back to the early days of Foster Associates as a kind of modular, lightweight structural building but with a single big difference: much heavier construction.” For a museum about classical architecture, the firm has a produced a classic of modernism that in its clarity, purity, and spare monumentality achieves, without historical pastiche, the authenticity of a Roman build ing. The two traditions coincide in a regular, repetitive, engineered structure—the language of both.

PROJECT TEAM NORMAN FOSTER; SPENCER DE GREY; DAVID NELSON; GRANT BROOKER; ANDY BOW; FRANÇOIS CURATO; ANGELIKA KOVACIC; PIERS HEATH; ROGER RIDSDILLSMITH; FILLIPO BARI; TREVOR BARRETT; ARIADNA BARTHE CUATRECASAS; PETER DONEGAN; CAROLE FRISING; ED GARROD; VAGELIS GIOUVANOS; RICARDO CANDEL GURREA; ANDRES HARRIS; HELENE HUANG; RAPHAEL KEANE; AMANDA LYON; BERENICE DEL VALLE MORAN; ADELINE MORIN; RAFFAELLA PANELLA; RAJ PATEL; ALEX (ZHEN) QIAN; CAMILLA SAND; DANIEL SKIDMORE; THANG VU: FOSTER + PARTNERS. JEAN CAPIA: COLLABORATING ARCHITECT. STUDIO ADRIEN GARDÈRE: MUSEUM CONSULTANT. GEORGE SEXTON ASSOCIATES: LIGHTING CONSULTANT. PEUTZ: ACOUSTIC CONSULTANT. ONSITU: AUDIOVISUAL CONSULTANT. OGER INTERNATIONAL: CONCEPT ENGINEER. SECIM: STRUCTURAL ENGINEER. TECHNISPHERE: ENVIRONMENTAL ENGINEER; MEP. URBALAB: CIVIL ENGINEER; LANDSCAPE CONSULTANT. FONDEVILLE: GENERAL CONTRACTOR. PRODUCT SOURCES THROUGHOUT BOURDONCLE: CUSTOM GALVANIZED STEEL. SIREWALL: EXTERNAL WALLS. VELUX: SKYLIGHTS. MECALUX: CUSTOM SHELVING SYSTEM. GOPPION: DISPLAY CASES. ERCO: TRACK LIGHTING. PLANAS: GRAY CONCRETE.

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Opposite top: A warehouse-style gantry behind the storage racks allows museum staff to retrieve the funerary stones for research and conservation; photography: Philippe Chancel. Opposite bottom: A massive skylight runs above the galvanized-steel shelving. Top, from left: The entry’s roof opening and reflecting pool are modern versions of a classical villa’s compluvium and impluvium, a rainwater-collection system. A galvanized-steel screen separates the Roman villa gallery from the lapidary wall space. Bottom: The museum sits on a low plinth, which contains underfloor HVAC ducting and other building services, a strategy followed by the Romans themselves; photography: Philippe Chancel.

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class acts From Switzerland to China, architects and designers are creating educational facilities that are as aesthetically vibrant as they are intellectually stimulating text: peter webster

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See page 140 for the Guangzhou Academy of Fine Arts High School in Shenzhen, China, by Various Associates. Photography: Yongmao Li.

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“The iconic new student center embodies the university’s pride in its history and optimism for the future”

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Teeple Architects project Calvin & Tina Tyler Hall, Morgan State University, Baltimore. standout The Canadian firm, working with local practice GWWO Architects, has gathered the HBCU’s formerly dispersed administrative and student services into a single, 142,000-squarefoot building with an expressive limestone-clad exterior and a welcoming interior organized around a series of flowing, multistory lounges with ample seating and study and colla boration spaces. photography Nic Lehoux.

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Sehw Architektur project Gustav Heinemann Comprehensive School, Essen-Schonnebeck, Germany. standout As part of the transformation of a former coal-mining enclave into a modern residential neighborhood, many of this 200,300-squarefoot, four-story complex’s splendid facilities—featuring a cheerful palette drawn from Le Corbusier’s 1959 color keyboard, they include a forum, hall, library, canteen, and science labs—will be available for use by local residents as well as enrolled students. photography Clockwise from top left: Philipp Obkircher; Helin Bereket; Philipp Obkircher (2); Helin Bereket.

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“The atmosphere is enhanced by the selective use of wood-based materials”

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“Through renovation and regeneration, the project will bring new spaces that balance art education with daily life”

Various Associates project Guangzhou Academy of Fine Arts High School, Shenzhen, China. standout To transform several abandoned riverside buildings into a unified, arts-friendly campus—nearly 97,000 square feet in all—traffic nodes between the structures were reorganized and a series of diversified and flexible interior spaces were devised, with swaths of blue and white both integrating and differentiating areas and rooms and red on stairs highlighting vertical movement. photography Yongmao Li.

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“The center is notable for its highly developed didactic concept, compatibility with the district, architectural ambition, and affordability”

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Sou Fujimoto Architects project HSG Learning Center SQUARE, University of St. Gallen, Switzerland. standout The competition-winning concept for this flexible learning facility posits a stack of cubes on a grid that’s sensitive to the proportions of neighboring buildings while offering a total of 75,000 square feet of indoor and outdoor space, including a multitude of green rooftop terraces and adaptable interior layouts that accommodate various activities. photography Roland Halbe.

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In LSM’s Washington office for eminent legal firm Paul Hastings, a pair of tall sculpture installations evoke and defy the laws of logic

power towers text: laura fisher kaiser photography: eric laignel

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Located on M Street NW, halfway between Dupont Circle and the White House in Washington, the office LSM recently designed for Paul Hastings is somewhat off the beaten tourist track. But it is not unusual for passersby to press their noses against the gleaming facade, perhaps wondering if they have stumbled upon some exclusive art gallery. In one corner of the dedicated lobby, a 20-foot-long leather sofa curves in a smile as four illuminated Doric-like columns, each 12 feet tall, extend from the ceiling and hover a few inches above the honed Lasa floor. In a seemingly random pattern, each barrel glows incandescent, fades, then pulses bright again as if an impish wizard somewhere is fiddling with a sticky rheostat. The mixed-media sculpture, a quartet of cylinders in varying heights lit by LEDs, is by Cerith Wyn Evans. Activated by a musical score of sorts, each column lights up in a carefully orchestrated syncopation. That nobody can hear the music does not matter. Originally created for an exhibition at Pirelli HangarBicocca in Milan, the sculptures, repositioned here by Evans, animate the sleek space, providing an active art experience for both pedestrians and vehicular traffic. They also complement a crystalline sculpture by Tara Donovan in a window vitrine nearby—the connecting main lobby of the 12-story building, a ground-up structure by New York architecture firm REX. “We realized we had this opportunity to change the streetscape, to weave this wonderful thread of beautiful art through the city so that people can experience this incredible culture as they’re just making their way down the street,” LSM founding partner and Interior Design Hall of Fame member Debra Lehman Smith says. “This is art for all”—and a generous gesture by Paul Hastings, a global law firm with 21 offices throughout the Americas, Asia, and Europe. Approximately 200 lawyers and support staff work out of the DC office.

“We realized we had this opportunity to change the streetscape, to weave a thread of art throughout the city”

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Previous spread: At Paul Hastings, a law firm in Washington, LSM commissioned a sculpture by Conrad Shawcross to link the office’s double-height visitor reception, located on the top two floors of a 12-story building by REX. Opposite top: Titled Fractured Paradigm (blue), the Shawcross sculpture is com posed of hundreds of anodized-aluminum tetrahedrons. Opposite bottom: On street level is a dedicated firm entrance with lobby featuring a custom desk and a kinetic, four-part installation by Cerith Wyn Evans, StarStarStar/Steer (Transphoton). Top: A Lasa staircase with balustrades of polished stainless steel and glass connects reception and the conference area, while the private Paul Hastings roof terrace overlooks the sculpture. Bottom: Conference and collaboration zones flank the elevator lobby, paneled in brushed stainless steel, and afford far-reaching north and west views.

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Smith and her team worked closely with CBRE to shape Paul Hastings’s 100,000-square-foot share of the building, which, developed by Tishman Speyer, includes not only the street-lobby exhibition space but also floors nine through 12 and two roof terraces. Visitors entering on the 11th-floor reception are greeted by another commissioned work of art, a mesmerizing 13-foot-tall sculpture by Conrad Shawcross. It comprises hundreds of azure shards of anodized aluminum that appear suspended in air as if after an explosion. It’s part of the artist’s exploration of the tetrahedron, which is “geometrically, a four-sided non-tessellating form and conceptually the symbol of an indivisible unit of matter,” he explains. “As a building block, the tetrahedron behaves as an irrational number, creating sequences that, in theory, extend into infinity without repetition.” Installing the piece was no less complicated, Top: Ceilings throughout, including in the conference suite, are barrel-vaulted, help requiring 14 hours, a crane to hoist it over the terrace and ing to bring natural light deep into the floor plate. Bottom, from left: A custom sofa through a sliding partition, and a crew of 12 to bolt the stainbackdrops one of Wyn Evans’s columns, its LEDs brightening and dimming with the less-steel frame to the floor on an impossibly small plate. three other columns in syncopation. An onyx-topped table and an Arne Jacobsen The work’s delicacy is best appreciated as one ascends a Little Giraffe chair furnish a meeting room. The stainless-steel plate anchoring the Shawcross sculpture is bolted to the Lasa floor. Poul Kjærholm PK80 benches line a sensuous staircase of Lasa, polished stainless steel, and glass, corridor, its floor composed of a Lasa and Bella Rosa stone. which curves along the far wall of the atrium to a mezzanine and the terrace. The 12th floor features a conference suite encompassing break-out space and a multipurpose room enclosed by glass walls; on one end, they slide open to connect to the interior and open accordion-style on the other to access the landscaped terrace, its views extending to the National Cathedral. The building features what Smith calls “the most beautiful curtain wall in the world.” Manufactured using cold-bending technology, each panel of energy-efficient glass curves inward, creating a kaleidoscope effect from the outside while eliminating the need for vertical mullions. The elegance of the unique curtain wall informed many decisions about lighting, materials, and furniture. Taking a cue from the concave shape, LSM created barrel-vaulted ceilings throughout the interiors, which bring daylight deeper into the floor plates, and installed curved benches and planters on the terrace.

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Crossing to a window, Smith points down to one of her favorite “bespoke touches”: a scalloped border along the perimeter of the stone floor, which mimics the curtain wall’s shape, in a gold-toned onyx reminiscent of the walls in the building’s main lobby and which LSM used to top several conference and coffee tables. “The contractors were like, ‘You’re serious? You really want to create this complicated inlaid border?’ And I was like, ‘Absolutely!’” she laughs. “It was a lot of meticulous work, but it’s a nice surprise that doesn’t detract from the overall design, which is quiet, tonal, and textured.” Returning to the street lobby, Smith is momentarily mesmerized by the Wyn Evans light show. “We spent hours and hours with corrugated cardboard cutouts to figure out exactly where each column would go,” she says. Suddenly she snaps her fingers. “Oh! We should put an interpretive sign in the window so people can understand what they’re looking at,” she says, surprised that she had not thought of it before. “That would make this gift to the city even better.”

PROJECT TEAM JAMES BLACK MC LEISH; RICK BILSKI; DONNIE MORPHY; REBECCA MONTESI; MARC PELLETIER; EVIE SOILEAU: LSM. FISHER MARANTZ STONE: LIGHTING CONSULTANT. CONSTRUCTED GROUND LANDSCAPE ARCHITECTURE: LANDSCAPE CONSULTANT. THORNTON TOMASETTI: STRUCTURAL ENGINEER. DEWBERRY: MEP. WASHINGTON WOODWORKING: WOODWORK. HITT CONTRACTING: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT FRITZ HANSEN: BENCHES (ELEVATOR LOBBY, HALL), CHAIR (MEETING ROOM). VITRA: CHAIRS (CONFERENCE ROOM). HANOVER ARCHITECTURAL PAVERS: PAVERS (TERRACE). GANDIA BLASCO: TABLES. ORE: PLANTER-BENCHES. DAVIS FURNITURE: CHAIRS (MULTI PURPOSE ROOM). THROUGHOUT UNIFOR: CUSTOM FURNITURE, PARTITIONS. HALCON: CONFERENCE TABLES. LANGE PRODUCTION THROUGH FURNITURE FROM SCANDINAVIA: LOUNGE CHAIRS. CAMPOLONGHI: STONE FLOORING. VORWERK FLOORING: CARPET TILE. BIG D METALWORKS: CUSTOM STAIRCASE. VODE LIGHTING: LIGHTING. DECOUSTICS: CEILINGS. SHERWIN-WILLIAMS COMPANY: PAINT.

Opposite top: On the concrete-paver roof terrace, Fuse planters landscaped with prairie dropseed and alumroot incorporate bench seating. Opposite bottom: In a break-out area, a custom leather sofa and table face a pair of FK 6720 lounge chairs by Preben Fabricius and Jørgen Kastholm. Top: Appointed with A-Chairs by Jehs + Laub, the multipurpose room opens to the interior via sliding glass partitions and the exterior via bifold doors. Bottom: The glass curtain wall allows the law-firm lobby to function like a public gallery, with the Wyn Evans installation visible to passersby.

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meet the press Vintage printing machinery enlivens new offices for Square and Cash App in St. Louis, housed in a former newspaper building renovated by CannonDesign text: michael lassell photography: eric laignel

Previous spread: The ground floor of Square and Cash App’s St. Louis office, housed in an eight-level former newspaper building renovated by CannonDesign, is dominated by the original Goss printing press. Top, from left: Although the 1930 art deco-style building’s north facade was a later addition, it now functions as the main entrance. A custom mural by design collective Arcturis backdrops Jehs + Laub lounge chairs in the basement-level game room. Bottom: Flanked by the printing press and a Carlos Zamora mural, the vast all-hands area on the ground floor hosts company-wide meetings and serves as a café. Opposite: A Mags sectional sofa outfits one of the small lounge areas tucked between the press’s massive steel support system in the basement.

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“The bright blue printing press is a huge presence, so we didn’t add much color”

Back in 1878, when the West was still wild and the U.S. had only 38 states, Joseph Pulitzer, a self-made Hungarian immigrant, acquired two struggling Missouri newspapers and merged them into the St. Louis Post-Dispatch, which has been publishing ever since. In 1959, the paper moved its newsroom and printing plant into a 1930 art deco-style building by prominent local architects Mauran, Russell and Crowell for another, now-defunct news daily. The PostDispatch sold the building in 2018 and now occupies smaller facilities nearby. Today, after a $70 million makeover, the building houses 850 employees of Square and Cash App, two divisions of Block, Inc., the high-tech financial services and digital payments company. The staff had previously been working in three different locations, and the corporation’s primary objective was to centralize this workforce in one user-friendly space. Now based in San Francisco, Block was founded in St. Louis in 2009 by two natives of the Gateway City: Jack Dorsey (also a co-founder of Twitter) and Jim McKelvey, a tech-head, entrepreneur, and glass artist. To create its new Missouri digs, the company hired CannonDesign, one of the nation’s largest architectural firms. Block was clear about its remit for the 225,000-square-foot building, which comprises six stories and two basement levels: “The client was looking to create a home for its employees,” reports project director Ken Crabiel, vice president and commercial and civic market leader at Cannon’s St. Louis office. “A place where they could be connected with one another in a variety of ways.” Like a home, the plan called for a series of connected spaces, both large and small, public and private, to accommodate multiple activities. The large spaces include three multilevel atria that connect to the more intimate areas by a series of interior staircases. Employees can choose to work at a traditional desk or on a sofa or lounge chair, and

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meetings can range from intimate tête-à-têtes to company-wide confabs in the vast all-hands area. The building can accommodate up to 1,200 workers, so Block has room to grow in place. (Currently, most employees are free to work from home or in the office, as they choose.) In a project-defining move, the original newspaper printing press has been left in place—a steampunkish behemoth that stretches roughly 80 feet along the ground floor. Project designer and Cannon associate Olivia Gebben is especially enamored of the small basement-level lounge spaces tucked among the massive steel columns and beams that support the machinery above. “In these lounges, you can look up and literally touch the buttons and wheels that made the presses tick,” she enthuses. “It’s hard to overestimate the role that press has in the collective memory of St. Louis,” Crabiel observes, noting that the machinery was clearly visible behind large street-level windows. “People used to come to watch the presses cranking out the paper. Nowadays the use of the building may be different, but you can still see activity in and around the press through those same windows, especially at night.” The renovation also preserved a spiral staircase, much of Pulitzer’s office, and areas of decorative terrazzo flooring. Otherwise, floors throughout are the original concrete, with all their evolved patina showing. “We just refinished them with a low-grit polish,” Gebben notes. Adaptive reuse is nothing new to Cannon, which operates its St. Louis practice out of a similarly gutted and reinvented 1928 power station. “We’re fortunate to have a lot of that kind of building stock in our city,” Crabiel acknowledges. “And much of it is getting new life.” The interior program was intentionally kept timeless, both natural and neutral. “We featured exposed concrete and natural oak against a lot of black and white,” Gebben says. “The bright blue printing press is a huge presence, so we didn’t add much color.” Most of the color, in fact, comes from numerous art installations. “Art is in the DNA of our company,” says Jay Scheinman, Block’s global municipal affairs lead. “Jim McKelvey came up with the idea of Square when he couldn’t complete the sale of one of his glass pieces because he didn’t have the ability to take a credit card.” In keeping with this strong connection to art, a contest was run for local artists to come up with pieces reflecting the company’s mission of economic empowerment.

Top: A mural by local Black experiential designer Jayvn Solomon energizes a fourth-floor corridor, where polished-concrete flooring is original, as it is throughout. Center: Ensconced in an oak-paneled banquette niche on the third floor, an installation by St. Louis artist Kelley Carman celebrates the landline telephone. Bottom: The travertine wall, fireplace, and credenza are all original to this conference room, once part of the office suite of Joseph Pulitzer, founder of the St. Louis Post-Dispatch, which had occupied the building. Opposite: Anthony Land’s Yoom sectional sofa and a Luca Nichetto coffee table furnish another seating nook under the printing press.

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“Block ran a contest for local artists to come up with pieces reflecting the company’s mission of economic empowerment”

The 10 winning entries are now incorporated into the fabric of the building. Third Degree Glass Factory, founded by McKelvey in a reclaimed 1920’s service station, devised a striking ceiling installation—a constellation of suspended vitreous globes—for the third-to-fourth-floor atrium. “The blue color is as close a match to the press as possible,” Crabiel explains. “And the individual handblown ‘bubbles’ are meant to represent ink droplets.” “So often in design, you look at the physical form and can see the connections between the original building and the renovation,” Crabiel continues. “But sometimes there’s an underlying philosophical connection, too.” Pulitzer believed that providing information enabled readers to make respon sible choices. “Block is centered on the same principle,” the architect says, “and we wanted that notion to have a pres ence in the new iteration of the Post-Dispatch building.”

PROJECT TEAM MICHAEL BONOMO; NICOLE ANDREU; KEVIN ZWICK; ELISE NOVAK; ENGE SUN; MELISSA PIRTLE; STEPHEN GANTNER; CARMEN RUIZ CRUZ; KELSEY MACK; HEATHER ROSEN; MICHELLE ROTHERHAM; RITA RADLEY; BRENDAN SMITH; JOCELYN WILDMAN; ALEX OLIVER; ALYSSA PACKARD; BARRETT NEWELL: CANNON DESIGN. TRIVERS ARCHITECTURE: BUILDING RESTORATION ARCHITECTS. MC CLURE ENGINEERING: STRUCTURAL ENGINEER. TARLTON CORP.: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ANDREU WORLD: CAFÉ TABLES (ALL HANDS). DAVIS: CHAIRS. OFS: HIGH TABLES. COALESCE: STOOLS. FLOS: LIGHTING SYSTEM. PLYBOO: PANELING (ALL HANDS, ATRIUM 2). KNOLLSTUDIO: CHAIRS (GAME ROOM). GESTALT: SIDE TABLES (GAME ROOM, LOUNGE AREA 1). KASTHALL: RUGS (LOUNGE AREAS). HAY: SOFA (LOUNGE AREA 1), SIDE CHAIRS (TERRACE). ECOSENSE: PENDANT FIXTURE (CONFERENCE ROOM). TRETFORD: CARPET. HERMAN MILLER: SIDE CHAIRS (CONF ERENCE ROOM), TASK CHAIRS (OFFICE AREA). STYLEX: SOFA (LOUNGE AREA 2). BERNHARDT: COFFEE TABLE (LOUNGE AREA 2), SIDE TABLES (ATRIUM 1), OTTOMANS (ATRIUM 2). MODLOFT: LOUNGE CHAIRS (ATRIUM 1). MAFI: STAIRS, FLOORING (ATRIA). POE: STOREFRONT SYSTEMS. JANUS ET CIE: TABLES (TERRACE). PAOLA LENTI: LOUNGE CHAIRS. KETTAL: SIDE TABLES, LOUNGER. LANDSCAPE FORMS: BENCHES. PAIR: WORKSTATIONS (OFFICE AREA). FINE MOD IMPORTS: LOUNGE CHAIRS. DE PADOVA: COFFEE TABLES. ANTHROPOLOGIE: RUG. FOCAL POINT: PENDANT FIXTURES. INTERFACE: CARPET TILE. WOODTECH: CAFÉ TABLES (ATRIUM 2). FREDERICIA: SIDE CHAIRS. RESIDENT: SOFA. VITRA: LOUNGE CHAIRS. ETHNICRAFT: COFFEE TABLE. VIBIA: FLOOR LAMP. THROUGHOUT GROWING GREEN: PLANTERS. PPG INDUSTRIES: PAINT.

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Opposite: Representing drops of printer ink, a ceiling installation by Third Degree Glass Factory, a local studio started by artist and Block co-founder Jim McKelvey, animates one of the building’s three atria. Top, from left: The roof terrace, a popular lunch spot overlooking downtown St. Louis, tops the building’s later addition. A typical break-out area near benched workstations includes Scolta chairs, Jørgen Møller coffee tables, and a tufted wool rug on a patch of original terrazzo flooring. Bottom: Also new is the glass roof above another atrium, where oak-finished engineered wood forms the stairs and ribbed acoustic bamboo panels some walls.

™

FUNC Alinta floor screen v - fold design to maximize privacy , light , and sound diffusion lightweight , easy to move construction variety of heights , widths , and colors

funcconnect.com

INTERIORDESIGN LAUNCH

JUNE.22

LAUNCH EDITORS' PICKS

EDITORS’PICKS HEM

The playful patterns on these luxuriously fuzzy wool and mohair Monster throws by artist and illustrator Siri Carlén are exaggerations of markings found in nature. us.hem.com

standouts wool and mohair mix ring , spot , stripe , and wiggle patterns

71” x 51”

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LAUNCH EDITORS' PICKS

standouts u . s . made machine washable and fade - resistant for indoors and out

18” square

Drawn from Swedish hygge culture, these pillows are knitted to size (producing zero waste) of recycled cotton-blend yarn by a L.A.-based, women-owned company. blaanks.com

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GRETCHEN EASTON

BLÄANKS

LAUNCH EDITORS' PICKS

standouts handmade

2 colorways , each combining 4 hues lightweight linen

ONCE MILANO

The bold and beautiful linen Patchwork blanket is both a bedcover and a focal point, designed to be contrasted with mismatched pillowcases and top sheets. oncemilano.com

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LAUNCH EDITORS' PICKS

STANDOUTS MADE OF VIRGIN WOOL

10 HUES 59" X 98"

MAGNIBERG

DANIYEL LOWDEN

No need to fight for the covers: The oversized, heavyweight wool Bold blanket is built for two— and made to relax in. magniberg.com

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LAUNCH EDITORS' PICKS

BROOKLINEN

The limited-edition Crescent Moon pattern of the brandʼs core sheet set derives from a print found at a textile archive in New York’s Hudson Valley, which was then re-colored. brooklinen.com

STANDOUTS LONG - STAPLE COTTON OEKO - TEX CERTIFIED AVAILABLE IN LUXE SATEEN OR PERCALE NATURAL AND DARK COLORWAYS

JUNE.22

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LAUNCH EDITORS' PICKS

POPUS EDITIONS

Groovy shapes and vivid colors—including yellow for good moods, green for optimism, and pink for softness—join forces in the 1970s-inflected Latice cushions. popus-editions.com

STANDOUTS IN THE BRAND ’ S NEW SIGNATURE FABRIC PRINTED ON SILK - COTTON

4 COLORWAYS

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LAUNCH EDITORS' PICKS

DUSEN DUSEN

Among the Brooklyn-based company’s spring bedding collection releases is Atom, a raspberry-and-white graphic print that epitomizes designer Ellen Van Dusen’s Op Art sensibility. dusendusen.com standouts cotton sateen

300 thread count oeko - tex certified made in portugal

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LAUNCH EDITORS' PICKS

standouts designed by debra herdman linen pieces handwoven in nepal reuses waste product

Samples, discontinued styles, and other unsaleable pieces from the company’s storeroom are turned into the graphic patterns of the Pieced collection of modern bedspreads. goldfinchmoderntextilecraft.com 170

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BARBARA REIS

GOLDFINCH MODERN TEXTILE CRAFT

LAUNCH EDITORS' PICKS

PRATESI

Treccia bedding's elegant design inspired by the columns of Florentine architecture is hand-embroidered onto Angel Luxe, one of the company’s signature base fabrics. pratesi.com

standouts hand - cut scalloped edges egyptian cotton percale woven in italy double - faced embroidery by master artisans

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LAUNCH EDITORS' PICKS

STANDOUTS TUBULAR KNIT MERINO WOOL REVERSIBLE

71” X 79”

ZIG ZAG ZURICH

Memphis Group co-founders Nathalie Du Pasquier and George Sowden’s ongoing exploration of the real and the imaginary, the representational and the abstract, informed their K-Four blanket. zigzagzurich.com 172

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LAUNCH EDITORS' PICKS

POLTRONA FRAU

Ultra-soft and springy decorative cushions covered in refined Loro Piana Interiors merino wool and wool-cashmere feature a classic check pattern and understated style. poltronafrau.com

STANDOUTS LEATHER PIPING CREASE - RESISTANT GOOSE DOWN FILLING WITH INNER COTTON LINING

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

standouts new patterns aspen , heartwood , and serotina in translucent varia or etched 3 form glass greenguard gold certified

3FORM

An ancient aspen colony near the manufacturer’s Utah headquarters inspired three new Biophilic Graphic Patterns: customizable, digitally printed leaf, bark, and tree ring designs that cast dynamic shadows—and ground spaces in nature. 3-form.com

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SEATING

// LAUNCH PARTNERS

STANDOUTS DESIGNED BY JEHS

+ LAUB

GREENGUARD CERTIFIED

250+ FABRICS , 40 LEATHERS REMOVABLE COVERS

COR

A contemporary take on the classic recliner, the Jalis lounge is as comfortable as it is clean-lined, courtesy of a 20-degree-tilting headrest and, on the swivel-base version, an invisibly integrated tilt mechanism controlled by a concealed release button. cor.de/en JUNE.22

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LAUNCH PARTNERS // FLOORING

standouts made in the u . s . from the amtico collection , allowing signature layouts

112 style /color combinations

MANNINGTON COMMERCIAL

The accent color palette of Active Lines digitally printed LVT is customizable, while the design’s interplay of grids and linear patterns captures the dynamic flow of the urban environment. manningtoncommercial.com

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SEATING

// LAUNCH PARTNERS

LELAND FURNITURE

Designed by Altherr Désile Park, the elegantly casual and adaptable Gemma collection for informal collaboration features a system of three veneers—oak, walnut, and colored birch—and pleasingly rounded geometries. lelandfurniture.com

standouts collection includes table , chair , and lounge various color , upholstery , and leg options

4 - leg wood or sled base

JUNE.22

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LAUNCH PARTNERS // ARCHITECTURAL PRODUCTS

GARDEN ON THE WALL

The brand’s custom, turnkey, award-winning Garden on the Wall elements are designed and crafted with maintenance-free preserved plants that keep their vibrant look for up to 10 years, transforming interior spaces into oases. gardenonthewall.com

standouts class a per flame spread & smoke index seamlessly installed by gotw team published hpd & cphd voc compliance highest visual & longevity standards

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OUTDOOR

// LAUNCH PARTNERS

BROWN JORDAN

The H sofa's enticing curves pair effortlessly with the Still serving cart’s softened edges to create an elegant all-season setting; crafted of lighweight powdercoated aluminum, both designs are sure to stand the test of time. brownjordan.com

standouts sofa designed by toan nguyen

4 frame finishes distinctive rope strung back console / cart by richard frinier in 17 finishes

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LAUNCH PARTNERS // FURNITURE

ALTURA

The Cameo table’s graphic leg cutouts create a delightful play of positive and negative space, while optional metal inlays outlining the top and base edges accentuate the sweeping curves. alturafurniture.com

standouts designed by jeff behnke and roland zehetbauer rectangular , racetrack , round , or square top customization possible

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts custom profiles available solid wood or veneered mdf

40+ finishes u . s . made

RULON INTERNATIONAL

Offering perfectly aligned and spaced wood blades, the Grilles panel system is endlessly customizable: Choose the blade profile, spacing, and panel size from over 60 options. rulonco.com/launch-grilles

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LAUNCH PARTNERS // OFFICE

HUMANSCALE

With 22 pounds of recycled content, including 10 pounds of ocean plastic, the ultrasustainable Path task chair neatly channels the brand’s philosophy of eco-conscious, ergonomic, and versatile design. humanscale.com

STANDOUTS DESIGNED WITH TODD BRACHER TOOL - FREE ASSEMBLY CERTIFIED CLIMATE , ENERGY , AND WATER POSITIVE

32 COLORWAYS , 4 FINISHES , 3 TEXTILES

182

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

B&N INDUSTRIES, INC.

Visually indistinguishable from wood slats, the Fortina architectural louver system is fabricated of aluminum with a non-PVC surface— offering the benefits of lighter weight, easier installation and maintenance, superior durability, and more. bnind.com

standouts

100 styles /options quick ship program delivers in 4-6 weeks use indoors and out

JUNE.22

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LAUNCH PARTNERS // LIGHTING

KALCO LIGHTING

The handmade rattan shades of the Tablas lighting collection have an intricate, open weave that filters light in the gentlest manner, offering warmth and character to any room. kalco.com

standouts designed by grace denniston island , semi - flush , and pendant light styles modern take on rattan

184

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SEATING

// LAUNCH PARTNERS

LEMA

standouts painted metal structure removable seat cover waxed - cotton cord alternative

David Lopez Quincoces’s Alton armchair has a delectably distinctive form, its semicircular metal frame hand-wrapped with 200-plus meters of aged-hide cord and cushioned by a supersoft fabric- or leather-covered seat pad. lemamobili.com

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LAUNCH PARTNERS // FURNITURE

standouts designed by michele cernoisa margosa wood

9 finish options plus custom

PFEIFER STUDIO

Usable as a table or bench, Colonnade has an elegant profile, its 66-inch-long oval top and columnar base hand-sculpted by artisans in a manner that showcases the wood’s natural character. pfeiferstudio.com

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FABRIC & WALLCOVERING

// LAUNCH PARTNERS

ARTE

Greco-Roman antiquity was the spark behind the opulent Les Thermes wallcovering series, with patterns depicting luxe mosaics and even a thermal bathing scene giving the impression of a handpainted canvas. arte-international.com

standouts

5 patterns mosaico , stucco , tessera : 90 cm wide ; saturnia : 95 cm ; orizzonte : 130 cm

34 colorways total

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LAUNCH PARTNERS // OFFICE

standouts solid maple legs wilsonart designer laminate tops

2-, 4- , or 6-person configuration

optional accessories and pet dividers

SAFCO CONTRACT FURNITURE

Designed for open offices and an agile workforce, the preconfigured Resi Benching—usable as a touchdown or permanent station—offers the perfect balance of togetherness and privacy to maximize productivity. safcoproducts.com

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OUTDOOR

// LAUNCH PARTNERS

EXPORMIM

The backrests of MUT Design's stackable and lightweight Petale outdoor chairs can now be customized in three different woven-rope patterns, plus there’s a brand-new bar stool joining the mix. expormim.com

standouts material bank member made of stainless - steel tube and high - resistance rope wide variety of technical fabrics ideal for small spaces

JUNE.22

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LAUNCH PARTNERS // FLOORING

standouts free of pvc , plasticizers , and phthalates water resistant to 24 hours

PARADOR

Parador Modular ONE is “super natural” flooring, offering strength and beauty with ecological wood construction that meets the highest standards of sustainable living. mattersurfaces.com/parador-modular-one

ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

standouts

95% recycled pet , 5% pla 6 designs , 24 colors , 4 wood effects for full ceiling or accent features

ZINTRA

A design-driven, noise-reducing solution suitable for any ceiling, Zintra Baffle Systems come flat-packed and are simple to assemble, configure, and install. zintraacoustic.com

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STANDOUTS FOR INDOORS OR OUT FLAT BLACK , PAINTED NICKEL , OR SATIN BRASS FINISH SMART HOME DEVICE / SYSTEM COMPATIBLE

CRAFTMADE

Timeless style and excellent performance combine in the 60-inch Phoebe ceiling fan, with its enviably quiet energysaving motor, dimmable LED light, and breeze and timer functions. craftmade.com

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ARCHITECTURAL PRODUCTS

// LAUNCH PARTNERS

CROSSVILLE, INC.

Classic Grooves porcelain collection for floors or walls nods to record playing with subtly striated, warm and cool neutral tiles that can be further complemented by decorative mosaic accents. crossvilleinc.com

standouts u . s . made color - coordinating collection for versatility cross - sheen for easy cleaning rectified and slip resistant

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LAUNCH PARTNERS // MIX

SPARK MODERN FIRES

KRISKADECOR

An intriguing focal point, the Fire Ribbon 6ft Direct Vent offers a warm glow and cool style, courtesy of a supersleek (and easy-install) body of high-grade steel that frames the elongated flame. sparkfires.com

In contrast to a wall or solid partition, the lightweight BCN Framed System—customizable in height and width—plays with the transparency of aluminum chains to complement open spaces without isolating. kriskadecor.com

New products. Hundreds of brands. all in one place.

INFINITY DRAIN A competitively priced model that’s available in four styles, five finishes, and for all waterproofing methods, the Center Drain Pro-Series offers superior performance backed by the company’s stellar engineering. infinitydrain.com

Bernhardt Design Bombom

VIBIA Sticks ALUMINUM WITH POLY CARBONATE DIFFUSER RODS CONNECT AND ROTATE ON THEIR OWN AXIS EACH TOOLKIT FEATURES THREE STICKS BY ARIK LEVY

vibia.com

JUNE.22

INTERIORDESIGN LAUNCH

MILLIKEN Lowdown retro - modern look available in myriad hues quick ship available recycled content printworks technology offers ultimate pattern flexibility

millikenfloors.com

INTERIORDESIGN LAUNCH

JUNE.22

Radical Practice: The Work of Marlon Blackwell Architects by Peter MacKeith and Jonathan Boelkins New York: Princeton Architectural Press, $80 512 pages, 500 color photographs, 80 black-and-white drawings

Iro: The Essence of Color in Japanese Design by Rossella Menegazzo New York and London: Phaidon Press, $80 288 pages, 250 color illustrations

This monumentally scaled presentation of power ful but unpretentious design comes on the heels of the award of the AIA Gold Medal to Arkansasbased architect and principal of his namesake firm Marlon Blackwell and his partner in life and MBA co-principal Meryati Johari Blackwell. Among the 13 designs the book showcases is a museum store, a church, an affordable-house prototype, a casual ramen café, and several schools, including the Fay Jones School of Architecture and Design at the University of Arkansas in Fayetteville, the dean of which, Peter MacKeith, is one of this book’s editors. Establishing the surrounding Ozark environment are characterful photographs by Timothy Hursley of woods, waters, fields, rusted grain elevators, covered bridges, stone walls, barns, sheds, and silos. Interspersed among these new and old designs are appraisals of Blackwell’s architecture by many observers. Robert Ivy, CEO of the AIA, says it is “arresting, but in a nonhyperbolic, nonsensationalist way.” James Corner of James Corner Field Operations, landscape architect of New York’s High Line, admires “the bold simplicity of the architecture’s ‘objecthood’.” Interior Design Hall of Fame members Tod Williams and Billie Tsien praise the nobility of the Blackwell partners’ practice: “They have validated the heart of the country as a locus for serious architecture” and “placed service at the heart of their work.” A plenitude of scale drawings completes this profoundly persuasive tribute.

Iro is the Japanese word for color, and this is an extraordinarily colorful book, not only presenting us with 200 distinct hues (yes, 200—one per page—the largest number of them in the range of red, the traditional shade of lacquers, temples, and pagodas) but also tracing each one's significance through centuries of use. The book’s examples of color use, however, are almost all modern: furniture, fashion, textiles, umbrellas, vases, teapots, bicycles, roof tiles, and doorway hangings. We see dresses by Issey Miyake, seating by Naoto Fukasawa, and lighting by Isamu Noguchi. But in every case the colour (as the word is spelled throughout) is linked to its origins, often to nature, with a descriptive title such as Ash Cherry Blossom, Clove Tea Brown, or Rust Spring Onion. As the author’s introduction says, “Talking about colour in Japan means talking first and foremost about the natural world: seasons, plants, flowers, fruit, vegetables, the processes of blossoming and withering. . . However, it also means talking about human feelings.” There is an index in English and also a second index based on the 200 colors—a first, in my experience. The author is associate professor of the history of East Asian Art at the University of Milan, and Julia Hasting is credited with the strikingly hand some and atypical book design.

b o o k s edited by Stanley Abercrombie Branding + Interior Design: Visibility and Business Strategy for Interior Designers by Kim Kuhteubl Schiffer Publishing, $26 240 pages, 32 color illustrations

BOTTOM LEFT: TERICA BROWSER

“A designer I look up to posted Kim Kuhteubl’s book as her monthly read on Instagram. I thought, Right on time, as I had just decided to start my own firm. What appealed to me about it most was that it’s not a ‘follow these steps to make six figures’ format but instead has interviews with people like Interior Design Hall of Fame members Barbara Barry, Rose Tarlow, and Vicente Wolf along with Kelly Hoppen, Christiane Lemieux, and Martyn Lawrence Bullard. It allowed me to narrow in on my vision and identify my T. Michelle White ideal clients, and provided exercises that made me dig deep Founder of Midcity Design Group into my inner being. All of that helped with my recent projects, which include birthing suites at the Women’s Hospital of Texas in Houston, where I'm based, and hosting Staged, a one-of-akind conference in partnership with Living Spaces held here in late August where designers from across the U.S. will get the opportunity to meet and ask questions of some of today’s top A+D talent.”

What They’re Reading... JUNE.22

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FIRMS IN SPECIAL FEATURE Sehw Architektur (“Class Acts,” page 134), sehw-architektur.de. Sou Fujimoto Architects (“Class Acts,” page 134), sou-fujimoto.net. Teeple Architects (“Class Acts,” page 134), teeplearch.com. Various Associates (“Class Acts,” page 134), various-associates.com.

PHOTOGRAPHERS IN FEATURES BoysPlayNice (“Crystal Palace,” page 108), boysplaynice.com. Philippe Chancel (“Rosetta Stones,” page 126), philippechancel.com.

c o n ta c t s

Eric Laignel Photography (“All Aboard,” page 116; “Power Towers,” page 144; “Meet the Press,” page 152), ericlaignel.com.

DESIGNER IN CREATIVE VOICES Mario Cucinella Architects (“Return Engagement,” page 53), mcarchitects.it.

DESIGNER IN WALKTHROUGH Architecture Research Office (“Come to Bed,” page 59), aro.net.

PHOTOGRAPHER IN WALKTHROUGH James Ewing (“Come to Bed,” page 59), jamesewingphotography.com.

DESIGNER IN CENTERFOLD Luo Studio (“Natural Wonder,” page 103), luostudio.cn.

DUCCIO MALAGAMBA

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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into the blue

Inspired by the easy energy of seaside esplanades, the Portuguese chair has been an iconic fixture in Iberian daily life since furniture manufacturer Adico began producing the steel stacking seat in the 1920’s. (The joke is everyone in Portugal has sat in one.) To celebrate the centennial of the company, which has played a major role in the development of its hometown, Avanca, the enclosing city of Estarreja commissioned Diogo Aguiar Studio to create a commemorative monument in a municipal park. The Porto-based architectural firm conceived Círculo Azul, a permanent installation comprising 40 of the ubiquitous chairs rendered in stainless steel, powder-coated International Klein Blue, and arranged in a 33-foot-diameter circle. Because the site regularly floods in winter, however, the chair legs are dramatically elongated, raising the structure 6 feet into the air and out of harm’s way. “Partially submerged, it creates reflections in the water,” principal Diogo Aguiar reports. At other times, parkgoers can access the lofty perches via ladders welded to the front legs, while the back legs extend outward like guy ropes supporting a circus tent. “It’s a monument designed to be activated by people,” Aguiar explains, and an intimate circle that offers an inviting place to not only come together, converse, and watch performances but also reflect quietly above the park landscape from a familiar seat with an inspiring new point of view. —Athena Waligore

i n t er vention

FERNANDO GUERRA

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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

The World’s Most Sustainable Task Chair Learn more at humanscale.com/Path

Work from Anywhere haworth.com/id/neocon