Interior Design February 2023 by Interior Design Magazine

FEBRUARY 2023

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CONTENTS FEBRUARY 2023

VOLUME 94 NUMBER 1

02.23

ON THE COVER Thousands of glass mosaic tiles from Sicis wrap the steam room at Lanserhof Sylt, a medical spa complex on the northern German island by Ingenhoven Associates. Photography: Alexander Haiden.

features 86 ESCAPE ROUTE by Rebecca Dalzell

Ingenhoven Associates fashions a retreat that’s both luxurious and restrained for guests of Lanserhof Sylt, an ascetic medical spa on an island off the northern coast of Germany. 96 IMAGINATION TAKES FLIGHT by Rebecca Lo

112 DIALOGUE BETWEEN ERAS by Jen Renzi

A velvet conversation pit is one of many delightful anachronisms at a historic schoolhouse turned residence in Galway, Ireland, by Kingston Lafferty Design. 120 BETTER LIVING by Georgina McWhirter

For Duoyun Bookstore in Yancheng, China, Wutopia Lab reinterprets animated-film characters into a fairy tale of a project for both children 132 and adults. 104 TERRA FIRMA by Glenn Adamson

A magnificent monograph explores New York ceramic artist Peter Lane’s large-scale architectural installations, monumental furniture, and decorative work.

Whether a skin-care clinic or a multisport center, firms from Hong Kong to the Czech Republic are taking holistic approaches to creating healthful spaces. STEPS IN THE RIGHT DIRECTION by Edie Cohen

A Los Angeles workplace by Behnisch Architekten lures staff back to the office with a stellar gym, dynamic stairways, and enriching connectedness.

CREATAR IMAGES

CONTENTS FEBRUARY 2023

VOLUME 94 NUMBER 1

walkthrough 33 NATURAL HEALING by Jesse Dorris

special market section 41 BEST OF YEAR PRODUCTS by Georgina McWhirter and Rebecca Thienes

departments 17 HEADLINERS 21 DESIGNWIRE by Annie Block and Peter Webster 26 BLIPS by Meredith Campbell 28 PINUPS by Lisa Di Venuta 65 CREATIVE VOICES Space Maven by Edie Cohen

Film and commercial sets, installations, interiors, furniture, and more— Los Angeles multitalent Adi Goodrich does it all.

National Treasure by Athena Waligore

A mazelike installation by OBMI for Dubai Design Week educated visitors on the essential mangrove ecosystem indigenous to the northern U.A.E. 140 BOOKS by Stanley Abercrombie 141 CONTACTS 143 INTERVENTION by Wilson Barlow

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02.23

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Solutions for Privacy and Collaboration Paradolia screens and suspension panels offer a contemporary solution that creates privacy and reduces acoustical distractions. Its soft, felt contours contribute to a warm atmosphere while providing a tackable surface.

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e d i t o r ’s welcome

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ME AND MIKE KEILHAUER

As bone-chilling February weather surrounds many of us, I’m going to spend a moment talking about the heat instead. And not the cozy kind I love to find once inside and away from harsh winter cold. I mean the heat that’s warming our oceans in a very alarming and rapid way, as per most recent headlines. Just-released data reveals 2022 was the warmest year since record-keeping began! The matter is inescapably here. Global warming is front-and-center business for our industry, too. We at Interior Design are resolutely joining this fight! And there is nothing that makes me plum happier than taking positive action…the “effective immediately” kind, of course. ; ) Therefore, and in some way befitting the new year, as 2023 finds its cadence, I am thrilled to share that Interior Design and teams have taken the high road toward carbon neutrality. Verbatim from our press release, step one is a year-long partnership with Keilhauer to offset all estimated carbon emissions, via verified carbon credits, for the printing and distribution of every copy of Interior Design in 2023—including the one you are now holding. Yes! My love note is a shout-out to my super pal Mike Keilhauer and all at his brand for their leadership in sustainability. And I can only imagine that, so inspired, we will soon collaborate similarly with many of our other partners and manufacturers, because that’s what we in the craft always do, after all: We solve problems…together. Problems small, medium, large, or extra-large. Finding innovative solutions is our stock-in-trade, as featured in the many stories inside this issue. So, let me now give a quick (carbon-free) cheers to all the designers, architects, and manufacturers that make our February wellness issue another document of the Design Ages. Let’s get into this fight together! xoxo

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PS: Don’t forget to check out Keilhauer’s work toward closed-loop manufacturing and the commitments of the Planet Keilhauer program. Bravo!

FEB.23

INTERIOR DESIGN

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Bonh Planter

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headliners

Kingston Lafferty Design “Dialogue Between Eras,” page 112 founder, creative director: Róisín Lafferty. firm site: Dublin. firm size: 15 designers. current projects: The Montenotte Hotel suites in Cork, Ireland; residences in Louth, Ireland, and London. honors: IDI Awards; Créateurs Design Awards shortlist. then: Before founding her firm in 2010, Lafferty earned a master’s in product design from Kingston University in London. now: KLD is launching a collection of mirrors and side tables this month, to be sold internationally. kingstonlaffertydesign.com

“We like our spaces to have elements of the unexpected—a playfulness and magic enmeshed into the overall project”

RUTH MARIA MURPHY

FEB.23

INTERIOR DESIGN

h e a d l i n e rs Behnisch Architekten “Steps in the Right Direction,” page 132 partner: Kristi Paulson, AIA, IIDA. director: Daniel Poei. firm sites: Stuttgart, Germany; Los Angeles. firm size: 140 architects and designers. current projects: A tech office in L.A.; Healthy Haus Campus in Southern California; a house in Sammamish, Washington. honors: Interior Design Best of Year Award; Los Angeles Commercial Real Estate Award; Chicago Athenaeum International Architecture Award. apart: In addition to ZGF, Paulson has worked at LMN and MBT, while Poei cut his teeth at Rios and Brooks + Scarpa. together: The couple has a 7-year-old-son. behnisch.com

Wutopia Lab

Ingenhoven Associates “Escape Route,” page 86 founder, chairman:

Christoph Ingenhoven. firm hq: Düsseldorf, Germany. firm size: 100 architects and designers. current projects: Pier One and Plange Mühle campus in Düs seldorf; Stuttgart Main Station in Germany; Am Oberwiesenfeld park in Munich. honors: European Prize for Architecture; Architecture MasterPrize; CTBUH 10 Year Award for Excellence. environment: Ingenhoven is a founding member of the German Sustainable Building Council. culture: He’s also a member of the North Rhine-Westphalia Academy of Sciences and Arts. ingenhovenarchitects.com

INTERIOR DESIGN

FEB.23

“Imagination Takes Flight,” page 96 founder, principal architect: Ting Yu. firm site: Shanghai. firm size: 20 architects and designers. current projects: A church and a business center in Shanghai; the Museum of the Imperial Palace of Manchukuo in Changchun, China. honors: Interior Design Best of Year Award; Iconic Award; IF Design Award. education: Yu received a Bachelor of Architecture from Beijing’s Tsinghua University and a doctorate in architectural design and theory from Tongji University in Shanghai. edification: A booklover, one of his favorites is Jennifer Egan’s A Visit from the Goon Squad. wutopia lab.com

MEGA SHADE MEGA COOL

OCEAN MASTER MEGA MAX CLASSIC

TUUCI.COM

Luam Melake’s formal studies were in architecture and art history. But another passion is learning about the mind. It started with the AP psychology class she took when she was 15. Now 36, the amalgam of her training, interests, and multilayered Black-American, Eritrean, and Ethiopian background has led her to create stunning functional furniture that supports social and emotional engagement. A selection is on view this winter at R & Company in New York in “Furnishing Feelings,” Melake’s first solo exhibition with the gallery. Most pieces are for sitting, with names like Listening Chair and Supportive Chair, both designed to encourage those functions, but there’s also the Better Together Table. “This work is about the alienation brought on by the digital era,” Melake says. “Social media brings people together via a brief exchange of written language, but actual socializing is a physical experience. Trying to replace that is having repercussions on our social fabric and mental health. It’s time to come back to our bodies.” All are shaped from lightweight upholstery foam, so users can easily move them as needed, that is coated in layers of shiny, stabilizing urethane;

all the feels

LUAM MELAKE

To honor Black History Month, we’ve devoted this section to exhibitions and projects by Black artists and designers

design wire

materials research is another focus of Melake’s practice. In fact, she weaves other industrial elements into large-scale tapestries, too. She’s currently working on her biggest yet—12 feet high—for the lobby of the new AC Hotel San Rafael in California.

edited by Annie Block

FROM LEFT: COLIN CONCE; JOE KRAMM/COURTESY OF R & COMPANY (3)

From top: Better Together Table is one of eight new or recent pieces, all in urethane-coated polyurethane foam and meant to encourage social engagement, in “Furnishing Feelings,” designer Luam Melake’s solo show at R & Company in New York through April 14. Listening Chair, which allows the sitter to face people in different parts of a space. Regressive Chair, its pitch and surfaces offering comforting positions like that of leaning on someone’s shoulder.

FEB.23

INTERIOR DESIGN

d e s i g n wire

dancing in the streets

GERMANE BARNES

When we last wrote about architect Germane Barnes, it was for his work in the 2020 exhibition “Reconstructions: Architecture and Blackness in America” at the Museum of Modern Art in New York. His star has catapulted skyward since, earning both the Architectural League Prize in 2021 and the Rome Prize last year. His latest triumph happened right in his own backyard: winning the invitation-only 2022 Miami Design District Annual Neighborhood Commission, the first local talent to be selected in the eight-year-old program (Snarkitecture and Studio Proba are among the past recipients). “The focus of my practice is to draw attention to marginalized communities in a way that celebrates their contributions to the design world,” Barnes says. Rock | Roll, as his multipart installation is called, does just that, its Carnival-themed inspiration deriving from the many Caribbean communities that call Miami home. Peppered along the pedestrian corridors are kinetic seating capsules festooned with colorful foam noodles to resemble Carnival’s feathered costumes. Hanging on trees are hundreds of windchimes in the shape of a steel drum, critical to soca music. And topping an arch is an enormous “sliced disco ball,” Barnes notes, that acted as a pavilion for Design Miami programming. Up next for the 37-year-old Studio Barnes founder, who’s also an assistant professor at the University of Miami School of Architecture, is converting an old UPS truck into a mobile museum and continuing his work with the nonprofit Thrive to build projects for predominantly Black and brown Caribbean communities in South Florida.

CLOCKWISE FROM CENTER: COURTESY OF STUDIO BARNES; KRIS TAMBURELLO (3)

Clockwise from bottom: Rock | Roll, by architect Germane Barnes, is the 2022 Miami Design District Annual Neighborhood Commission that’s composed of seven rocking-chair capsules accessible to the public and on display through the spring. The installation also features an 18-foot-diameter dome of steel-framed fabric panels above Jade Alley. Each of the rockers is approximately 10 feet high and covered in 200 foam pool noodles, which are attached via high-tensile epoxy to a high-density EPS foam structure.

INTERIOR DESIGN

FEB.23

breaking bonds

In January 1863, President Abraham Lincoln signed the Emancipation Proclamation, defining the Civil War as a struggle to end slavery. John Quincy Adams Ward’s contemporaneous sculpture The Freedman, one of the first American depictions of a Black figure cast in bronze, shows a slave on the cusp of liberation, with bonds ruptured but not yet removed. To mark the 160th anniversary of the proclamation, the Amon Carter Museum of American Art in Fort Worth, Texas, is mounting “Emancipation: The Unfinished Project of Liberation,” a spring exhibition in which newly commissioned and recent works by seven of today’s leading Black artists—Sadie Barnette, Alfred Conteh, Maya Freelon, Hugh Hayden, Letitia Huckaby, Jeffrey Meris, and Sable Elyse Smith—react to the legacy of Ward’s bronze, which is in the museum’s collection. By inviting each artist to critically engage the layered history of The Freedman and other artworks of the period through the lenses of their own lives, the exhibition seeks a nuanced understanding of what freedom and agency look like for Black Americans in 2023. —Peter Webster

MAYA FREELON

INTERIOR DESIGN

FEB.23

LETITIA HUCKABY

d e s i g n wire

FROM TOP: DAMIAN GRIFFITHS/COURTESY OF SABLE ELYSE SMITH, JTT, NEW YORK, AND CARLOS/ISHIKAWA, LONDON, © SABLE ELYSE SMITH; JOHN EDMONDS; COURTESY OF LETITIA HUCKABY AND TALLEY DUNN GALLERY, © LETITIA HUCKABY; RAMBO; CHRIS CICCONE/COURTESY OF MAYA FREELON, © MAYA FREELON; JILLIAN CLARK

From top: From March 12 through July 9, “Emancipation: The Unfinished Project of Liberation,” an exhibition of commissioned and recent works by seven Black artists, is at the Amon Carter Museum of American Art in Fort Worth, SABLE ELYSE SMITH Texas, and includes Sable Elyse Smith’s the song spilling out, a 2018 mixed-media installation. Ms. Angela and the Baby, a 2022 pigment print on fabric with embroidery by Letitia Huckaby. Maya Freelon’s 2020 room-filling tissue-paper work, Greater Than or Equal To.

ThinkLab’s The Learning Objective podcast reveals how designers can crush creative burnout

REPLENISHMENT

A 2021 American Psychological Association survey cited burnout—which the World Health Organization defines as workplace stress left unmanaged—to be at an all-time high across professions, and interior designers are particularly vulnerable, notes strategist and The Burnout Epidemic author Jennifer Moss. The phenomenon, which hits perfectionists and passionate enthusiasts particularly hard, is characterized by “extreme exhaustion, lack of efficacy in one’s job, and high levels of cynicism or negativism toward work,” Moss explains. The root causes, she adds, are “systemic, they’re policy-based, they’re societal— things that are not in an individual’s control to solve,” but rather must be modeled by the organizations we work for.

FLOW

“If you’re an architect or a designer or a creative, so much of your job is imagining, ideating, daydreaming. You need space and time to do that” —Rahaf Harfoush RECOVERY

That said, workers can take preventative measures, says Rahaf Harfoush, strategist and author of Humane Productivity. “Creativity is a cyclical process, and everyone has the same four stages—replenishment, flow, fatigue, recovery—but spends a different amount of time in each.” She suggests redesigning one’s creative workflow to account for these individual performance cycles, and to recognize that productivity is not just about tangible output but also about thinking, which often happens while engaging in activities that prompt unconscious processing, such as cooking or taking a walk. “Intentional recovery is not a diversion from hitting your goals; it’s how you’re going to hit your goals,” Harfoush notes. Call it the productivity paradox. —Meredith Campbell

bl ips thinklab

Check out The Learning Objective podcast on Sandow Design Group’s Surround platform to learn how to design against burnout—and get CEU credits while doing so: surroundpodcasts.com/episodes/cultivating-creativity

INTERIOR DESIGN

FEB.23

FATIGUE

KRYSTA RODRIGUEZ Actress, Stage & Screen Founder, Curated by Krysta Rodriguez DRESS IN: TA M B O U R I N E T R A P S

CHICAGO NEW JERSEY

BRI NG I NG ART TO

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NJ SL A B GA LLERY

DA LL A S

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p i n ups text by Lisa Di Venuta

curve appeal

Lenox chandeliers in sandblasted glass and steel that’s plated or painted Glossy Cowboy Blue or Glossy Scarlet (custom colors, sizes, finishes, and layouts also available) by Astraeus Clarke. astraeusclarke.com

INTERIOR DESIGN

FEB.23

COURTESY OF ASTRAEUS CLARKE

Handmade in Brooklyn, New York, lighting by Chelsie and Jacob Starley is scalloped yet edgy—a mash-up of art nouveau and urban influences

The Nick Cave Collection

p i n ups Utter relaxation is the goal with Maximilian Eicke’s lightweight, stackable lounger, its S shape perfect for naps, indoors or out

the great wave

BJORN WALLANDER

Sloth chairs, 32 inches long, in powder-coated aluminum tubing and handwoven indoor/outdoor synthetic resin wicker in Teal, Orange, Yellow, or White (Tan and Dark Gray not shown) with handles and foldable legs for easy portability by Max ID NY. maxidnystore.com

INTERIOR DESIGN

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f ur n i t u re

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

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walk through Nearly 8 feet wide and three-dimensional, custom butterflies made of lacquered MDF and painted sheet metal flutter with color and hope in the lobby of the Pediatric Cancer Center Barcelona, part of the Spanish city’s Sant Joan de Déu Hospital.

natural healing ARNAU ROVIRA

firms: rai pinto studio; arauna studio site: barcelona, spain

FEB.23

INTERIOR DESIGN

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INTERIOR DESIGN

FEB.23

ARNAU ROVIRA

Covering an astonishing 20,000 acres, Spain’s verdant Parc de Collserola in metropolitan Barcelona is the city’s largest green space, home not only to medieval ruins and Foster + Partners’s famed telecommunications tower but also to hundreds of species of flora and fauna. These inhabitants, with their diverse strengths and strategies for survival, have for the last decade inspired interior designer Rai Pinto and graphic designer Dani Rubio Arauna, principals of their respective eponymous studios, in a joint effort to breathe new life into Hospital Sant Joan de Déu, a medical complex on the edge of the city’s “green lung.” For the hospital’s Pediatric Cancer Center Barcelona, housed in a new building by architecture firm Pinearq, the collaborating designers sought to continue their ongoing tribute to what Pinto calls “extraordinary nature” throughout the 71,000-square-foot, three-floor facility. They had already introduced “an enormous number of animals in the hospital” in previous projects, Rubio notes. An octopus, which typically has three hearts, is a kind of mascot in the cardiology unit. And more than 100 other 2-D and 3-D creatures, including lacquered-plywood tigers and adhesivevinyl jellyfish, watch over the ER department in an installation that won a 2014 Interior Design Best of Year Award in the healthcare category. The cancer center needed to be accessible to kids navigating major health challenges, “but it didn’t have to be childish,”

Clockwise from opposite top left: The lobby’s custom multimodule seating comprises sofas, chairs, and ottomans that fit together like an invertebrate’s body parts. Custom posters depict ing mountain ranges brighten the second-floor Alpine Forest family living area. Huge vinyl blos soms festoon the walls of a corridor. Wood-look laminate paneling opens to reveal more deer in the Alpine area. Five double-sided digital screens form an interactive play forest in the lobby.

ARNAU ROVIRA

FEB.23

INTERIOR DESIGN

Clockwise from top right: Desert plants and seeds enliven a third-floor hallway. Nearby, vinyl-film flowers adorn a window onto an internal court yard. In the outpatient waiting area, tables, stools, and carpets provide comparative tree diameters. In the entrance to the outpatient department, walls host an interactive installation of lacqueredplywood decals. The decals have faces with re arrangeable features that allow young patients to communicate their emotional states.

Pinto continues. “The facility is used by families and professionals, so what we do in terms of design has to be comfortable for everyone.” The result is a worldly series of lobbies, living and play spaces, and circulation routes—21,000 square feet in all— that charm without condescension. In the main lobby, custom multimodule seating references invertebrate animals, as if to remind users of their own flexibility. Nearby, kids can play in a virtual forest as lively as the one beyond the hospital windows: Comprising five double-sided interactive digital screens, the installation allows youngsters to add flora and fauna, change the weather, and even move the sun and stars. On the floors above, medical spaces and living areas build a sense of community by evoking the complex ecologies of 36

INTERIOR DESIGN

FEB.23

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the Sahara, Arctic, Amazon, and other climes. Deer, seed plants, flowers, and full mountain ranges make themselves at home on the walls—and even inside them in the Alpine Forest area, where leaf-shape cutouts in the wood-look paneling act as pulls, turning it into doors behind which frolic more antlered denizens feeding on the foliage. Everything is connected. The lobby’s murals—clusters of enormous 3-D butterflies rendered in lacquered MDF and painted sheet metal—may be the best blend of the practical and the poetic. To migrate and survive, “Monarch butterflies team up together,” Pinto observes. “There is a relation to the resilience of the kids in the center, who are passing through it in an incredibly tough movement. The healthcare idea is that we will team up together and help with your problems.” Which is both extraordinary and natural. —Jesse Dorris FROM FRONT DOMESTIC DATA STREAMERS: INTERACTIVE INSTALLATION (LOBBY). THROUGHOUT MERMELADA ESTUDIO: CUSTOM FURNITURE.

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ARNAU ROVIRA

Clockwise from top: Dubbed the Savanna, a second-floor play area includes a mural of a giraffe and an acacia tree. Exterior columns of the Pinearq-designed building are painted in the hospital’s brand colors. The Sahara Desert, another play area, offers custom furniture scaled precisely for preschoolers. The face decals resemble flowers and leaves, a further connection to nature.

INTERIOR DESIGN

FEB.23

Romp

encoreseating.com

market

best of year

Our roundup of 2022 Interior Design Best of Year Award–winning products text by Georgina McWhirter and Rebecca Thienes

BILLIE

haustile Nashville-based, woman-owned tile company Haustile was born out of love of the Bauhaus. “After studying various members of its alumni over the years, such as Anni Albers, László MoholyNagy, and Lena Bergner, it was time to dedicate a collection to the movement,” says designer Mazlyn Ortiz. The result is the Bauhaus Anniversary collection, our Best of Year winner for Tile Flooring (the porcelain composition is also suitable for walls and outdoor environments). The series philosophically and visually investigates Bauhaus themes, drawing from different shapes across a variety of works and collaging them into new iterations. Standouts include Billie, a woven matrix that reads as a unique take on plaid, and Eto, a layered, linear, midcentury-inspired design. Both measure 12 inches across. haustile.com

ETO

ANDREA BEHRENDS

FEB.23

INTERIOR DESIGN

m a r k e t best of year

ACOUSTICAL APPLICATION

ACCESSORY

Unika Vaev

Giorgetti

Holly by Runa Klock and Hallgeir Homstvedt

Borealis by Roberto Lazzeroni

Cast by Massimo Buster Minale ARCHITECTURAL PRODUCT

Porro, through West | Out East Glide by Piero Lissoni and Iaco Design Studio

OFFICE ACCESSORY

Davis Furniture Bonh by Jehs+Laub

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP: SERGIO CHIMENT/GIORGETTI; BUSTER+PUNCH; PORRO; COURTESY OF DAVIS FURNITURE; ABSTRACTA

HARDWARE

Buster + Punch

TABLETOP

Esque Studio Superchunk by Andi Kovel

BATH FIXTURE

Duravit Zencha by Sebastian Herkner

CLOCKWISE FROM TOP LEFT: ANDI KOVEL; DURAVIT; SHAW CONTRACT; MOHAWK GROUP

MODULAR CARPET

BROADLOOM CARPET

Mohawk Group

Shaw Contract

Social Canvas by Jeanette Himes

West Elm Collection

FEB.23

INTERIOR DESIGN

m a r k e t best of year

RESIDENTIAL DINING TABLE

Ralph Pucci

RESIDENTIAL OCCASIONAL TABLE

RESIDENTIAL STORAGE

Property

Mous

Scala by Christophe de Sousa and Studio Sa.schi

Cusp by Tanner Moussa and Mackenzie Lewis

HARD FLOORING

CONTRACT GUEST SEATING

Bolon

Very Wood

Truly

Saturday & Sunday by Neri&Hu

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP LEFT: ANTOINE BOOTZ/RALPH PUCCI; KRIS ELLIS; VERY WOOD; BOLON; CHRISTOPHE DE SOUSA

Santorini by Lee F. Mindel

RESIDENTIAL SOFA

Zanotta Za:Za by Zaven

CONTRACT LOUNGE SEATING COLLECTION

Nienkämper Rowan by Yabu Pushelberg CONTRACT CONFERENCE SEATING

Keilhauer Forsi by EOOS CONTRACT SEATING COLLECTION

Luxy, through Gordon Cluster by Luigi Vittorio Cittadini CLOCKWISE FROM TOP: SIMONE BARBIERI/ZANOTTA; PETER LUSTYK; LAURA POZZI STUDIO; OLEK SHESTAKOVYCH

FEB.23

INTERIOR DESIGN

“The shapes stimulate the imagination with their purity”

baril Two Quebec brands collaborate on a keenly artistic foray into the world of faucets, earning a Best of Year Award for Bath Fittings in the process. Drawing inspiration from natural geodesic shapes, the brass-body Marie collection by French-Canadian fashion designer Marie Saint Pierre for manufacturer Baril strikes a balance between abstract composition and high-performance functionality. The orb handles, half-dome showerheads, and arched faucets can be positioned any which way to form a sculptural tableau of one’s choosing. “The inspiration came to me while molding an imperfect sphere evoking our planet,” Saint Pierre says. “The pure forms, slightly faded coloring, and matte/glossy finishes allow the fittings to be positioned like art objects.” barildesign.com MARIE

m a r k e t best of year

INTERIOR DESIGN

FEB.23

BARIL DESIGN STUDIO

MARIE SAINT PIERRE

ADMIX Re-introduced with eight new colorways, AdMix is a 100% homogeneous solid resin resilient that is constructed to withstand the most demanding environments. Using an innovative translucent resin ﬂake for depth and dimension, AdMix offers neutral tones for ﬂexibility in design and bright shades for energetic, playful spaces. With a 25-year commercial limited warranty, AdMix is virtually seamless when installed. © 2022 Shaw, a Berkshire Hathaway Company

PATC R A F T.C O M | @ PATC R A F T F LLO O O R S | 8 0 0 . 2 4 1. 1.4014

CONTRACT SEATING

Andreu World Õru by Patricia Urquiola

CONTRACT TABLE

Stylex Umo by Brandon Walker

CONTRACT HUB

Spacestor Arcadia, a collaboration with Gensler CONTRACT HIGH-BACK SEATING

Studio TK

CONTRACT FURNITURE SYSTEM

Allsteel Mural by MASHstudios

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP: ANDREU WORLD; STYLEX; ALLSTEEL; STUDIO TK; SPACESTOR/GENSLER

Libelle by Khodi Feiz

best of year m a r k e t

TILE WALLCOVERING

Mutina, through Stone Source Punto by Ronan & Erwan Bouroullec

RESIDENTIAL LOUNGE SEATING

Woo Furniture Play by Dmytro Kozinenko

CLOCKWISE FROM TOP RIGHT: VLADYSLAV KLYMENKO; GRACE MANUEL; ALEJANDRO RAMÍREZ; COURTESY OF MUTINA

RESIDENTIAL BENCH

CONTRACT STOOL

Héctor Esrawe

Martin Brattrud

Frecuencia

Bloom by Birsel+Seck

FEB.23

INTERIOR DESIGN

CONTRACT LOUNGE SEATING

CONTRACT PARTITION

Haworth

Kimball International

Cardigan by Patricia Urquiola

Paradolia by Brad Ascalon, Tim Alpen, Kauppi & Kauppi, and Stone Designs

EDUCATIONAL FURNITURE

Hon

CONTRACT TASK SEATING

Knoll Newson Task by Marc Newson

CONTRACT WORK/CONFERENCE TABLE

Versteel Troupe by Qdesign

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP LEFT: MASSIMILIANO STICCA; COURTESY OF KIMBALL INTERNATIONAL; KNOLL; COURTESY OF VERSTEEL; HON

Tangram by Qdesign

m a r k e t best of year

RESIDENTIAL SEATING

Resident Sacha by Philippe Malouin

CLOCKWISE FROM TOP: TOAKI OKANO; SHESTAKOVYCH STUDIO; COURTESY OF SHAW CONTRACT; TOMMASO SARTORI

DESK

CONTRACT CASE GOOD

Living Divani

Mizetto

Aero D by Shibuleru

Beside by Studio Nooi

TECHNOLOGY

Shaw Contract Sole with SensFloor

FEB.23

INTERIOR DESIGN

m a r k e t best of year

the rug company SHONGOLOLO GHISLAINE VIÑAS

“The Shongololo rug was inspired by large millipedes found in South Africa, where I grew up.As a child,I found these creatures so endearing” 52

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM PORTRAIT: BILL ZULES; JAIME VIÑAS (2)ER

Netherlands-born, New York–based interior designer Ghislaine Viñas wins big in the Residential Rug category with her wool and silky nylon offering for The Rug Company. Inspired by memories of Shongololo millipedes from her childhood spent in South Africa, the rug of the same name is suffused with chromatic joy and features curved lines and cut shapes influenced by the millipedes’ wriggly movement and ability to roll into tight balls for self-protection. “I loved giving the Shongololo a little tap just to watch them coil,” Viñas said of her inspiration. “My design mimics the millipede in both its crawling and curled-up forms.” therugcompany.com

Social Canvas Intimations of the artist’s studio: from our collaboration with ArtLifting, an organization that champions artists impacted by housing insecurity or disabilities, Social Canvas modular carpet conveys the expressive freedom of paintings by artist Charlie French. Each time you specify Social Canvas we’re donating to Susan G. Komen through our Specify for a Cure program. mohawkgroup.com

ARCHITECTURAL LIGHTING KITCHEN CABINETRY

Molteni&C Dada

Vibia Plusminus by Stefan Diez

Tivalì 2.0 by Yabu Pushelberg

TABLE LAMP

Leedarson IoT Technology

KITCHEN APPLIANCE

Miele Generation 7000 ArtLine 30” Combi-Steam Oven

KITCHEN FITTING

Gessi North America 316 Kitchen Faucet Collection

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP RIGHT: VIBIA; MIELE USA; COURTESY OF GESSI NORTH AMERICA; GUOLIAN LAI/LEEDARSON, MOLTENI&C

Baishi

m a r k e t best of year

FLOOR LAMP

PENDANT FIXTURE

Louis Poulsen

Foscarini

Moonsetter by Anne Boysen

Tonda by Ferruccio Laviani

CLOCKWISE FROM TOP LEFT: LOUIS POULSEN; FOSCARINI; TOMMASO SARTORI; MUK VAN LIL AT COCOON COLLECTABLES, STYLING BY KAMER465 & ART DIRECTION BY WISSE TROOSTER

CHANDELIER

Flos Almendra by Patricia Urquiola

SCONCE

Wisse Trooster Re-Editions

FEB.23

INTERIOR DESIGN

ENVIRONMENTAL IMPACT

Garden on the Wall Garden on the Wall ENVIRONMENTAL IMPACT: SEATING

Humanscale

MATERIAL/TREATMENT/SURFACE

Artistic Tile Groove by Nancy Epstein

HEALTH & WELLNESS FURNITURE

Carolina, an OFS company Sorta by Henner Jahns

REISSUE

B&B Italia Le Bambole by Mario Bellini

INTERIOR DESIGN

FEB.23

m a r k e t best of year

CLOCKWISE FROM TOP LEFT: GRAHAM WASHATKA; COURTESY OF HUMANSCALE; DAVID CHRISTENSEN/CAROLINA, AN OFS COMPANY; COURTESY OF B&B ITALIA; COURTESY OF ARTISTIC TILE

Path by Todd Bracher

HOSPTITALITY TEXTILE

Wolf-Gordon Chromalis by Bradley L. Bowers

OUTDOOR TEXTILE

Mariaflora Hybrid by Paola Navone CONTRACT TEXTILE

KnollTextiles Nick Cave Collection

CLOCKWISE FROM TOP LEFT: WOLF-GORDON; LYNDON FRENCH; COURTESY OF DESIGNTEX; MATTEO ZIN

HEALTHCARE TEXTILE

Designtex Interplay, Particle, and Imprint

FEB.23

INTERIOR DESIGN

m a r k e t best of year

arper Drum roll please! The winner of best Contract Sofa is Shaal: an instant classic that melds high comfort and modular construction. Designed by Nipa Doshi and Jonathan Levien of London-based studio Doshi Levien, its tailored yet embracing silhouette appears to hover off the ground like a particularly chic UFO. The rigid shell— upholstered in leather or fabric—cradles deep, cosseting cushions. The line’s six core modules can be combined to create angular or linear two- or three-seater configurations that adapt to practically any space. Replaceable upholstery extends the sofa’s shelf life. arper.com

JONATHAN LEVIEN, NIPA DOSHI

“It’s structured, but as soft as a basket of pillows”

PORTRAIT: COURTESY OF ARPER; SALVA LOPEZ (2)

SHAAL

INTERIOR DESIGN

FEB.23

THE SOUND OF DESIGN

VLA26

Vega Chair by Vilhelm Lauritzen

Slender yet durable, the VLA26 Vega Chair was originally created for Copenhagen’s historic concert hall, Vega. Many decades after its debut, Carl Hansen & Søn proudly launches Vilhelm Lauritzen’s functionalist masterpiece with meticulous attention to craftsmanship and detail.

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

1956

m a r k e t best of year

RESIDENTIAL TEXTILE

OUTDOOR PRODUCT

Michele Varian Landscape Forms Backdrop by KEM Studio

OUTDOOR KITCHEN CABINETRY

OUTDOOR FURNITURE COLLECTION

Danver Stainless Outdoor Kitchens

Sutherland Furniture

Urbane by Daniel Germani

Franck by Vincent Van Duysen

OUTDOOR SEATING

Pedrali Reva Cocoon by Patrick Jouin

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP LEFT: COURTESY OF MICHELE VARIAN; STUDIO DVDP; COURTESY OF SUTHERLAND FURNITURE; ANDREA GARUTI; DANVER STAINLESS OUTDOOR KITCHENS

Cloudy

FABRIC WALLCOVERING

Arte Pantheon

OUTDOOR LIGHTING

Poltrona Frau, through Janus et Cie Sparkler by Kensaku Oshiro

CLOCKWISE FROM TOP LEFT: POLTRONA FRAU; COURTESY OF ARTE; IVORY LACINA; COURTESY OF RICCI STUDIO

CONTRACT WALLCOVERING

PAPER WALLCOVERING

Ricci Studio

Porter Teleo

Tempo by Liane Ricci

Géométrie

FEB.23

INTERIOR DESIGN

Create a New Day

Ultrafabrics and Pantone Introduce the Awakening palette. A curated range of grounded neutrals and harmonious shades, the Awakening palette energizes 2023 Color of the Year Viva Magenta for interior spaces. Scan the code to visualize how this palette comes to life and to request samples.

ultrafabricsinc.com

space maven Film and commercial sets, installations, interiors, furniture, and more—Los Angeles multitalent Adi Goodrich does it all

If Adi Goodrich’s peripatetic life and varied career signal one thing, it’s that, for her, all roads lead to design. Goodrich’s winding path to her current base, the Echo Park neighborhood of Los Angeles, began in Momence, a small Illinois farm town. From there she moved 60 miles north to Ukraine Village in Chicago to study painting and drawing at the city’s esteemed School of the Art Institute. Further studies followed at the Sorbonne in Paris, where, ensconced in her own studio, she also learned a bit of French and a lot about smoking cigarettes. A job as a window dresser for such high-profile stores as Barneys New York and Anthropologie brought her to L.A., where she soon transitioned into set design. In 2015, Goodrich and her now-husband Sean Pecknold, an animator and director, founded Sing-Sing Studio, a multidisciplinary practice that designs large-scale film and advertising sets, site-specific art installations, and sculp tures; more recently, it has broadened into interiors and small-batch furniture production. The latter, launched in 2022 under the witty name Sing-Thing, returns Goodrich to her design roots, which began at home, since her family lived above the proverbial shop—her artisan father’s woodworking and antiques restoration business—where she came to appreciate materiality, construction, and craftsmanship. “I was a workingclass kid who stumbled onto things with random jobs,” she remarks. Looking at her client list, which includes Apple, Google, Headspace, Instagram, Lavazza, and Lyft, we should all be so lucky. Goodrich proved as exuberant in conversation as in her work when we asked her recently about her enviably colorful career.

CHANTAL ANDERSON

c r e at i v e voices The cofounder of Sing-Sing Studio surrounded by pieces from the debut collection of her newly launched Sing-Thing line of small-batch furniture. FEB.23

INTERIOR DESIGN

You describe yourself as a “spatial designer.” What does that mean? Adi Goodrich: It checks multiple boxes: designing a set, an installation, or a sculpture in a public place. I build worlds for photo shoots, commercials, and film. Window dressing brought you to L.A. How did you get into set design? AG: Within a day of my moving here, a guy who had studied with the same teacher in Paris as I did sent me a script, and we formed a film collective. I’m addicted to storytelling in design so building sets felt good to me. Our 13-minute film, Red

Moon, hit the festival circuit, which led to commissions for commercials, like a campaign for Lavazza that incorporated costume design, a custom espresso-cup chair, and the use of bold colors and shapes. In 2016, I went to UCLA Extension at night to study interior design and architecture, and now I’m getting into interiors and furniture. Wine & Eggs, a chic neighborhood bodega in L.A.’s Atwater Village, was your first interiors commission. How did you get it? AG: My husband Sean and I had written a children’s book that the owner, Monica Navarro, liked. The interior is inspired by small grocery shops in France. Monica then asked me to design her nearby lifestyle store, Dreams.

Its ice-cream and terra-cotta colors, distinctive materials palette, and use of pattern seem inspired by Gio Ponti’s mid-century Italian style. AG: Yes! My other favorite inspirational artists and designers include Josef Albers, Jean Arp, Merce Cunningham, Charles and Ray Eames, Alexander Girard, and India Mahdavi. We recently completed our first office project, two floors for iam8bit, a media production company, which we made into a playful space meant to promote collaboration. Tell us about your debut Sing-Thing furniture collection. AG: I wanted to create pieces my friends could live with. They’re handmade here in L.A., primarily of cherrywood and colorful high-pressure laminate. I like to say, ‘Picture a wet Sophie Taeuber-Arp painting that’s fallen on top of a Charlotte Perriand table’—that’s the essence of the collection. —Edie Cohen

INTERIOR DESIGN

FEB.23

CLOCKWISE FROM TOP: YE RIN MOK (2); CHANTAL ANDERSON (3)

It has a surrealistic quality, doesn’t it? AG: I dream all the time and believe in surrealism. I’m doing everything I can to not be a boring person! We also did the first brick-and-mortar shop for online fashion retailer Lisa Says Gah!

CLOCKWISE FROM TOP LEFT: YE RIN MOK; COURTESY OF SING-SING STUDIO; LAURE JOLIE; BRIAN GUIDO.

Opposite, clockwise from top left: The entry to L.A. lifestyle store Dreams, which channels a surrealist vibe. Custom desks and table lamps populating the iam8bit office in L.A. The Juju mirror from Sing-Thing. The designer with the line’s Reading chair. The Egg pendant fixture, originally created for Wine & Eggs; all Sing-Thing items are produced on a custom-order basis and sold through adigoodrich.com. Clockwise from top left: The Lisa Says Gah! shop in L.A. Emboldened 1960’s graphics on the Lavazza campaign set. The tiled facade of the Wine & Eggs bodega in L.A. Arches inspired by the Griffith Park Observatory forming Perpetual Sunset, an installation at Instagram’s office in Playa Vista.

c r e at i v e voices

FEB.23

INTERIOR DESIGN

Special Advertising Section

MOMENTUM TEXTILES & WALLCOVERING

2022 A SPOTLIGHT ON PRODUCT WINNERS AND HONOREES to see all the awardees, visit boyawards.com

Special Advertising Section

Davis Furniture BONH WINNER OFFICE ACCESSORIES Connecting the natural environment with the workplace, Bonh gives designers an accessory that harmoniously blends the architectural with the organic. A collection of cascading planters, Bonh’s modern, geometric shapes were created to contrast with an infinite variety of plants used to bring the outdoors in. Bonh’s biophilic design contributes to the health and well-being of the occupants. Designed to be used singularly or in groups, Bonh provides designers with space separation or accent options depending on its configuration. Fabricated with a trio of steel cylinder forms and support rods, Bonh is available in two heights and over 30 powder coats.

Special Advertising Section

2022

SOLA HONOREE CONTRACT CONFERENCE SEATING Sola exemplifies a classic, minimalistic style, enhancing conference spaces and executive offices. This designer favorite was recently re-engineered featuring more comfort, enhancing the seating experience of Sola through evolved features. In 2022, Davis released a wood-veneer back option. This latest edition includes a wood-veneer insert within the back upholstery of Sola. Available in oak or walnut veneer for both the high back and mid back versions, this addition enhances the beauty of Sola while providing designers with another elegant solution for their executive seating needs. Sola is available in polished aluminum as well as in over 30 powder coat colors. davisfurniture.com

Special Advertising Section

Shaw Contract WEST ELM + SHAW CONTRACT WINNER BROADLOOM CARPET West Elm + Shaw Contract gives West Elm style to commercial interiors. Available in rugs, broadloom, and carpet tile, this collection embraces the warmth and comfort of home wherever you may be. It combines the handcrafted sensibility of natural materials and textiles with the utmost durability and sustainability that commercial environments demand. All of the collection's carpet tile styles are carbon neutral and optimized for low embodied carbon - made with EcoSolution Q100™ a high performance 100% recycled content nylon fiber.

SOLE WITH SENSFLOOR WINNER TECHNOLOGY An alternative to wearables or cameras, Sole technology can be utilized to support independent living, assisted living, and memory care environments. Integrating with existing building systems and installed under flooring in a method that is invisible and unobtrusive, Sole increases the opportunity for smart personal engagement and monitoring while maintaining resident dignity and privacy. Sole provides caregivers real-time alerts, supplementing the level of care that residents receive in a way that can increase efficiency and response times. It can survive flooring changes and become a part of the space for life. Installation can occur in new construction or in renovation. shawcontract.com

Special Advertising Section

2022

Nucraft ASCARI CREDENZA HONOREE CONTRACT CASE GOODS Complementing the Ascari conference tables, Ascari credenzas showcase the design elements of the tables and casegoods. The credenza collection offers meeting room essentials that combine both work and hospitality. Offered in an abundant range of sizes, premium material options, and with superior craftsmanship. nucraft.com/products/ascari-credenza DESIGNER Product Design Consultant, Gensler

Special Advertising Section

Mohawk Group SOCIAL CANVAS WINNER MODULAR CARPET As we come into the world, we are each given a canvas, ready to be painted with our own story. These canvases are not necessarily blank, and often bring affordances or limitations, depending on our personal and social circumstances. Even still, it’s up to us to determine what we do with our canvas. We each have the agency to thrive when society is equitable and inclusive. Mohawk Group’s Social Canvas modular carpet collection speaks to the triumph of the human spirit. Using the work of artist Charlie French as a point of departure, this 12 x 36 plank collection is the result of a collaboration with ArtLifting, an organization which champions artists who are impacted by housing insecurity or disabilities. ArtLifting provides a platform and creates opportunities for underrepresented artists to amplify their voices and participatein the contemporary art market. MohawkGroup.com

Special Advertising Section

2022

Kimball PARADOLIA WINNER CONTRACT PARTITIONS + WALL SYSTEMS Paradolia screens and wall panels create privacy and reduce acoustical distractions. Artfully and thoughtfully created by a variety of featured designers, the Paradolia portfolio showcases solutions from Tim Alpen, Brad Ascalon, Kauppi & Kauppi, and Stone Designs. Options with magnetic markerboards, tackable surfaces, mobility, and shelves create a collaborative atmosphere that provides sound absorption. Softened floor screens, with and without a markerboard accent, are a mobile option that effortlessly move from space to space. A-frame screens divide space while serving as a collaboration tool and are easily nested for storage. The dual-sided floor screen, featuring a pass-through shelf and storage system, is a mobile unit that has tackable felt and magnetic markerboard surfaces. Angled leg floor screens are available in two sizes and provide a large tackable space with solid hardwood legs. The wall panels attach to a suspension rod with leather straps, providing functional sound absorption for walled environments. kimball.com

Special Advertising Section

Momentum Textiles & Wallcovering AT THE MUSEUM COLLECTION HONOREE CONTRACT TEXTILES With motifs that are as minimal and sparse as the abstract art that inspired them, the At the Museum Collection takes us on a tour of early expressionist and modern art we might find in our favorite museum. Featuring 6 patterns with linear imagery and geometric shapes reminiscent of the 1950s-1960s abstract era with colors that include rich primary hues, fresh mid-tones and graphic black and white neutrals. Dimensional patterns range from midscale to oversized to transform any upholstered furniture while a multi-toned texture binds the collection together. momentumtextilesandwalls.com DESIGNER Sina Pearson

Special Advertising Section

2022

Hubbardton Forge STELLAR OUTDOOR COLLECTION

HONOREE OUTDOOR LIGHTING A contemporary take on a classic lantern design, the Stellar Outdoor Collection from Hubbardton Forge features two wall mount sconces (large and small), a ceiling mount for a grand portico or entryway, and a post light for a sophisticated and warm welcome for guests. All Stellar products are offered in a choice of six robust Coastal Outdoor Finishes and are AAMA 2604-Certified. Made in Vermont, Hubbardton Forge exterior lighting fixtures are environmentally friendly, rigorously tested, beautiful and durable. hubbardtonforge.com DESIGNER David Kitts

Special Advertising Section

Artistic Tile GROOVE WINNER MATERIALS, TREATMENTS + SURFACES Architectonic and linear, Groove is a dimensional tile with modern presence. The hand-finished stone is powder-soft to the touch, beautifully juxtaposing it’s robust, chiseled form. A repeating channel is carved the length of each 12-inch by 24-inch tile creating an intriguing interplay with the natural veining of marble. Offered in Lilac and Vanilla Onyx, every version of Groove is honed and is ideal for full-wall installations or as a sophisticated and sculptural wainscoting.

A MANO HONOREE TILE + STONE WALL COVERING A Mano is a collection of hand-painted & glazed redclay ceramic, with the detail that has made Maiolica tile highly prized by collectors since the Renaissance era. Expertly designed to work brilliantly both on their own, as well as with Artistic Tile’s existing selection of natural stone, this tile features an ombré of three select color palettes: green, blue and neutral. Brushed-on geometric patterns, Pyramide, Diamonte, and Triangolo, renew a traditional style while honoring the Italian art form’s heritage with each stroke. Each A Mano tile is 8-inches by 8-inches by a half, conceived with a linear, dynamic installation repeat. artistictile.com

Special Advertising Section

2022

Duravit ZENCHA FREESTANDING BATHTUB HONOREE BATH SINK/TUB Striking a delicate balance between contemporary and timeless design, Designed by Sebastian Herkner as part of his first bathroom collection with Duravit, the Zencha Freestanding Bathtub offers a striking focal point for any bathroom. Inspired by traditional Japanese culture, including tea ceremonies and bathing rituals, Herkner developed ceramic fixtures, furniture and mirrors that bring harmony and heightened wellness to the bathroom. The Freestanding Bathtub features the same distinctive shape and organic lines of the Zencha washbasin, opening into a graceful, outward-curving edge. The Freestanding Bathtub is made of DuraSolid® ceramic - a patented material that offers durability, high stability and slip resistance. The 49 1/4" x 49 1/4" version of the freestanding bathtub made of DuraSolid® resembles the shape of the square above-counter basin. With its considerable depth, reminiscent of a Japanese onsen bath, it invites you to immerse yourself in the soothing water. The tub is also available in rectangular versions measuring 63" x 33 1/2" and 70 7/8" x 35 3/8". All Zencha ceramics and furniture are manufactured at Duravit's production facilities in Hornberg and Schenkenzell in the Black Forest and are finished by hand. Through organic forms, balanced shapes and authentic materials, this thoughtful collection creates a tranquil retreat. duravit.us DESIGNER Bertrand LeJoly

Metal Inlay

Wood Grommets

CAMEO

TA B L E

DESK

Cable Management

OPTIONS

A LT U R A F U R N I T U R E . C O M

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EBONIZED

M O D E R N

ASH

S AT I N

A R C H E T YP ES

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ALUMINUM

T H E

M A K I N G

Designers, contractors, and consultants led by OBMI senior lead designer Islam El Mashtooly, design manager Shereen Elmargoushy, and design coordinator Hannah Abouzour

8,800 LINEAR FEET OF BAMBOO

16,000 100% SUSTAINABLE strands of jute rope

MATERIALS

2 3

national treasure A mazelike installation by OBMI for Dubai Design Week educated visitors on the essential mangrove ecosystem that’s indigenous to the northern U.A.E

1. After a month-long process with digital models and test canopies, members of the Dubai office of OBMI began preliminary construction of Once Upon a Forest, the global architecture firm’s 5,800-square-foot pavilion for Dubai Design Week, in a local warehouse using regionally sourced bamboo, which was weather-proofed and tied together to create a set of 16 pillars that were stabilized with bases of metal and cast concrete. 2. Strands of undyed jute rope were strung through natural jute mesh at the warehouse before components, including the installation’s eight canopies, were transported to the Dubai Design District site. 3. The canopies, made from jute-wrapped bamboo bracing, were set on the ground before they were raised onto the pillars. 4. Strands of additional rope were attached to the canopy mesh, so they would hang down. 4

“It offered a brief escape of serenity amidst the shady floating canopies— and showcased nature’s power to mitigate climate change” —Islam El Mashtooly COURTESY OF OBMI

c enter fold FEB.23

INTERIOR DESIGN

c e n t e r fold

SEB BOETTCHER/OBMI

1. The theme of Dubai Design Week, which ran from November 8-13, was Design With Impact, and the event’s 75,000 visitors could walk beneath Once Upon a Forest, its canopies ranging from 12 to 16 feet high, for an immersive experience. 2. The installation integrated A/V providing information on the region’s 60 million protected indigenous mangroves, which are estimated to cover some 60 square miles of the U.A.E., much of them in the Eastern Mangroves area of Abu Dhabi, guard the Persian Gulf coastline from floods, and capture 43,000 tons of CO2 annually.

INTERIOR DESIGN

FEB.23

INTERIOR DESIGN

Feels Good to Do Good Introducing BottleFloor, a hybrid flooring that merges innovation in product performance with materiality and circularity. Made with 100% PET fiber and up to 71 recycled post-consumer plastic bottles per square yard.* *Recycled content varies based on style. Go to the BottleFloor Collection page on shawcontract.com for more details.

feb23

Looking strong in the new year

BARBARA CORSICO/LIVING INSIDE

FEB.23

INTERIOR DESIGN

text: rebecca dalzell photography: alexander haiden

escape route Ingenhoven Associates fashions a retreat that’s both luxurious and restrained for guests of Lanserhof Sylt, an ascetic medical spa on an island off the northern coast of Germany 86

INTERIOR DESIGN

FEB.23

INTERIOR DESIGN

Lanserhof Sylt is not a typical spa. Situated on the windswept German island of Sylt, in the Wadden Sea, the resort promises to improve health through fasting, massage therapy, and medical treatments such as Cellgym infusions. Guests pay $8,000 a week to eat next to nothing—think wheatgrass shots and tiny portions of vegetable soup—and cleanse their bodies of harmful toxins. The Sylt retreat, which opened last summer, is Lanserhof’s fifth location. Founded in 1984, with properties in Lans, Austria, and Tegernsee, Germany, the brand has built a devoted A-list following, Christoph Ingenhoven, founder and chairman of Ingenhoven Associates, among those who have submitted to the strict regime. Based in Düsseldorf, Ingenhoven started his sustainability-minded practice in 1985, and has completed such projects as the mixed-use towers Marina One in Singapore and Lufthansa’s headquarters in Frankfurt. He began visiting the original Lanserhof in Lans in the early aughts and took on the brand as a client a decade later, when it started expanding. Ingenhoven has since designed the properties in Tegernsee, London, and Sylt (as well as an extension in Lans), unifying them with a modern, pared-down aesthetic. “Christoph is a master of omission,” observes Nils Behrens, Lanserhof’s chief marketing officer. “His work complements our concept and leaves plenty of room for free thought, rest, and relaxation.” Knowing first-hand what the week-long experience is like, Ingenhoven’s stays in Lans helped him empathize with future guests. He says that the first few days,

INTERIOR DESIGN

FEB.23

Previous spread: At Lanserhof Sylt, a medical spa complex by Ingenhoven Associates on the northwestern German island, a freestanding staircase spirals through all five floors of the main building. Top, from left: The main building is topped by the largest thatched roof in Europe, the design inspired by the island’s traditional Frisian architecture. The 175,000-square-foot building, which is shaped like an E, opens onto a swimming pool. Bottom, from left: Oiled white oak floor planks run through the lounge, where a sofa encircles a concrete firepit, all custom, and is joined by a pair of Charles and Ray Eames armchairs and ottomans. Regional shipbuilders constructed the 6-foot-wide stair of painted steel and oak.

FEB.23

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

Opposite top: A recreation room has Nido chairs by Eliana Gerotto and Patricia Urquiola around a custom fireplace. Opposite bottom, from left: The ceiling, braced with Nordic spruce beams, rises to 50 feet. The 55 guest rooms each have a private balcony cut into the thatched roof. Top: Custom sofas furnish the medical reception area. Bottom: Obeche wood surrounds the sauna.

when you experience withdrawal, are especially challenging. “They take away everything,” he begins. “You get hangry, feel nervous, and have serious headaches, and are also cold, since you have no energy. You can get every service, but you won’t get anything to eat.” As an architect, Ingenhoven could offer guests warm, generous, soothing spaces in which to recover, with minimal noise and distraction. At the Lanserhof properties in Tegernsee and Sylt, there’s no art or bright color, but a beige-and-white palette, wood floors, large windows, and a balcony in each of the generous guest rooms. They are tailored to their location. “Our approach is always to provide contemporary architecture with no compromise, but with a relationship to the vernacular,” Ingenhoven says. Tegernsee, in the Bavarian Alps, evokes local monasteries with a square structure and courtyard. Lanserhof Sylt, in turn, reflects its setting in the Frisian archipelago. The long, narrow landmass is the northernmost point in Germany, near Denmark. Like many Germans, Ingenhoven has visited Sylt since childhood—he compares Kampen, a popular beach destination on the island, to the Hamptons in New York. Under constant threat of erosion, Sylt has strict building codes that would normally prohibit the creation of a large new hotel atop the dunes. But the six-structure Lanserhof was effectively grandfathered in, because it occupies a former military complex dating to the 1930’s, and the German government allowed construction on the existing footprints. The architect and the client worked closely with preservation and conservation officials throughout the process. “We could remove the hardscape but could barely touch the dune. It was a fight to get a square meter more to build on,” Ingenhoven says. The volumes had to be compact, efficient, and sensitive to the surrounding nature reserve. The six thatched-roof buildings are spread across 12 acres. The main building, the largest at 175,000 square feet, is five levels with 55 guest rooms; then there’s the diagnostic building with 13 guest rooms, three seaside villas, plus a listed former officers’ club under renovation. For now, all the action is in the main building, which replaced an officers’ accommodation block. In addition to guest rooms, it offers lounges, treatment rooms and medical offices, indoor and outdoor pools, a climbing wall, a sauna, and a steam room. The design is a supersize version of the traditional Frisian house, found in coastal Germany and the Netherlands, which has a low vertical facade and a large overhanging thatched roof to protect against wind and rain. Ingenhoven subbed in triple-pane glass for the usual brick facade, gave the building an E shape to maximize views and sun exposure, and tucked upper floors within an enormous reed roof—at nearly 65,000 square feet, it’s the largest thatched roof in Europe. The fine strands of reed let FEB.23

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Top, from left: A medical office, where guests receive a comprehensive evaluation. The indoor pool. A massage room. Part of the spa. A water-therapy room. Bottom: Thousands of glass mosaic tiles line the steam room.

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him and his team create soft, rounded forms that integrate into the landscape and mimic the shape and color of the dunes. Inside, the building centers on a 50-foot-high circular staircase that winds from the basement parking garage to the fourth floor, helping visitors orient themselves. The white-painted steel and oak structure, framed by slatted oak paneling and exposed Nordic spruce ceiling beams, adds drama to the otherwise subdued interiors. On the ground floor, it leads to a lounge furnished with an expansive curved sofa, a generous firepit, Eames armchairs, chessboards, and bookshelves. Behrens notes that the concept conveys a sense of security and connection with the outdoors, which is important to the treatment. Upstairs, each guest room has a unique plan, due to the curved roof, and opens onto an enclosed balcony. “Traditionally, you would build a dormer window,” Ingenhoven notes. “We turned it 180 degrees and cut out a balcony instead.” There, guests can isolate themselves, soak up the restorative power of nature, and try to ignore their hunger. PROJECT TEAM MORITZ KROGMANN; ANETTE BÜSING; ANDREAS CRYNEN; KARMIN SHIM; JUAN PEREG; MINA ROSTAMIYANMOGHADAM; IAN CHOW; MARTIN TRAWINSKI; PHILIPP NEUMANN; FLORIAN JUNG; KIARA HELK: INGENHOVEN ASSOCIATES. MWH MEBLE: CUSTOM FURNITURE WORKSHOP. TROPP LIGHTING DESIGN: LIGHTING CONSULTANT. WERNER SOBEK: STRUCTURAL ENGINEER. GEBR. SCHÜTT KG; WINKELS INTERIOR DESIGN EXHIBITION: WOODWORK. TKS GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT KETTAL: OUTDOOR FURNITURE (OUTDOOR POOL). VITRA: CHAIRS, OTTOMANS (LOUNGE). MANUTTI: SIDE TABLES. FLOS: FLOOR LAMPS (LOUNGE), BEDSIDE LAMP (GUEST ROOM). PAOLA LENTI: CHAIRS (REC ROOM). BOLEY: CUSTOM FIREPLACE. SICIS: TILE (STEAM ROOM). ART ROCK: BOULDER WALL (GYM). TECHNOGYM: FITNESS EQUIPMENT. BETTE: TUB (BATHROOM). THROUGHOUT TEKHEK ECOLOGICAL ROOFING: ROOF. KLAFS: SAUNAS. JAB ANSTOETZ: CURTAINS.

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Top, from left: A climbing wall runs alongside the staircase in the gym. The bathroom in a duplex suite features a freestanding tub. Bottom, from left: The curved roof ensures that most of the main-building guest rooms are different shape, though all have custom oak millwork. The buildings, which occupy a former military complex from the 1930’s, prioritize sustainability, using nontoxic, renewable materials, and are well insulated, with triple-pane glass windows and geothermal heating.

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imagination takes flight For Duoyun Bookstore in Yancheng, China, Wutopia Lab reinterprets animated-film characters into a fairy tale of a project for both children and adults text: rebecca lo photography: creatar images

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Yancheng may well be worth more than its weight in salt. For the past two millennia, the Chinese city’s natural river salt reserves have seasoned Jiangsu province’s many celebrated dishes. In fact, its name literally translates as salt city. North of Shanghai, Yancheng’s development has progressed at a more temperate pace when com pared with its glamorous neighbor despite a population of over 8 million. But for architects such as Ting Yu, founder and principal of Wutopia Lab, the city offers much room to experiment—and is the perfect place to unleash his creative prowess in experiential retail design at a parent-child branch of Duoyun Bookstore. At first, however, Yu was hesitant to take on the 18,300-square-foot project. Recently completing the awardwinning Taizhou outpost of Duoyun, he was worried he might be typecast as a bookstore designer. But the city’s potential was one factor in changing his mind. “Yancheng has a long history, rich resources, and is developing rapidly,” Yu begins. “But it’s in need of fresh blood to bring it in line with the rest of the world.” Another swaying factor was the work of Italian illustrator Cristina Làstrego, whom Yu discovered upon his first meeting with the project’s developer, Jiangsu Spring Blossom Cultural and Creative Town Cultural Tour ism Industry Development Co. Over the past four decades, the 82-year-old artist and her partner Francesco Testa have produced more than 170 books for children that have been adapted into films and online media. “I was deeply impressed by the imagination of Làstrego—her gorgeous scenes are very moving. I felt I could

“Whimsical spaces play with scale, creating a childlike wonder for visitors of all ages”

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Previous spread: At Duoyun Bookstore, a parent-child bookstore in Yancheng, China, by Wutopia Lab, the perforated aluminum enclosing a balcony has a bird cutout that signals the animal theme throughout the project. Opposite: Entry is through an abstracted ark of more aluminum panels, painted and laser-cut with curvilinear shapes. Top, from left: A skylight caps the main retail area called the book tower. A titanium window is laser-cut with a cloud shape. The animal figures are inspired by those seen in The Creation, an animated film by Cristina Làstrego. Bottom: A staircase wrapped in micro-cement spirals through the two-story book tower.

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use her works to create a fairy-tale bookstore and retain a sense of innocence to take customers, young and old, back to a pure place in their hearts.” So Duoyun Bookstore, which has six shops through out China, and Jiangsu Spring Blossom joined forces for the venture, as the latter holds the intellectual property rights for Làstrego characters such as Mirò the Cat and her animated films The Creation and The Circus. “Mirò is famous in Italy but not China, so we had to introduce the animation to Chinese customers through the design,” Yu says. But rather than literal depictions of the characters, he simplified Làstrego’s meticulous details to yield whimsical spaces that play with scale, creating a childlike wonder for visitors of all ages. Yu initiated his scheme on the exterior of the bookstore, which occupies an existing three-story building near a wetland park, sited so that it captures views of the greenery. Wutopia Lab envisioned the facade as a fantastical maritime landscape with yellow elements recalling the motion of waves and a red structure resembling a ship docked at port. To these, Yu also added a pair of enclosed balconies, their lilac enclosures of perforated-aluminum laser-cut with a pared-down bird or cat shape. Inside, the store consists of a two-story retail area, a café, and a children’s area. The entry is an elongated tunnel of perforated red aluminum that transports customers into a new world. It opens into what’s called the skylight book tower, an octagonal space with a red spiral staircase that leads up to a cupolalike nook. Both levels of the tower are lined with built-in shelves holding thousands of books for adults as well as Duoyun merchandise like stationery and tote bags.

Top: The tower’s custom built-ins hold thousands of books for adults. Center: In the Oceania Drawing Library, which is the children’s area, a whale-shape cutout is the entry to one of four stand-alone “book houses” containing children’s books and items. Bottom: On the store’s second and third floor is the Cloud Terrace café, its ceiling brushed stainless steel. Opposite: LED strips follow the staircase’s spiral.

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Top, from left: A 21-foot-high perforated aluminum tent populates a terrace. Floor-to-ceiling plywood shelves surround a built-in leather-covered bench. Inside the tent is a custom carousel in fiberglass-reinforced concrete. Bottom: Flooring throughout the drawing library is terrazzo. Opposite: The store’s exterior animal cutouts are echoed in the entries to the book houses, the one with the bird leading to a lecture hall.

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Adjoining the tower is the Cloud Terrace café, a double-height eatery consisting of interlocking circular spaces capped by a ceiling of brushed aluminum. Three lighting systems—round ceiling lights covered in luminous film, concealed LED strips, and LEDs imbedded into troughs—imbue an otherworldly quality. A second spiral staircase extends the café to the third floor, where there’s a terrace fronted by a perforated white balcony. The Oceania Drawing Library on the opposite end of the café is a large open activity space for children that also accommodates workshops and exhibitions. It encompasses four smaller, stand-alone rooms dubbed illustrated book houses that are filled with children’s books. These structures feature different lasercut entries in the shape of animals adopted from Làstrego’s The Creation. Each one employs different-colored perforated panels while their interiors are uniformly white with built-in benches—tranquil environments to browse books in. A terrace at the end of the second floor is furnished with a red aluminum tent in a nod to one depicted in The Circus; Wutopia’s version has a custom carousel inside it. Duoyun is a pioneer in China’s retail book arena and leads the trend in combining sales with food and beverage, education, and exhibitions. To gel together the many disparate areas, Yu looked to another children’s literary character: Peter Pan. “At the end of the story, Wendy can never go back to Neverland, but the tale left a strong impression,” he says. “Duoyun Bookstore is like a Neverland—I hope that its older customers can shed the stress of adulthood and feel pure again.”

PROJECT TEAM SHENGRUI PU; CHEN LIN; JIE LV; YANYAN FENG; ZIJIE XU; CHAO BIAN: WUTOPIA LAB.

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terra firma A magnificent monograph explores New York ceramic artist Peter Lane’s large-scale architectural installations, monumental furniture, and decorative work text: glenn adamson excerpted from: Peter Lane: Clay, Scholes Press, 2022 photography: jeff klapperich

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The work begins on the floor. Together with a team of five or six assistants, ceramic artist Peter Lane lays down a field of clay, several inches thick. Then this huge slab is sculpted using hand tools, marked out into a grid using a laser, and cut into modular units. These components are then separately glazed and fired. Metallic leaf, white or yellow gold or perhaps palladium, is selectively added. Finally, the work is installed on a wall—Lane conceives each composition as site-specific—and asserts itself as complete and monumental, a hybrid of art, craft, engineering, and architecture. Lane occupies a unique position in contemporary ceramics. This is in part due to the sheer scale of his enterprise—his 10,000-square-foot Brooklyn studio boasts the largest kiln capacity in New York City—and also a matter of interdisciplinarity. His work sits somewhere between sculpture, painting, architecture, and interior design, though he doesn’t much mind what you call it. He came by this open-minded attitude early on. Lane’s first forays into art were as a painter, with a strong line in texture—he mixed sand into his works, creating rich surfaces that anticipated his later production. It wasn’t his natural métier, though, and he knew it. A happenstance encounter in 1994 with mid-century modern pottery in a Miami Beach boutique got him thinking about ceramics. By the time he got back to New York, he had decided—“not without a sense of irony,” he says, given the hobbyist associations the medium had at the time—to head to Greenwich House Pottery. This venerable Arts and Crafts institution had been a crossroads for leading talent in the field for over a century. It was a good place to fall in love with clay, and right away he was hooked. As a painter, Lane had always been more concerned with materiality than imagery; here was a discipline that was all materiality, all the time. The first things that Lane made at Greenwich House were functional lamp bases, but his horizons were expanding fast. A series of trips to Japan, beginning in 1998, exposed him to that culture’s aesthetic sensibility, in which artistic pottery and purely decorative painting both have a place. Very much in this spirit, he developed a distinctive idiom that could be applied to a diversity of contexts and scales: tableware, vases, furniture, murals, complete interiors. Designers and architects such as Chahan Minassian and Peter Marino noticed him and began to include him in their projects. Soon he began receiving his own independent Previous spread: The subject of Peter Lane: Clay holds the monograph up in his Brooklyn, New York, studio, where the maquette for an installation completed in 2017 at the Hôtel de Crillon in Paris provides a powerful background; photography: Peter Lane Studio. Top: A work in progress for an exhibition at New York’s Salon Art + Design in 2021; photography: Peter Lane Studio. Bottom: Lane’s hands working raw clay. Opposite top: The ceramic artist in front of a study for his 2016 series Wasteland at his studio. Opposite bottom, from left: A detail from a 2018 custom installation at Atelier Peter Nitz in Zurich, Switzerland. Part of a wall sculpture commissioned in 2014 by Chahan for a New York apartment overlooking Central Park.

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Top, from left: A custom ceramic screen commissioned in 2018 by Peter Marino Architect for a house in the Caribbean. Designed by Pembrooke & Ives in 2019, the dining room in a New York house featuring a custom wall sculpture. A detail of a 2009 outdoor sculpture installed on a poolside wall in a Miami residence; photography: Whitney Cox. Center: A group of celadon-glazed Cabochon sculptural vessels with sphere motifs from 2019. Bottom, from left: Arranged in an S shape, a five-section Ring table from 2016. The completed work for the Salon Art + Design exhibition, installed in the studio; photography: Peter Lane Studio. Lane at work in the 10,000-square-foot studio. Also in the studio, a vignette comprising monumental vessels, planters, and pedestal tables in front of a wall sculpture.

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commissions, largely for residential settings. It turned out he had a genius for monumental bespoke work. One of the keys to Lane’s success has been his ability to achieve both con sistency and variation. His work is immediately recognizable, with its charac teristic deep relief textures and gilt spheres. Within his well-established vocabulary, however, Lane is always finding new possibilities. The most obvious variable is his glazes, which he makes up from scratch. These range widely, fully exploiting the chromatic possibilities of minerals like cobalt, manganese, and copper (Lane describes the extraordinary interactions that occur in the kiln as a sort of “fast geology”). The grid that Lane imposes on his material landscapes is also important to their effect. This is a practical necessity, of course—tilework has been executed in this way for thousands of years, to enable manufacture, firing, shipping, and placement—but Lane infuses this basic format with an unusual degree of sculptural interest. Patterns of striation, perforations, or accordion folds (the latter suggested to him by a wooden washboard that he saw in the gift shop for New York’s Museum of African Art) move across this regular backdrop, like melody lines swerving over a bass line. The grid almost— but not quite—disappears under the biomorphic tide. Lane’s largest commission to date—an interior for the Hôtel de Crillon in Paris—was completed in 2017. Working with Minassian and architect Aline Asmar d’Amman, he created the walls for the hotel swimming pool, which adjoins a spa area and lies underneath a courtyard. Skylights provide daytime illumination. This was part of a major renovation of the 18th-century building, which happened to proceed at the same time as similar projects at the Ritz Paris and Hôtel Plaza Athenée. As Architectural Digest noted at the time, “Unlike that of its competition, which hewed closer to preservation, the aesthetic here has gone from preserved-in-amber ancien régime to a streamlined opulence that feels very of the moment.” Working on such high-profile commissions, and on residences for private clients (including celebrities like Robert Downey, Jr., who commissioned a sculptural fireplace for his house in Long Island), puts Lane in a rarefied cultural echelon. Yet in so many ways, he is a totally unpretentious person. Lane is hands-on in the studio every day, working almost entirely with clay, which is after all just a specialized kind of mud. This all-but valueless material will be transformed through a long succession of alchemical procedures, then sent off into the world, where it will enact yet another transformation, infusing blank space with a perfectly calibrated mood and physicality. Like all successful artists, Lane aims higher all the time. But his feet are firmly planted, standing on solid ground.

Top: Shelf upon shelf of ceramic-glaze test samples displayed in the studio. Bottom: A 2014 wall relief, installed and dramatically lit by Chahan, in a residence in Gstaad, Switzerland. Opposite top: The custom ceramic wall sculpture with gold leaf details in the pool at the Crillon, a collaboration with firms Chahan and Culture in Architecture and one of Lane’s largest commissions to date. Opposite bottom: The Central Park apartment relief sets off a chair custom made in 1970 for the French designer Henri Samuel; photography: Jose Manuel Alorda.

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dialogue between eras A velvet conversation pit is one of many delightful anachronisms at a historic schoolhouse turned residence in Galway, Ireland, by Kingston Lafferty Design text: jen renzi photography: barbara corsico/living inside

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The first time Róisín Lafferty met the owners of a landmarked Georgian-style schoolhouse-turned-cool-house in coastal Galway, Ireland, they’d set out tea and fresh-baked treats in their cozy, little kitchen for the occasion. “There was a homey feel from the minute you stepped inside,” the Kingston Lafferty Design founder and creative director recalls. “They were a lovely, dynamic family of seven, quite young at heart and also a bit nostalgic.” The charming historic abode suited the residents’ personality, but it had issues, including outdated electrical wiring, no central air, and a single shower for all of them to share. A mishmash of rear-facing exten sions and small service buildings that had been added over time also blocked garden views and the influx of natural light into the deep floor plate. “It felt very dark, and the configuration didn’t make great use of the space,” Lafferty says. “The clients loved the character of the house, but it just wasn’t working for them.” A nearly five-year restoration, renovation, and redecoration effort ensued to expand the terrace house into a five-bedroom, four-bath residence. KLD collaborated with local firm Helena McElmeel Architects, which helped navigate the municipality’s strict conservation board and took the lead on structural work. The most forceful spatial modifications were made in the back of the property, where the updated kitchen now leads to a window-wrapped, skylight-capped modern addition housing an orangerie-style dining room (where a damp lean-to once stood) and a family lounge. An existing conservatory was also upgraded with new glazing to form a breakfast room, accessed via portals punched through the kitchen’s super-thick stone walls, their depths clad with green marble tile to annunciate the transition from old to new. Previous spread: A velvet-covered Hans Hopfer Mah Jong sofa cushions a poured-concrete conversation pit in the rear lounge addition of a century-old schoolhouse turned three-story residence in Galway, Ireland, with interiors by Kingston Lafferty Design. Top: A lean-to structure became the dining room, where a Thonet chair services a custom blackened-oak table and a Jan Cools acrylic on canvas hangs on the wall. Bottom, from left: In the front lounge, Jean-Marie Massoud’s Le Club armchair stands between custom lacquered built-ins, surrounding an existing but updated fireplace, and 1970’s Up & Up cocktail tables. The hatch between the kitchen and the reading room is original to the house, newly lined with green marble tile and framed by smoked-mirror panels. Opposite: Original encaustic mosaic flooring was refurbished in the entry hall and capped by a vintage Murano glass chandelier.

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The décor follows a similar ethos of repurposing. A kitchen table was recycled, raised, and topped with a stone slab to form the cooking island, now illuminated by a cluster of pendant fixtures transplanted from corridors throughout the house. Antique cabinets left behind by a previous owner were carefully integrated into millwork, such as the main bathroom’s armoire, augmented by a marble countertop and antiqued brass legs to create a vanity. Mismatched Michael Thonet chairs handed down from various relatives were grouped around the custom dark-stained oak dining table, imparting a collected-over-time feel. Also repurposed: an original passthrough hatch between the kitchen and the moody reading room, now framed with bronze-tinted mirrored panels that lend the latter space a subtly ominous aura. (“That room is 100 percent inspired by The Handmaid’s Tale,” Lafferty acknowledges.) Not worth salvaging, alas, was a beautifully hued but far-too-frayed stair runner, but its palette lives on in the home’s prevailing tones of sky blue, burgundy, terra-cotta, and mustard. KLD also layered in more current vintage pieces, such as the front lounge’s mid-century Sputnik chandelier and angular travertine cocktail tables. Lending oh-so-’70’s verve is the rear lounge’s conversation pit, recessed into the concrete floor to preserve sight lines to the garden. “The builder kept asking why we were putting a swimming pool in there!” Lafferty jokes. Further channeling that era is the room’s Mah Jong sofa, dressed in moss-green velvet. “I’d only ever seen the sofa in flashy patterned fabric, but looking at images from when the design first came out, in 1971, I realized it was usually upholstered in something plain, which I preferred,” Lafferty says. Upstairs, the sleeping quarters intermix traditional and modern elements, spiked with a dose of whimsy. The hotel-like main suite, which overtakes most of the second story, encompasses a bedroom, a walk-in dressing room, and a bathroom complete with a fire place, soaking tub, and glassed-in wet zone. Much effort went into making the large bed room feel more intimate. “Before, it was just a lonely little bed in a very big room that swallowed up furniture,” Lafferty notes. Now, minimalist but period-appropriate paneling brings a sense of scale to the space, and artfully integrates a curvilinear velvet headboard and bedside sconces. The bathroom is not tech nically part of the bedroom but instead opens off a landing one half-flight down, where it can be annexed for overflow from the neighboring powder room if needed during brush-teeth or bath time. While the goal in the parents’ sanctum was to make a large space feel cozier, KLD’s ap proach to the kids’ zone on floor three was Above: Davide Groppi’s Moon pendant fixture illuminates the rear lounge, where a fullheight storage wall in oiled, limed oak houses a gas stove and the TV; accordion doors modulate the degree of openness to the adjacent dining room. Opposite top, from left: The cast-iron fireplace in the boys’ bedroom is original, and the artwork above it is by Kelvin Mann. A print by Dominic Turner and a mid-century Italian sconce hang on a dining room wall. Opposite bottom, from left: A small study on the second floor boasts built-in shelving and Gam Fratesi’s Masculo Meeting chair. One flight above, a landing outside the youngest daughter’s third-floor bedroom serves as a lounge-y extension of her domain courtesy of a hanging rattan chair. 116

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“There’s a sense of emotion and atmosphere when you walk into the house”

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the opposite: making smallish space live larger. The youngest of the three daughters, for instance, got the tiniest bedroom, so the hanging chair on the adjacent stair landing serves as her de facto lounge area. The two boys share a room, and there Lafferty took advantage of the high ceilings with peculiarly tall loft beds that offer plenty of floor space below for hangout and work areas. “The beds remind me of Lemony Snicket’s A Series of Unfortunate Events,” Lafferty says. “I like the creepiness of them!” Reference to narrative is, indeed, something of a through line for the entire project: “There’s a sense of emotion and atmosphere when you walk into the house; it just kind of washes over you,” she observes. “It feels like you’re part of a story.” One with a very happy ending. PROJECT TEAM HELENA MC ELMEEL ARCHITECTS: ARCHITECT. O’GORMAN JOINERY: MILLWORK. PRODUCT SOURCES FROM FRONT ROCHE BOBOIS: SOFA (REAR LOUNGE). DAVIDE GROPPI: PENDANT FIXTURE. FLOS: WALL LIGHT. BAKED EARTH: TERRA-COTTA FLOOR TILE (DINING ROOM). ROCCA STONE: FLOOR TILE. KNOLL: SOFA (FRONT LOUNGE). THROUGH 1ST DIBS: COCKTAIL TABLES. TILE STYLE: HEARTH TILES. SOHO HOME: RUG (FRONT LOUNGE), SIDE TABLE (MAIN BEDROOM). MARTIN & BROCKETT: CONSOLE (ENTRY). GUBI: CHAIR (STUDY). SQUARE IN CIRCLE: PENDANT FIXTURE (STUDY), SCONCES (BATHROOM). HK LIVING: HANGING CHAIR (LANDING). IRUGS: RUG (MAIN BEDROOM). LIZZO: CURTAIN, HEADBOARD, PILLOW FABRIC. RAY SHANNON UPHOLSTERY: CUSTOM HEADBOARD, CUSTOM PILLOW FABRICATION. MIX & MATCH: CUSTOM CURTAIN FABRICATION. SOCIALITE FAMILY: SCONCES. ZARA HOME: BENCH (MAIN BEDROOM), BEANBAG (BOYS’ BEDROOM). KUTIKAI: DRESSER (BOYS’ BEDROOM). FINNISH DESIGN SHOP: RUG. THROUGH NEST: PENDANT FIXTURE. EICHOLTZ: PENDANT FIXTURE (BATH ROOM). MOSAIC ASSEMBLERS: FLOOR TILE. VERSATILE BATHROOMS: SINKS. LEINSTER STONE: COUNTERTOP. THROUGHOUT FARROW & BALL: PAINT. VINTAGE HUB: VINTAGE VASES, STYLING OBJECTS.

Top: In the main bedroom, Haos 3.01 sconces flank the custom headboard and the Persian rug is vintage. Bottom, from left: Beneath a Verner Panton pendant fixture, seating options in the boys’ room include a cotton beanbag and Iskos-Berlin’s Soft Edge desk chair. The paneling in the main bedroom is new, the side table marble. Opposite: In the main bathroom, an antique armoire was modified with a marble counter and brass legs to form a vanity and medicine cabinet.

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better living

text: georgina mcwhirter

Whether a skin-care clinic or a multisport center, firms from Hong Kong to the Czech Republic are taking holistic approaches to creating healthful spaces See page 126 for the color-blocked pediatric ward at Hospital São João in Porto, Portugal, by ARG Studio and Francisca Ramalho. Photography: Ivo Tavares Studio

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“We sought to preserve the original character while introducing a new, colorful scheme”

IDOM project L’usine des Sports, Tarbes, France. standout A 1937 artillery factory in southwest France finds new life as a center for track and field, basketball, handball, bad minton, and rock climbing, its 65-foot height set under the rhythmic geometry of a sawtooth roof. Chartreuse-accented interventions, such as a mezzanine viewing gallery and towering climbing walls, cleverly zone the ample square footage. photography Pedro Pegenaute.

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NC Design & Architecture Limited project Vitae, Hong Kong. standout At the top of the Peninsula Office Tower—an extension of the city’s iconic hotel— with views of Victoria Harbor, this floor-though cosmetics clinic reads like a collectible-design gallery. Blush-pink plaster walls and plush carpet and marble flooring arranged in concentric circles surround such sculptural furniture as a totemlike floor lamp and cocooning seating. photography HDP Photography.

“It’s an immersive sensory experience, with organic curves influenced by the ripples of the harbor”

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“Materials are locally sourced, durable, easy to maintain, and rich—without being precious”

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ARG Studio and Francisca Ramalho project Hospital São João, Porto, Portugal. standout Channeling whimsy and optimism, Lisbon-based artist Ramalho used ARG’s effective chromatic interior architecture for a pediatric ward as the jumping-off point for bright lenticular graphics strewn like children’s toys across a wall. They’re joined by a joyful installation of kite shapes flying high along the entry corridor’s louvered ceiling. photography Ivo Tavares Studio.

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“Materials are locally sourced, durable, easy to maintain, and rich—without being precious”

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NBBJ project The University of California San Francisco Connie Frank Transplant Center. standout The renovation and expansion of the center in a Brutalist 1970’s building highlights its previously hidden original concrete columns and arched beams. A newly simplified palette pairs white solid-surfacing with engineered oak, while cove lighting inspired by the tendrils of fog that often blanket the Bay Area trace the free-flowing plan. photography Benjamin Benschneider.

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“It’s a restorative, uplifting model for what a clinic expansion in an iconic building can be”

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“The interior design is a reaction to the building architecture”

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Formafatal project Cellularium, Prague. standout The skinny, slanted, load-bearing columns of DAM Architekti’s futuristic Main Point Pankrác buildings is echoed in the interiors of this medical spa within the complex. Each room is circular, like an enlarged pillar, a shape repeated in the solid-oak dowels descending from the ceiling and the glass-rod half-walls wrapping saunas and the cryotherapy chamber. photography BoysPlayNice. FEB.23

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steps in the right direction A Los Angeles workplace by Behnisch Architekten lures staff back to the office with a stellar gym, dynamic stairways, and enriching connectedness text: edie cohen photography: brad feinknopf

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Design a post-pandemic workplace. That was architect Kristi Paulson’s first assignment for a confidential client when she landed at Behnisch Architekten. Fortunately for the client— and Behnisch—Paulson had already worked for the firm, when it had a previous L.A. studio from 1999 to 2011 (she was there from 2007 to 2011 as project partner). After a seven-year run at ZGF, she’s returned as partner-in-charge, her duties, in addition to designing the aforementioned workplace, also encompassing putting together a team and heading up the new L.A. operation with majority ownership— making the studio a woman-owned business. The endeavor also marks Paulson’s first copiloting expedition with her husband, Behnisch director Daniel Poei. Further worth noting is when the client’s workplace project began: January 2020. Talk about timing. The confluence of the COVID-19 shutdown, working remotely, and a tight schedule from the client conveyed an unprecedented urgency. It meant two years of quasi 24/7 dedication. “We lived and breathed this project,” Paulson recalls. Fortunately again, the couple’s commitment and joint four decades of design experience is clearly evident in the end result: a bright four-story office that focuses on employee connectivity to each other and nature. The process began with the client introducing Paulson and Poei to its 110,000-square-foot “developer box,” Paulson notes, with a central elevator lobby. “Luckily, the owner opened the door for us to communicate directly with the sub-contractors, not just the contractors,” Poei says. “So we could get to the right people and figure things out.” For the client’s small, low-density workforce valuing connection and operating on egalitarian premises, the Behnisch team’s first step entailed translating said connection to physical reality. Irregular cuts piercing three of the floor plates were means to that end, while simultaneously creating “an eccentrically shaped atrium on either side of the elevator lobby,” Paulson says. The resulting new territory sports “a diversity of spatial environments and visual connections between levels.” Moving up and down between them was crucial to collaborative success. She and Poei provided plenty of stunning options—make that eight of them. Four cantilevered, hairpin-turn staircases, a pair for each of the two atriums, connect the upper three levels, designated as office areas. Beyond, four spiral staircases, counter acting the building’s rectangularity and its orthogonal layout, are two-story connectors. All are similarly constructed of

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Previous spread: German firm Behnisch Architekten’s new Los Angeles studio recently completed an L.A. office for a confidential client that features multiple inviting stairways, like this two-story spiral in painted steel and white oak veneer, that encourage activity among employees and connectivity through out the workplace. Opposite top: A hairpin-turn stairway, one of four, spans all four levels for primary vertical circulation. Opposite bottom, from left: A custom sectional and Eero Saarinen chairs congregate around an oak coffee table in a break-out area. A corridor’s wall mural of Africa, executed in oak veneer, is part of the office’s geography-themed art program; photography: courtesy of Nephew. Top: Beyond the river rocks anchoring one of the four spiral stairs, Thomas Bernstrand and Stefan Borselius’s Bob armchairs furnish a meeting area in a cut-away glass corner. Bottom: Hans Wegner chairs grace one of the two atriums.

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Top: The 10,000-square-foot gym with a 15-foot-high bouldering wall unfolds beneath a hemlock-slat ceiling. Bottom: Flooring is rubber; photography: courtesy of Nephew. Opposite top: Glass-enclosed meeting rooms jut out over an atrium. Opposite bottom: The Amazon River is depicted in cut vinyl on a conference room’s walls.

matte black–painted steel cladding and white oak veneer for risers, treads, and inner balustrade paneling. As striking as the stairs are, there’s another showstopper standing front and center on the ground floor. A 10,000-squarefoot gym adjoining reception is fully out in the open, not secreted away as is often the case. Outfitted with weight and cardio apparatus, it offers a plethora of choices for staffers. But their real challenge comes at the 15-foot-high bouldering wall, conceived to wrap around and conceal some of the existing building core elements. “Many of the buildings Behnisch designs worldwide have ground-floor amenities for connectivity. We think globally and share knowledge,” Paulson says, referring to projects by the firm’s other offices in Boston, Stuttgart, Munich, and Weimar. “Here, the client even provides its employees with free bouldering shoes.” From working out to back-to-work, those employees mostly gather out in the open, with much of that area overlooking the atriums. Yet the floor plan, which also includes private perimeter offices, provides ample options for heads-down space and ad-hoc meetings. Glass-fronted meeting rooms, accommodating five to 25 and enhanced with massive marker boards, flank corridors and, in some cases, cantilever over the atriums as floating boxes. Meanwhile, Behnisch treated the corridors like lounges as much as circulation spaces, endowing them with Eero Saarinen chairs and custom seating in calming shades of leather or watery-blue textiles. More lounge-cum-meeting

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space, double-story in height, comes courtesy of cut-away glass building corners where folks gather, drawn to the light. With all the openness, acoustics were crucial. “We used a German framing system, actually an exterior window system, with a nice, thin profile engineered to accommodate large sheets of glass almost 1-inch thick,” Paulson explains. Additional solutions come from sound-absorbing cotton above the project’s hemlock-slatted ceilings and the atriums’ microperforated, tessellated oak panels. “Sound transference is a complaint I often hear from workplace clients,” Paulson states. “Instead, this feels like a library.” Given Behnisch’s global reach, Paulson’s art program for the client, themed to geography, was a natural—literally and figuratively. Six continents, mapped out as massive oak wall sculptures, unfold two per floor across the office levels. Antarctica, the seventh, is on the ground floor. Meanwhile, conference rooms are named after rivers, like the Amazon, signifying movement and the flow of discussion, with cut-vinyl graphics for signage. The earthy theme continues with open lounge areas named after lakes to connote serenity. Which is, after all, an important vibe when venturing back to the office. PROJECT TEAM TONY GONZALEZ; VERA TIAN; LAURA FOX; ERIK HEGRE; APURVA RAVI; VICTORIA OAKES: BEHNISCH ARCHITEKTEN. OCKERT UND PARTNER: GRAPHICS CONSULTANT. LOISOS + UBBELOHDE: LIGHTING CONSULTANT. SPMDESIGN: ART CONSULTANT. JOHN A. MARTIN AND ASSOCIATES: STRUCTURAL ENGINEER. ACCO ENGINEERED SYSTEMS: MECHANICAL, PLUMBING CONTRACTOR. MORROW MEADOWS: ELECTRICAL CONTRACTOR. SPOONER’S WOODWORKS: MILLWORK. WASHINGTON IRON WORKS: METALWORK. DPR CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DIAMOND PERFORATED METALS: STAIRCASE PANELS (ATRIUM). CALIFORNIA SHEET METAL: STAIRCASE SOFFITS. DINESEN: WOOD FLOORING. STONE SOURCE: STONE FLOORING. GUBI: COFFEE TABLES (BREAK-OUT AREAS, ATRIUM). KNOLL: CHAIRS (BREAK-OUT AREAS, LOUNGE). CAESARSTONE: SECTIONAL TABLETOPS (BREAK-OUT AREAS). SPINNEYBECK: SECTIONAL LEATHER. UNISOURCE SOLUTIONS: CUSTOM SECTIONALS (BREAK-OUT AREAS, GYM), PARSON’S TABLE (MEETING AREA), COFFEE TABLE (LOUNGE), BENCHES (GYM), TABLE (CONFERENCE ROOM). KRC ROCK: CUSTOM ROCK BED (LOUNGE). SISTEMALUX: PENDANT FIXTURES. BLÅ STATION: CHAIRS (LOUNGE), SECTIONALS (CONFERENCE ROOM), SOFAS (BREAKOUT AREA). SORENSEN: CHAIR UPHOLSTERY (LOUNGE), SECTIONAL UPHOLSTERY (CONFERENCE ROOM). FRITZ HANSEN: CHAIRS (ATRIUM). WALLTOPIA: CLIMBING WALL PANELS (GYM). CLIMBMAT: MAT. BETA-CALCO: SPOTLIGHTS. MONDO: FLOOR ING. CARL HANSEN & SØN: CHAIRS (BREAK-OUT AREA). KVADRAT: SOFA FABRIC. LELAND: STOOLS (MEETING AREA, CAFETERIA). EUREKA: PENDANT FIXTURES. DALTILE: WALL TILE (CAFETERIA). CONCRETE COLLABORATIVE: FLOORING. DU PONT: TABLETOP MATERIAL. WEST COAST INDUSTRIES: TABLE BASES. THROUGHOUT FLOR: CARPET TILE. MAHARAM: WALL PANELS. CONWED: WALL SYSTEM. SCHÜCO: GLAZING SYSTEM. VIBIA: FLUSH-MOUNT FIXTURES. LUMENPULSE: DOWNLIGHTS. CERTAINTEED: SUSPEND CEILING GRIDS. ASSA ABLOY: DOOR PULLS. GUARDIAN GLASS: GLASS. VISTA POINT: PAINT.

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Opposite top: Tessellated oak-veneer paneling helps control acoustics in the four-story atriums. Opposite bottom: Outside the perimeter offices and meeting rooms, central corridors have nylon carpet tile and function as alternative meeting options. Top: Joining the Bob sofas in a break-out area are Space Copenhagen’s Moon coffee tables and Lievore Altherr Molina’s Big flush-mount ceiling fixtures. Bottom: The cafeteria multitasks as an events and all-hands space. Photography: courtesy of Nephew. FEB.23

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Women in Design by Anne Massey New York: Thames & Hudson, $25 208 pages, 109 illustrations (80 color)

Sottsass by Philippe Thomé New York: Phaidon Press, $80 492 pages, 181 illustrations (115 color)

It is easy for most of us, male and female alike, to forget how recently women became respected as professional designers. This satisfying book reminds us. But it also points out that there remains a shadow of “gender imbalance” in both the design workplace and design education: “In the United Kingdom,” where the book originated, “63 percent of those studying design…are female, while 78 percent of the design workforce is male.” We are given brief but fascinating glimpses of an international roster of pioneering women in many fields: Frenchwoman Charlotte Perriand, whose furniture was shown in the 1927 Salon d’Automne in Paris; London-based American Marion Dorn, the innovative creator of modernist rugs and textiles in the interwar period; and Swiss graphic designer Lora Lamm, creator of mid-century ads and publicity materials for Olivetti, Pirelli, Elizabeth Arden, and department store La Rinascente that defined the era. In the back of the book there is a bibliography of more than 100 titles, an illustration list giving all sources, and a thorough index. The cover, most appropriately, is given to Ray Eames displaying the Dot Pattern textile she designed in 1947.

This mammoth monograph was first published in 2014, with a second edition in 2017. Here it is again and very welcome. Ettore Sottsass, after all, makes a perfect subject for any reader with a good sense of humor as well as of design. Valentine, his 1968 bright red portable typewriter for Olivetti, is a fine candidate for the most delicious product of its time. From around the same period, Sottsass’s chairs, cabinets, and mirrors for Italian manufacturer Poltronova were equally delightful. Their colored-stripe motif is appropriately suggested by the book’s cover and many of its pages. (The book design is credited to Julia Hasting, the layouts to Julia Castillo and Sanka Zellmer.) The heart of the volume is a dozen chronological chapters, the first taking us from Sottsass’s birth to age 22. They are preceded by four essays by Francesca Picchi, Deyan Sudjic, Emily King, and Francesco Zanot, followed by two more by Aldo Rossi and Andrea Branzi. After which we come to the most delightful part of all, 40 pages of captionless photographs and sketches.

b o o k s edited by Stanley Abercrombie

“A good friend of mine, who knows Eduardo Halfon personally, recommended this novel after having read it himself. Between biography and fiction—the author and the main character have the same name—it’s about the search for identity and origins. Through a series of storylines, the book explores the protagonist’s relationship with a wide range of life experiences and places from his home country of Guatemala to North Carolina, Serbia, and Auschwitz. The character’s journey is extremely interesting to me given that my background is Latino and Jewish. As an architect, Amir Kripper my approach is a search for meaning, identity, and origins— Founding principal of Kripper Studio especially when the project involves adapting an existing building. I design an appropriate architectural response to create a dialogue between traditional craftsmanship and modern design. Similarly, Halfon is guiding his character and his reader through a set of past experiences to help inform present decisions. I’m working on several adaptive-reuse projects that reconstruct Victorian-era buildings for projects ranging from modern, multi residential living to large commercial development. Growing up in South America, where the scarcity of resources is ever present, I have an ingrained understanding of the importance of reuse or, as relates to this novel, the importance of mining origins for new use. Also, growing up where I did and then studying and building a career in the U.S. raises questions of belonging, which ultimately is my ever-present question with architecture: How does it belong here? The novel, my work, and I are all about searching for the authentic in oneself and in architecture.”

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BOTTOM LEFT: ALLANA TARANTO

The Polish Boxer by Eduardo Halfon New York: Bellevue Literary Press, $17 192 pages

c o n ta c t s

DESIGNERS IN SPECIAL FEATURE ARG Studio (“Better Living,” page 120), arg-studio.com.

Jeff Klapperich (“Terra Firma,” page 104), klapperichphoto.com.

Formafatal (“Better Living,” page 120), formafatal.cz.

Nephew (“Steps in the Right Direction,” page 132), nephew-la.com.

IDOM (“Better Living,” page 120), idom.com. NBBJ (“Better Living,” page 120), nbbj.com. NC Design & Architecture Limited (“Better Living,” page 120), ncda.biz. Francisca Ramalho (“Better Living,” page 120), franciscaramalho.com.

DESIGNERS IN WALKTHROUGH Arauna Studio (“Natural Healing,” page 33), arauna.studio. Rai Pinto Studio (“Natural Healing,” page 33), raipinto.com.

PHOTOGRAPHER IN WALKTHROUGH PHOTOGRAPHERS IN FEATURES

Arnau Rovira (“Natural Healing,” page 33), arnaurovira.com.

Barbara Corsico (“Dialogue Between Eras,” page 112), Living Inside, livinginside.it.

DESIGNER IN CREATIVE VOICES

CreatAR Images (“Imagination Takes Flight,” page 96), creatarimages.com.

Sing-Sing Studio (“Space Maven,” page 65), adigoodrich.com.

Brad Feinknopf (“Steps in the Right Direction,” page 132), feinknopf.com.

DESIGNER IN CENTERFOLD OBMI (“National Treasure,” page 81), obmi.com.

ARNAU ROVIRA

Alexander Haiden Photography (“Escape Route,” page 86), alexanderhaiden.com. Interior Design (USPS#520-210, ISSN 0020-5508) is published monthly except combined issues in July/August and December/January and seasonal issues for Spring and Fall 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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i n t e r vention

new frontier

AUDREY MELTON

There’s a portal to another world on the bank of New York’s East River. That’s the idea behind artist Daniel Shieh’s latest work, Passage to TOI-700 d, which made its debut at Socrates Sculpture Park in Queens last September. It’s part of an exhibition called “Sink or Swim: Climate Futures,” on display through March 12, which asks artists to reflect on the challenges humanity faces during a pivotal moment for environmental change. Shieh’s work takes its name from the newly discovered planet, TOI-700 d—roughly 101.4 light-years away from Earth in the constellation of Dorado—which, theoretically, could support human life. A tunnellike structure enclosing a staircase, the 120-square-foot laser-cut steel sculpture was developed with Rhinoceros and Enscape computermodeling software, prototyped using 3-D printing, and then finally built on-site over three months. The stair rises 17 feet into what appears to be the natural end-of-day firmament but is actually a permanent LED-lit horizon created with pigmented epoxy resin cast on a clear acrylic sheet, a technique Shieh adapted from the artificial skylights used in retail and healthcare spaces. “Originally, I had the light placed higher in the sky to create more of a midday effect,” Shieh explains. “I experimented with angling the light lower and it resulted in a sunset, which generates a sense of a destination and also creates more striking orange reflections.” While the installation’s theme is space travel, its shape is a subtle nod to an earlier frontier: the covered wagons that represent manifest destiny and the American West. —Wilson Barlow FEB.23

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r e h t e g To

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