Interior Design Jan Feb 2025 by Interior Design Magazine

JAN/FEB 2025

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CONTENTS JANUARY/FEBRUARY 2025

VOLUME 96 NUMBER 1

ON THE COVER Melekzeynepstudio founder Melek Zeynep Bulut’s synesthesia informed Duo, a cuboid prism that appeared at London Design Festival last September and was comprised of thousands of sensor-equipped acrylic cubes that responded to visitor sound and movement as they walked through the temporary installation. Photography: Mark Cocksedge.

features 102 A MEMORABLE MAZE by Wilson Barlow and Lisa Di Venuta

Environmentalism, inclusivity, saturated color, sport—all and more made for exceptional art and design in 2024. 128 LOOKING FORWARD AND BACK by Jane Margolies

In New Jersey, Verona Carpenter Architects’s thoughtful renovation of a 19th-century building at Princeton University honors the past while embracing the diversity of today—and tomorrow.

144 SEE AND BE SEEN by Peter Webster

In Rátka, Hungary, the Sauska Tokaj winery by Bord Architectural Studio and Tihany Design resembles a pair of saucerlike eyes surveying the UNESCO World Heritage–listed landscape. 152 FORWARD MOTION by Georgina McWhirter

Wellness-seekers at health-centric facilities ranging from a Canadian animal hospital to a Chinese sports center can step into the future with optimism.

136 MIND GAMES by Dan Howarth

Ippolito Fleitz Group transforms a five-story building into seriously playful coworking space for Brainhouse247 in Hanover, Germany.

PHILIP KOTTLORZ

25 01//02 136

A New Foundation for Inspired Design Immerse your designs in the comfort and warmth of Texture Study, our innovative carpet tile collection crafted to promote wellness and sustainability. Featuring EcoWorx® BIO, a PVC-free, bio-based backing that reduces embodied carbon without compromising on durability, performance, or aesthetics. Take a step forward in creating spaces that inspire. L E A R N M O R E AT S H AWC O N T R ACT.C O M / T E XT U R E ST U DY

F E AT U R E D: K N I T T I L E I N L I N E N

LOW EMBODIED CARBON + CARBON NEUTRAL

01//0225 CONTENTS JANUARY/FEBRUARY 2025

VOLUME 96 NUMBER 1

walk-through

49 A JOINT EFFORT by Stephen Treffinger

special market section 53 BEST OF YEAR AWARDS by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes

departments 25 HEADLINERS 29 DESIGNWIRE by Annie Block and Lisa Di Venuta 34 PINUPS by Rebecca Thienes 38 BOOKS by Wilson Barlow 40 SHOPTALK edited by Georgina McWhirter 43 CREATIVE VOICES Back to Basics by Peter Webster

French designer Patrick Jouin’s years of savoirfaire get channeled into the simple, practical forms of a new furniture collection—the first under his own name.

Portal of Perception by Athena Waligore

For London Design Festival, Melekzeynepstudio installed thousands of suspended cubes that responded to visitor sound and movement, a concept inspired by a neurological condition. 166 CONTACTS 175 INTERVENTION by Wilson Barlow 49

97 CENTERFOLD

Design with color, inspired by feeling.

2025 Color Collection | 3-form.com

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Michael Shavalier SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes Luxe Interiors + Design, Interior Design, Metropolis, and DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW, a full-scale digital marketing agency; The Studio by SANDOW, a video production studio; and SURROUND, a podcast network and production studio. SANDOW is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling, and specifying architecture, design, and construction materials.

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e d i t o r ’s welcome

positive force The talk of the town at the time this love note was written alleges that positivity is a somewhat elusive commodity. Pragmatic realists may go so far as to say that good will is in rapidly vanishing supply. Your ubiquitous run-of-the-mill online influencer—armed with their “good taste”—will probably, laconically, inform us that, too bad, positivity is soooooo yesterday. Me? Nah. I keep missing the doom cues. Who knows, maybe it’s an enzyme imbalance or a terminal case of tunnel vision, but it seems I’m simply too blooming busy to join the farkakte gloom brigade. Publishing design stories; helping designers, architects, and colleagues; the day-to-day of building up the brand, the company, and the craft— these activities always generate a huge energy rush to my system and my inexhaustible positivity battery pack (I’m just wired like that)! Yes, I’m channeling Candide here and submitting to you that hard work is the ultimate antidote to these harder times and circumstances. And no, my packed calendar and the you-know-whos in it are not what’s in my sights. I am looking front and center at the tragic L.A. fires. Once again, we are witnessing a heartrending scene and, once again, being called to action. And lo and behold, the reports coming in confirm that despite all the devastation and loss, grace and good will, generosity and altruism, resolve and determination—what I call positivity—are in plentiful supply and on impressive show in California. Taking a page here from the many upstanding people in our industry who beat me to it, I am offering a list, in this link, of ways for you to show your solidarity: interiordesign.net/designwire/design-resourcesto-support-la-wildfire-victims. Do the right thing. Be of service, even in some small way. And then get inside this issue. Thinking of you all,

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JAN/FEB.25

INTERIOR DESIGN

LOS ANGELES · CHICAGO · DANIA BEACH · NEW YORK

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Enjoy the Spirit of Place

A collaboration with MomentumTextilesandWalls.com

headliners

Ippolito Fleitz Group “Mind Games,” page 136 managing partner: Peter Ippolito. managing partner: Gunter Fleitz. firm hq: Stuttgart, Germany. firm size: 110 architects and designers. current projects: Würth-Gruppe headquarters in Künzelsau, and Four, a mixed-use skyscraper in Frankfurt, both in Germany; MAX offices in Hangzhou, China. honors: Interior Design Best of Year Awards; iF Design Gold Award. south: During the Christmas holidays, Ippolito and his husband traveled to Italy, another longtime foreign favorite among German creatives. north: Fleitz, who like many German designers loves Volvo, has a new electric car from the Swedish manufacturer.

ifgroup.org

PHILIP KOTTLORZ

“We see ourselves as enterprising companions in processes that shape value creation and interaction in design for spaces, brands, and products” JAN/FEB.25

INTERIOR DESIGN

Tihany Design “See and Be Seen,” page 144 owner, principal: Alessia Genova. firm sites: New York; Rome. firm size: 25 architects and designers. current projects: Zero Bond in Las Vegas; Antognolla Golf Club in Perugia and Hotel Bellevue Suites & Spa in Cortina d’Ampezzo in Italy. texture: Born and raised in Biella, Italy’s “city of cashmere,” Genova is passionate about luxurious fabrics. textbook: She earned a master’s in product service design from the Politecnico di Milano. tihanydesign.com

Verona Carpenter Architects “Looking Forward and Back,” page 128 principal: Irina Verona, AIA. principal: Jennifer Carpenter, AIA. firm site: New York. firm size: Nine architects and designers. current projects: Queens Public Library Briarwood branch renovation and School of American Ballet renovation in New York; Princeton University Wu Hall renovation in New Jersey. honors: NYCxDesign Award; New York State Council on the Arts x Architectural League Architecture + Design Indepen dent Project Grant; Design Trust for Public Space Restorative City competition winner. pet: Verona’s rescue dog Mela is a frequent presence in the office. plié: Carpenter loves going to the ballet. veronacarpenter.com

Bord Architectural Studio “See and Be Seen,” page 144 ceo, founder, head of design: Péter Bordás. firm hq: Budapest, Hungary. firm size: 24 architects and designers. current projects: National Ice-Skating Centre in Budapest,

International School of Debrecen expansion, and the New Exhibition Building of the Hungarian Natural History Museum in Debrecen, all in Hungary. honors: Ybl Miklós Prize; Csonka Pál Medal; Master of Construction Management Award. sportsman: A former BMX competitor, Bordás is an active sailor, snowboarder, footballer, and runner. brushman: An afficionado of modern art, he also paints in oils. bordstudio.hu 26

INTERIOR DESIGN

JAN/FEB.25

LEFT: RICCARDO PIAZZA; RIGHT TOP: TRAVIS HUGGETT (2)

h e a d l i n e rs

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design wıre

black history month

tropical gem

edited by Annie Block

It was a year of milestones for the week-long affair collectively known as Art Basel Miami Beach/Design Miami. The latter celebrated its 20th anniversary, featuring some 45 international galleries under the theme Blue Sky, emphasizing imaginative concepts. Outside the convention center where it’s held, a jewelry-themed installation did just that. It was part of “Pearl Jam” by 34-year-old architectural and urban designer Nicole Nomsa Moyo, the cluster of interactive, boldly hued pearl trees a tribute to the Ndebele, a tribe in South Africa, where she was raised, and the winner of the Miami Design District’s Design Commission, itself in its 10th edition. “Pearl Jam,” Nomsa Moyo says of the title, “symbolizes a fusion of heritage and artistic evolution, the ‘pearl’ representing women like me in Ndebele culture and their timeless artistry in jewelry, clothing, and architecture, the ‘jam’ conveying a dynamic re imagining that yields a new form of cultural art.” Those new forms appear all over town: in Paradise Plaza as giant pearls of recycled aluminum, as earrings of South African–sourced glass beads dangling from trees, and as a large de-constructable necklace, aka a modular bench, in the Palm Court that stands near the site’s iconic Buckminster Fuller dome. “The installations,” adds Nomsa Moyo, who’s now based in Toronto, where she moved after earning her master’s in architecture from Carleton University in Ottawa, “reflect the power of art to transform spaces and connect people.”

ANDREA ROSSETTIFROM TOP: TATENDA CHIDORA; KRIS TAMBURELLO

From top: Zimbabwe-born designer Nicole Nomsa Moyo is the founder of the Toronto-based studio Good Urban Design. The modular, 16-foot-diamater Necklace is part of “Pearl Jam,” her multipart installation that won the annual Miami Design District’s Design Commission; it stands before Buckminster Fuller: Fly’s Eye Dome, 1979/80-2014 in the Palm Court through the summer and is constructed of foam, fiberglass, and polyurea coating, hand-painted in a pattern inspired by the architecture of the Ndebele, a South African tribe. JAN/FEB.25

INTERIOR DESIGN

Clockwise from top left: At the two-story Vroda Clinic & Spa in Limassol, Cyprus, by Makhno Studio, a marble-appointed Turkish hammam is found on the project’s subterranean level with other spa offerings. The nearby waterfall shower with voice-activated light and sound effects, delineated by plaster columns. The snow and aromatherapy rooms. VIP featuring Makhno’s Khmara pendant fixtures, Cleopatra Basico infrared-heated chaise lounges by Fabio Alemanno Design, and pampas grass, all backed by 3-D printed clay walls.

ups and downs

Sunshine and subterranean settings may seem incongruent. But unifying contrasts is rote for Makhno Studio. The Ukrainian studio’s latest endeavor, Vroda Clinic & Spa, in Limassol, Cyprus, continues the firm’s boundary-pushing MO. “The challenge was to create a space that doesn’t resemble a medical facility,” explains founder and architect Serhii Makhno, who conceived a soft yet brutalist scheme for the 14,700-square-foot project, with clinical cosmetology rooms on the first floor and the spa zone below. The latter offers a dozen water-based experiences— freestanding bathing capsules, voice-activated rain showers, plunge pools, snow chimneys (for cold treatments post sauna or steam room)—housed in annular coves. In the VIP area, Makhno’s cloudlike ceramic pendant fixtures, 3-D printed walls in an earthy clay, and plumes of pampas grass, arranged in the Japanese ikebana style, soothe and calm. Throughout, recessed LEDs and radiant salt blocks gently brighten, while staggered plaster columns and communal marble seating recall ancient Roman bathhouses. —Lisa Di Venuta 30

INTERIOR DESIGN

JAN/FEB.25

COURTESY OF MAKHNO STUDIO

d e s i g n w ire wellness

ELEGANT OUTDOOR FURNITURE

Clockwise from bottom: Tête de choux is a 2024 chair in cement-bound paper and steel by Malian architect Cheick Diallo that’s featured in “Taama,” his solo exhibition at Southern Guild Los Angeles from February 13 to May 3.* Fèrè, 2024, and Gatigui, 2018, both in leather and steel. Diallo photographed in Mali. * At press time, Southern Guild L.A. was unharmed by the California wildfires and its exhibitions were going ahead as planned.

INTERIOR DESIGN

JAN/FEB.25

His furniture pieces are in the permanent collections of the Brooklyn Museum, the Museum of Arts and Design in Manhattan, and the Philadelphia Museum of Art (as well as France’s Centre Pompidou and Germany’s Vitra Design Museum). Yet Malian architect Cheick Diallo has yet to have a solo gallery exhibition in the U.S. That changes this winter with “Taama” at Southern Guild Los Angeles.* “It refers to my long path of discovery, creation, and experimentation, and that creating itself is a journey, one that takes commitment and courage to continue,” Diallo says of the show’s moniker, which means voyage in Malinké. That’s what visitors will go on at the gallery, where his 25 works on display, mostly sculptural seating, range from the early 1990’s, after Diallo graduated from the École d’Architecture de Rouen and ENSCI, Paris, to today. All reflect his studio practice, which centers on a revival of West African craft and what he calls “poor” materials—locally sourced detritus such as bottle tops, fishing wire, leather scraps, and old tires. One of Diallo’s most famous designs, the 2002 Ségou rocker, is handwoven of nylon thread; his recent Tête de choux, which resembles a head of cabbage, is made from paper. “Even after all these years,” reflects the 64 year old, “I’m still learning.”

d e s i g n w ire

black history month

CLOCKWISE FROM BOTTOM: COURTESY OF SOUTHERN GUILD; ADRIAAN LOUW/COURTESY OF SOUTHERN GUILD; HAYDEN PHIPPS/COURTESY OF SOUTHERN GUILD; ADRIAAN LOUW/COURTESY OF SOUTHERN GUILD

trash to treasure

Stress-reductive ﬂooring powered by fractal science and design.

by Rebecca Thienes

p i n ups

perfectly imperfect Unique, nature-inspired furnishings in playful shapes reveal the maker’s touch Twin sisters Esther and Leah Wiesing of German design duo CortoMagDelft translate the netlike structure of spiderwebs into Balotta, a side table handmade of engobed, glazed ceramic that’s available in various sizes and colors, including in yellow.

CORTOMAGDELFT

cortomagdelft.com

INTERIOR DESIGN

JAN/FEB.25

Kinetic Energy A captivating collection of six sustainable textiles by Suzanne Tick that draws inspiration from the dynamic motion of both the digital and physical realms. This collection invigorates and inspires us with innovative weave structures, vibrant color combinations, and artful explorations of materiality. Luum is 100% PFAS, antimicrobial and FR ﬁnish free. Order samples anytime at luumtextiles.com

p i n ups wabi-sabi

DOMINIK TARABANSKI

New York architect Crina Arghirescu Rogard teamed with artists Claudia Baez and Ekaterini Konidari to create Carte Blanche, a one-off chair whose white-oak structure is draped in unprimed, exposed-edge canvas finished with water-based house paint, fabricated by New York Art Upholstery. crina-architecture.com

INTERIOR DESIGN

JAN/FEB.25

Architecture/Not Architecture By Diller Scofidio + Renfro New York and London: Phaidon, $150 792 pages, 2,000 color and black/white illustrations

books edited by Wilson Barlow

The average book doesn’t include a diagram of instructions on how to read it. But this book by Diller Scofidio + Renfro is far from average. It’s composed of two volumes—Architecture, for the firm’s built projects, Not Architecture for everything else—that are structurally connected, unfolding to be read side-by-side, the novel binding reflecting not only the complexity and intellectuality of the interdisciplinary studio and its output but also allowing for quadruple-wide panoramic images. Take the blue-tinted photograph of a sequence from The Mile Long Opera, a 2018 interactive performance staged along the High Line in New York, its left two pages, in Architecture, describing DS+R’s work on the 1½-mile urban park, and the right two, about the art piece itself, in Not Architecture. The book’s 128 total works, ranging from 1981, when the firm was founded, to today, are indexed chronologically and alphabetically but also by “Obsession,” which tend toward more abstract concepts. For example, the Blur Building, a viewing platform over Lake Neuchâtel in Switzerland from 2012 that’s constantly immersed in man-made fog, is catalogued under “Artificial Nature,” “Weather,” and “Immateriality.” Reading through Architecture/Not Architecture in any fashion provides insight into DS+R’s creative process via napkin sketches and formal drawings and reveals how its endeavors often work in harmony—as well as the interconnectedness of architecture and “not.”

INTERIOR DESIGN

JAN/FEB.25

PERSPECTIVE COLLECTION

s h o p talk

—Michael Ellison, Studio Michael Ellison

“There’s a lot of talk in the industry about how to design for neurodiversity and cognitive function. At ENV, we’re currently being challenged to design schools for autistic youth. How do we address everyone’s psychological and physiological needs through design? What kind of acoustic materials do we use to reduce ambient noise and reverberation? How do colors and patterns impact behavior? It’s a very exciting time and an important and relevant topic.” —Jelena Bajkovic, ENV

“We’ve worked on several commercial spaces—Netflix, Yahoo, Verizon—but I’m currently excited about the office extension we recently completed for Words + Pictures, a production studio in downtown Manhattan. We designed the original workplace a few years ago. So, when the client purchased the loft next door, it felt great to connect with the threads of that prior project. Using a curated palette of blues, greens, and earth tones alongside Kerrie Brown’s abstract wallcoverings, we created a serene yet dynamic and creative place to work.” —Rayman Boozer, Apartment 48

What project or design trend are you excited about and inspired by right now? “It’s been great to see clients and users embrace places that make them feel better and improve quality of life. We’re appreciating spaces that better suit physical and neurological needs and that create personal experiences for a diversity of people. Strategies to accomplish this go back to the basics, like daylighting, color temperature, biophilic design, and healthy materials, but now also include providing emotionally diverse offerings in the same space using neuroaesthetic research: both active and quiet; spacious and cozy; individual, conversational, and group gathering zones; and noting the effects of color, texture, scale, and pattern.” —Michael Hsu, Michael Hsu Office of Architecture

“I’m feeling inspired by the shift toward more collected, curated, and thoughtfully designed spaces taking the spotlight. People are craving deeper, more meaningful design, which brings new life to our projects.” —Gabriela Eisenhart, Silo Studios

“I’m excited about clients incorporating more vintage elements into their interiors— appreciating the stories these pieces tell and the mix that they give to a modern space. There’s just something about the craftsmanship and patina of a well-worn object that creates an instant connection and adds so much character.” —Steph Schlegelmilch, Studio Seva

INTERIOR DESIGN JAN/FEB.25

MICHAEL HSU PORTRAIT: CHASE DANIEL; RAYMAN BOOZER PORTRAIT: DAVID LAND

“I’m seeing more clients wanting to live outside their comfort zone by allowing more color in each room or stepping outside the box by selecting furniture with more personality—vintage or something that isn’t as square as they may have chosen in the past. A recent residential project at 720 West End Avenue in New York allowed me to curate spaces that blend design styles in unexpected ways and to play with color and materiality without restraint, resulting in a beautifully authentic and interesting home. This new client willingness to be bolder and more experimental feels like the dawn of a new era, or maybe they’re just trusting the designer more.”

Celebrating the Chair that Redefined Seating Commemorating 25 Years of Freedom: the chair that continues to set the standard for ergonomic excellence and timeless design.

LILY SERIES

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back to basics French designer Patrick Jouin’s years of savoir-faire get channeled into the simple, practical forms of a new furniture collection—the first under his own name

c r e at i v e voices From top: A pair of Drop side tables, made of spun steel finished in handpoured enamel, from the Patrick Jouin Edition, a new five-piece furniture and tableware collection. The founder of industrial design studio Patrick Jouin iD and cofounder of architecture and design firm Jouin Manku, both based in Paris, seated in the Olo armchair, also part of the edition.

Interior Design Hall of Fame member Patrick Jouin is one of the most prolific, versatile, and successful French multitalents on the international scene today. After earning a degree from the École Nationale Supérieure de Création Industrielle in Paris, Jouin spent five years working for Philippe Starck, who introduced him to furniture design and taught him the value of curiosity, before founding his eponymous practice in 1998. Early achievements include the nifty nylon-and-teak Tarti’nutella spatula (2003), now in the Centre Pompidou’s permanent collection, and the poetic Solid C2 chair (2004) in 3-D printed resin, also owned by several institutions. His first interiors commission—a glamorous restaurant in Paris’s Hôtel Plaza Athénée for superstar chef Alain Ducasse in 2000—initiated a series of dazzling hospitality, retail, and public-space projects around the globe. In 2006, the designer broadened his purview, teaming up with architect Sanjit Manku to form Jouin Manku, a separate multidisciplinary studio focused on large-scale projects—hotels, restaurants, stores, even residences—that blend design and architecture seamlessly. Long-term collaborations include 14 restaurants for Ducasse, 10 locations for jeweler Van Cleef & Arpels—the latest, a glittering, latticework-clad building in Seoul, South Korea—and the three-phase renovation of the centuryold La Mamounia hotel in Marrakesh, Morocco, the second stage recently completed. One-off projects have been remarkably diverse, ranging from a sprawling hilltop house in Kuala Lumpur, Malaysia, to the sensitive transformation of a medieval priory at the Abbaye de Fontevraud in Anjou, France, into a hotel and restaurant that preserves its austerely beautiful original envelope. In fact, a folding oak chair created for Fontevraud’s refectorystyle banquet hall—“It can be hung flat on the wall,” Jouin notes, “very practical and monklike”—has been revived as part of the new Patrick Jouin Edition, a small, eclectic furniture collection that includes another chair, a table, a folding stool, and flippable stoneware plates. It’s his first foray into producing pieces under his own name. We spoke with him about the collection and other recent projects.

C. SEULEUSIAN

JAN/FEB.25

INTERIOR DESIGN

Clockwise from top left: Flip double-sided stoneware bowls and plates, patterned like the Drop tables. The designer in his Paris atelier with the Mate folding stool. Underlying the leather exterior, strong and light aeronautical plywood. Three versions of the table, dining, coffee, and side, each one unique. Atop the Rome Cavalieri hotel, the terra-cotta hues of the city’s architec ture transposed to the interior of La Pergola restaurant, a recent project. The Olo chair in leather and steel tube. Infiniment Chocolat, a new Paris boutique for master pastry chef Pierre Hermé, with chocolates arrayed like an orgue à parfums, a per fumer’s tiered workstation resembling a church organ.

For nearly 30 years, Patrick Jouin iD has designed furniture for brands such as Pedrali and Porada, as well as custom pieces for various Jouin Manku projects. Why launch your own collection now? Patrick Jouin: It’s a different exercise designing furniture for a specific brand that has its own DNA and story, or for a restaurant or hotel, where you have the constraints of a particular context and brand, too. Here, I would say, I’m in a free world—I can do whatever I want. Maybe it’s getting older, but I want that freedom more and more. What was your general approach to creating the collection? PJ: Often, I start from a material. The Olo chair was about leather, which can be soft and flexible but also hard like wood. When you look at it, the leather on the steel frame looks rigid, but when you sit in it,

there’s a hidden rubber element that allows it to fit the shape of the body. The structure is very simple, closely linked to the first one I ever designed: the steel Facto chair for Fermob. The Drop table looks like a color-field painting. How did that evolve? PJ: I’m not really a painter, but I enjoy working with watercolor and oil on wood—not with a brush, but by pouring on pigment like Jackson Pollock, except flat and without big gestures. I asked an enamelist if she could use the same technique on a steel table—something she’d never done before—but it works beautifully. Four layers of enamel paint are poured on and baked separately, one after another. There’s a dining table, a coffee table, and a side table—each one’s unique, like a painting, with a bit of Frank Stella in there too, maybe, because I love his work.

CLOCKWISE FROM TOP LEFT: C. SEULEUSIAN (3); ADRIEN DIRAND

c r e at i v e voices

INTERIOR DESIGN

JAN/FEB.25

Tell us about the Flip stoneware plates, which seem to use the same decorative technique as the tables. PJ: Yes, but with glaze rather than enamel. The plates are something quite personal, from when I was a kid in the French countryside. My mother was a very busy nurse who needed to be super efficient, so for the evening meal, we’d always have a bowl of soup. Once that was finished, you’d turn over the bowl and use the back of it for dessert. I love that commonsense approach to things, so I played with it. Each of the Flip plates can be used two ways, like a game, and they also make a set with the tables—something I don’t think has been done before but is funny and delightful. The Mate folding leather stool looks both chic and practical, like a Birkin bag. PJ: In fact, we originally created it as a foldup tableside perch for handbags in a Ducasse restaurant. We took the folding idea and made a stool that doesn’t

c r e at i v e voices

CLOCKWISE FROM TOP LEFT: C. SEULEUSIAN (3); LORENZO BATALONI PER STUDIO VENTUNO

JAN/FEB.25

INTERIOR DESIGN

c r e at i v e voices

Jouin Manku has just completed the second phase of renovating the very grand hotel La Mamounia in Marrakesh. What’s new there? PJ: This time, we worked on the common areas— mainly the lobby, including a huge chandelier that welcomes guests as they arrive. Part of the inspiration for it was Berber necklaces, which are typically a simple string with lots of elements added symmetrically and perhaps something large and heavy at the bottom. So we used silver beads and Fatima hands to create one chandelier, then surrounded it with a second layer of crystals and LEDs to evoke the sparkle and glamour of Champagne. It’s very simple—a beautiful catenary shape formed naturally by gravity. —Peter Webster

INTERIOR DESIGN

JAN/FEB.25

Clockwise from top: Inspired by Berber necklaces and Champagne, the chandelier above the lobby’s reflecting pool, part of the second-phase renovation of La Mamounia hotel in Marrakesh, Morrocco. Jouin’s sketch for the chandelier, comprising a series of simple catenary forms. The hotel spa’s reception desk fronted with bush-hammered glass, its vertical striations resembling a waterfall frozen in motion. Originally developed for a hotel and restaurant at the medieval Abbaye de Fontevraud, in Anjou, France, the Monk folding oak chair hanging neatly on the wall. Jouin working on preparatory sketches in watercolor—a favorite medium— for the Drop tables.

CLOCKWISE FROM TOP LEFT: ANSON SMART; COURTESY OF JOUIN MAKU; ANSON SMART; C. SEULEUSIAN (2)

take up space in your home. It can be hidden anywhere but when you need a seat, it opens up in just one gesture, like magic. It’s made of leather over aeronautical plywood—super thin, but very stiff and stable, so a big person can sit on it safely.

HANDCAST BRONZE HARDWARE | 12 FINISH OPTIONS ROCKYMOUNTAINHARDWARE.COM 888.788.2013

walk through a joint effort firm: university of stuttgart cluster of excellence integrative computational design and construction for architecture project: hybrid flax pavilion, wangen im allgäu, germany

The roof underside flaunts the pavilion’s unique hybrid structure of locally sourced materials: cross-laminated timber plates reinforced with flax-fiber filament. JAN/FEB.25

INTERIOR DESIGN

A riverfront horticultural complex located in the south German city of Wangen im Allgäu, in the Alpine foothills, centers on a strikingly curvaceous pavilion. The 4,090-square-foot structure, which serves as an exhibition hall for the region’s local garden show, or landesgartenschau, was a collaborative effort between two University of Stuttgart institutes and the school’s Cluster of Excellence Integrative Computational Design and Construction for Architecture (aka IntCDC), which leverages cross-disciplinary research to innovate digitally driven building and fabrication methods—in this case, the pavilion’s roof. To create the wavelike element, the team piloted a hybrid system that utilizes bio-based materials and cutting-edge technologies, resulting in a unique take on regenerative design. Supported by the facade’s steel structure, thin plates of crosslaminated timber are reinforced with filament derived from flax, a fiber historically processed by the region’s textile industry. (In fact, the town’s old flax-spinning mill was renovated as part of the complex.) The gray-brown filament was wound via

ROLAND HALBE

w a l k through

robotic arms around screws bolted into the edges of the CNC-milled plates, which are just 4.7 inches thick—much thinner than typical CLT beams hewn from old-growth timber, and thus enabling use of younger trees and locally available reserves. Leveraging the properties of both materials yielded a lightweight structure with enhanced performance. The flax-fiber weave primarily bears tension loads and shear forces, while the wood panels manage compression forces directed to the steel columns. Together, they provide the strength and stiffness necessary to bear the area’s heavy snow loads. The hybrid system, says architect and IntCDC senior researcher Monika Göbel, “creates a flat, stable building envelope, even though the roof looks dynamic and round.” The circular glass facade beckons visitors into the column-free space from all directions and promotes an indoor/outdoor connection, while the curved roofline, intentionally echoing the rhythm of the nearby Argen River, creates interior zones of varying heights. In the center of the donut-shaped pavilion is a climate garden, which invites crossventilation and evaporative cooling in warmer months when the doors are open. The floor slab, made from recycled concrete and carbon-reduced cement, is part of a geothermal system programmed to maintain a comfortable indoor air temperature year-round. —Stephen Treffinger

INTERIOR DESIGN

JAN/FEB.25

THROUGHOUT HA-CO CARBON: FIBER FABRICATION. STERK ABBUNDZENTRUM: WOOD ROOF. FOWATEC: GLASS FACADE. BIEDENKAPP STAHLBAU: STEEL. HARALD KLEIN ERDBEWEGUNGEN: FOUNDATION, HEATING. ATELIER BRÜCKNER: CUSTOM FURNITURE. BELZNER HOLMES LIGHT-DESIGN; BIB CONCEPT; COLLINS+KNIEPS VERMESSUNGSINGENIEURE; MORÄNE; SPEKTRUM BAUPHYSIK & BAUÖKOLOGIE; WEBER BONEBERG MEROTH BERATENDE INGENIEURE; LOHRER.HOCHREIN: ENGINEERS. ARGE-LEISTUNGSBEREICH WÄRMEVERSORGUNGS-UND MITTELSPANNANLAGEN FRANZ MILLER OHG; STAUBER + STEIB: CONSTRUCTION.

Clockwise from opposite top: A tree in the open-air central climate garden provides leafy shade and evaporative cooling in warmer months. The flax filament lattices connect by way of bolts to the CLT panels. Located on the grounds of a horticultural complex, the pavilion was assembled on-site in eight days from prefabricated roof components. Undulations in the roofline create interior zones of varying loftiness; recycled concrete and carbon-reduced cement compose the floor. Custom seating units, a collaboration with Stuttgart-based Atelier Brückner, furnish the interior. The building’s curvatures echo the winding banks of the nearby Argen River.

ROLAND HALBE

JAN/FEB.25

INTERIOR DESIGN

Produced by:

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NeoCon® is a registered trademark of Merchandise Mart Properties, Properties Inc.

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text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes

best of year

Kudos to every product winner of the just-celebrated Interior Design Best of Year Awards

kohler Cast as one singular, sculptural object, Formation 01 forms a strikingly dynamic gesture. Not to mention the faucet’s uber-bold orange hue, possible thanks to NeoLast, a proprietary composite particularly suited to saturated colors. The winner of Bath Faucet: Designer Collaboration is the brainchild of award-winning British artist and designer Dr. Samuel Ross’s studio SR_A SR_A and reminiscent of his largescale sculptures. The expressive angles of the faucet demanded precise pressure control for the smooth flow of water—a technical feat Kohler was more than able to deliver. kohler.com

JAN/FEB.25

INTERIOR DESIGN

m a r k e t best of year

ARCHITECTURAL PRODUCT

Rimadesio

Admix by Chris Adamick

Air System by Giuseppe Bavuso

RESIDENTIAL STOOL

RESIDENTIAL ACCENT SEATING

Fritz Hansen

Ralph Pucci

Utzon by Jørn Utzon

Mahalo by John Koga

INTERIOR DESIGN

JAN/FEB.25

BOTOM RIGHT: ANTOINE BOOTZ

CONTRACT WORK TABLE

Allsteel

RESIDENTIAL SEATING

Property Furniture Pike by Christophe de Sousa and Studio Saschi

ARCHITECTURAL LIGHTING

Vibia Circus by Antoni Arola

TOP LEFT: CHRISTOPHE DE SOUSA

FABRIC WALLCOVERING

CONTRACT SEATING

Arte

Andreu World

La Perle

Bolete by Patricia Urquiola

JAN/FEB.25

INTERIOR DESIGN

gan Inuit and Tuareg communities are nomadic, moving in search of resources and pastures for their animals. “Since they cannot carry more than lightweight elements, essentially, they build their homes with fabrics, rugs, and cushions,” designer Alejandra Gandía-Blasco Lloret notes. Her Nomad collection of indoor/outdoor rugs and stackable cushions is inspired by such lifestyles, and made with 100 percent recycled PET—netting the collection a Best of Year Award for Environmental Impact: Flooring. The patterns themselves are based on Indigenous Indian designs that Gan explored during research into how recycled PET fibers behave on a loom. Those samples are now the fabrics of Nomad, in two chromatic ranges: Inuit in neutral, pink, and gray, and Tuareg, in blue, taupe, and white. gan-rugs.com

NOMAD

ALEJANDRA GANDÍA-BLASCO LLORET

m a r k e t best of year

“Nomad represents a compilation of textures and warps from different areas of India”

INTERIOR DESIGN

JAN/FEB.25

Meet Dais The fluid blend of beauty, function and sustainability.

Certified Carbon Neutral. FSC® Certified Wood. Designed by FUWL. Made by Keilhauer.

m a r k e t best of year

CONTRACT OCCASIONAL TABLE

Bernhardt Design Ice by Daniel Germani

REISSUE

Knoll

PEOPLE’S CHOICE: FURNITURE

TILE + STONE WALLCOVERING

Davis Furniture

L’Antic Colonial, part of the Porcelanosa Group

Tile

Geo Tile

INTERIOR DESIGN

JAN/FEB.25

TOP LEFT: JOAN PORCEL

Model 31 by Florence Knoll

CLERKENWELL DESIGN WEEK 20–22 MAY 2025

THE UK’S LEADING DESIGN FESTIVAL clerkenwelldesignweek.com @clerkenwelldesignweek

@clerkenwell-design-week

m a r k e t best of year

KITCHEN CABINETRY

TM Italia Impexa by MC+ Design Studio

OUTDOOR PRODUCT

Brown Jordan Outdoor Kitchens Cube by Luca Nichetto

KITCHEN APPLIANCE

Falmec Alba ceiling-recessed cooker hood by Alberto Saggia and Valerio Sommella

BATH FAUCET

Gessi

TOP LEFT: VIVAIOCREATIVO

Perle

INTERIOR DESIGN

JAN/FEB.25

Original design from the ground up. FLOORING | RUGS | WALL TEXTILES | UPHOLSTERY | WINDOW COVERINGS

Shuttle Flooring Winner of Interior Design’s 2024 Best of Year Award

chilewichAD.com

m a r k e t best of year

PEOPLE’S CHOICE: WALLCOVERING

BROADLOOM CARPET

Astek

Shaw Contract

Resonance

Awaken

OUTDOOR TABLE

Moss and Lam

PAPER WALLCOVERING

Thatcher L7 by Avery Thatcher

INTERIOR DESIGN

JAN/FEB.25

BOTTOM LEFT: LEAH VERWEY; BOTTOM RIGHT: PAUL WRIGHT

Colonna by Deborah Moss

ACOUSTICAL WALL APPLICATION

3form Elements Sola Felt Printing

PENDANT FIXTURE

Haworth Pantaya by Patricia Urquiola and Pablo Pardo

TOP LEFT: KYLE AHLSTROM, COURTESY OF 3FORM ELEMENTS; TOP RIGHT: STUDIO US; BOTTOM LEFT: MARCO BRIENZA/SFELAB

OUTDOOR TEXTILE

Sunbrella Interaction

RESIDENTIAL TABLE

Porro, through West Out East Origata by Nao Tamura

JAN/FEB.25

INTERIOR DESIGN

“This soft seating debut is as tailored as a bespoke suit” MONTEREY

landscape forms The Michigan manufacturer’s foray into cushioned outdoor seating landed with a bang, winning best Outdoor Furniture Collection. A sinuously bent rod seamlessly traces the perimeter of Monterey—forming the back, arms, and legs of the club chair, sofa, or sectional. Welded and powder-coated metal rods provide slat-effect bracing, cradling seat and back cushions covered in Summit Furniture’s Tradewind weather- and abrasionresistant performance fabric. It’s all finished with French seams, concealed zippers, and a sartorial dart on each corner for a snug fit. landscapeforms.com

PETE MCDANIEL

m a r k e t best of year

INTERIOR DESIGN

JAN/FEB.25

DISCOVER RADIUS DOOR, SELF SUSPENDED CABINET, MODULOR WALL PANELLING SYSTEM, SIXTY COFFEE TABLE. DESIGN GIUSEPPE BAVUSO

New York, Miami, Los Angeles, Chicago

m a r k e t best of year

ACOUSTICAL CEILING APPLICATION

CONTRACT WALLCOVERING

Turf

Wolf-Gordon

Arcade

El Muro

CONTRACT TEXTILE

Luum Textiles

SURFACE

Cosentino Dekton Pietra Edition by Daniel Germani

INTERIOR DESIGN

JAN/FEB.25

TOP RIGHT: JAMES SHANKS; BOTTOM RIGHT: MARTIN CROOK

Kinetic Energy by Suzanne Tick

TIMELESS DESIGN E XC E P TI O NAL C R AF TS MAN S H I P

LUXURY WITHOUT COMPROMISE

SEAGER KITCHEN FAUCET NEWPORTBRASS.COM

m a r k e t best of year

CONTRACT CONFERENCE/TASK SEATING

CONTRACT FURNITURE SYSTEM

Studio TK

BuzziSpace BuzziBrella by Sebastian Herkner

HEALTHCARE TEXTILE

Designtex Joy by Sara Balderi

CONTRACT STOOL

TILE + STONE FLOORING

DARRAN Furniture

Mutina, through Stone Source

Teo

Osso + Bottone by Ronan Bouroullec

INTERIOR DESIGN

JAN/FEB.25

TOP LEFT: ANTOINE BOOTZ; CENTER LEFT: ANNE DEPPE; BOTTOM RIGHT: GERHARDT KELLERMANN

Jotta by Manel Molina

2025

TRADE SHOW AND CONFERENCE

m a r k e t best of year

CONTRACT WALL SYSTEM

ENVIRONMENTAL IMPACT: FABRIC

Adielle

Ultrafabrics

Shadow by Massimo Luca

Volar Bio

CONTRACT CASEGOOD

Unifor

CONTRACT CONFERENCE TABLE

Nienkämper Moss by Deborah Moss

INTERIOR DESIGN

JAN/FEB.25

CENTER LEFT: ALBERTO STRADA; BOTTOM: PETER LUSZTYK

Andromeda by Debra Lehman Smith and Mark Alan Andre

Find samples on

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CONTRACT SOFA

RESIDENTIAL LOUNGE SEATING

Sancal

Poltrona Frau

Vibe

Squash by Faye Toogood

OUTDOOR SEATING

Heller

RESIDENTIAL SOFA

Minotti Supermoon by Giampiero Tagliaferri

INTERIOR DESIGN

JAN/FEB.25

BOTTOM: GIONATA XERRA STUDIO

Fortune by Jumbo

HOSPITALITY TEXTILE

RESIDENTIAL LOUNGE COLLECTION

Momentum Textiles & Wallcovering

Desalto

Yinka Ilori Collection

Roller by Francesco Rota

OUTDOOR LIGHTING

CONTRACT PARTITION

Zafferano America

MIO Culture

Amelie by Sara Moroni

Hangout by Jaime and Isaac Salm

BOTTOM RIGHT: MIO/KAREN HARMELIN

m a r k e t best of year

JAN/FEB.25

INTERIOR DESIGN

m a r k e t best of year

“I was inspired by Tetris, the iconic video game”

FRANCESCO ROTA

desalto The Italian manufacturer garnered a win in the Residential Storage category for Rebus, a modular bookcase system that’s molto elegante. Conceived by Milanese designer Francesco Rota (also the brand’s art director since 2023), the sinuous unit neatly corrals clutter. Inspired by the video game Tetris, five multidirectional and stackable square, rectangular, L-, and Z-shape elements, made of 3-mm-thick bent and painted metal, provide endless options for configuration. Ingeniously, the modules inter connect via magnets. Bold goosebill orange and cobalt blue are among the 17 standard colorways adding to the fun. desalto.it

REBUS

INTERIOR DESIGN

JAN/FEB.25

TELESCOPING DOOR SOLUTION

Elegance in motion.

Award-Winning Design

Exceptional Sound Control

Superior Quality

A new double-glazed telescoping door system by ALUR Understated yet unparalleled in quality, the Duo Motion telescoping door system introduces an air of reﬁned sophistication to any office setting. Its double-glazed doors provide superior acoustics while showcasing a sleek, modern aesthetic that remains ahead of the curve. The result is a space that feels bright, elegant and vibrant, setting the perfect tone for a forward-thinking, adaptable workplace. Making Glass Walls Beautiful, Sustainable and Quiet. alurwalls.com

m a r k e t best of year

RESIDENTIAL OCCASIONAL TABLE

Holly Hunt Ban and Yan

CHANDELIER

Yellow Goat Design Composition 7 ENVIRONMENTAL IMPACT: TABLE

RESIDENTIAL DINING TABLE

Gallotti&Radice

John Pomp Studios

Re-verre by Federica Biasi

Monolith

INTERIOR DESIGN

JAN/FEB.25

TILE + STONE WALLCOVERING: DESIGNER COLLABORATION

m a r k e t best of year

Artistic Tile Metamorphosis by Ryan Saghian

TECHNOLOGY

Byrne Thesis by Parker Genau

BATH SINK

Simas, through AD Waters

Pillow by Karen Gilbert and Paul Pavlak

Balloon

TOP LEFT: PETE MCDANIEL/PROTON STUDIOS; BOTTOM LEFT: TERESA VALNERSKLO

SCONCE

SkLO

INTERIOR DESIGN

JAN/FEB.25

Learn More Follow us on:

Gentian Elezi

Design:

aceray.com

SOLO-R

303 733 3404

THE LOOK OF SEATING

CONTRACT CONFERENCE/TASK SEATING: ANNIVERSARY

OUTDOOR FURNITURE COLLECTION: DESIGNER COLLABORATION

Humanscale

Expormim

Freedom 25th Anniversary Signature Edition by Niels Diffrient

Cask by Norm Architects

TABLE LAMP

RESIDENTIALRUG

Lodes

Eskayel

Cono di Luce by Ron Arad

Neighbors by Shanan Campanaro

INTERIOR DESIGN

JAN/FEB.25

TOP RIGHT: MERITXELL ARJALAGUER; BOTTOM RIGHT: TOM RAUNER

m a r k e t best of year

MATERIAL

3form Dual-Sided Textures

CONTRACT LOUNGE COLLECTION

HBF Kubi by Barbara Barry

FLOOR LAMP

Viso

RESIDENTIAL RUG: DESIGNER COLLABORATION

Marc Phillips Clodagh Collection

INTERIOR DESIGN

JAN/FEB.25

CLOCKWISE TOP LEFT: COR/LAURA FROM TOP LEFT: THIESBRUMMEL; DEREK ISRAELSEN, BOTTOMCOURTESY LEFT: FRANCIS OF 3FORM; DZIKOWSKI PIPPA DRUMMOND

Crescent by Republic of II by IV

HARD FLOORING

COMMERCIAL RUG

Patcraft

Yo2

Lithic by Kelly Williams

Cristallo by Republic of II by IV

TOP LEFT: COURTESY OF PATCRAFT; BOTTOM RIGHT: ANDREA GARUTI; ART DIRECTION: STUDIO FM MILANO, SET DESIGN/STYLING: STUDIO SALARIS

RESIDENTIAL TEXTILE

CONTRACT LOUNGE SEATING

Pollack

Pedrali

Collagraph by Rachel Doriss

Ester by Patrick Jouin

m a r k e t best of year JAN/FEB.25

INTERIOR DESIGN

m a r k e t best of year

BATHTUB

HARDWARE

Salvatori

Bankston Architectural

The Small Hours by Patricia Urquiola

Hemispheres by Civilian

KITCHEN FAUCET

Vigo

ACCESSORY

Quiet Town The Spot modular shower organizer by Brad Ascalon, Lisa Fine, and Michael Fine

INTERIOR DESIGN

JAN/FEB.25

TOP RIGHT: CHRIS MOTTALINI

Cass by Lenny Valdberg and Anna Blinova

BESPOKE LEISURE.

LUMA COLLECTION D E E P S E AT I N G F U R N I T U R E

TUUCI.COM

m a r k e t best of year

CONTRACT MODULAR SOFA

Hightower Toward by Anne Boysen

ACOUSTICAL LIGHTING

RBW Spool by Kelly Harris Smith

EDUCATIONAL FURNITURE

COMMERCIAL CARPET TILE

The HON Company

Chilewich

Storyline by Kaelan Abernathey

Shuttle

INTERIOR DESIGN

JAN/FEB.25

n o i t a v Fostering Inno allenges Ch

Addressing Design World

PRESENTS

RTERS OUS SUPPO R E N E G R U KS TO O MANY THAN PONSOR PREMIER S

S NIVERSITIE GES AND U E L L O C G TIN PARTICIPA

restigious rg .o s oration of p b lu a P ll 1 . co a 1 y is , n ration ars or more profit corpo n of four ye

rsig )(3) not-fo Interior De Inc., a 501(c rograms in p s, g lu n P ri n e e ff v o le ons New York E nal instituti te educatio ta S rk o Y w Ne

m a r k e t best of year

RESIDENTIAL BED

OUTDOOR SEATING COLLECTION

Kalon

Perennials and Sutherland

Element by Johann Pauwen and Michaele Simmering

Wabi Sabi by Eugeni Quitllet

BATH CABINETRY

Vaselli Lava by Pitsou Kedem

Dais by Form Us With Love

INTERIOR DESIGN

JAN/FEB.25

BOTTOM RIGHT: DAVIDE DANIELLI; BOTTOM LEFT: LISA PETROLE

ENVIRONMENTAL IMPACT: SEATING

Keilhauer

SUBTLETY IS AN ART. BUT THEN AGAIN, SO IS DRAMA. A LIFE OF BEAUTY, ON YOUR OWN TERMS.

FEATURING THE BEAUCLERE™ BATH COLLECTION

m a r k e t best of year

HEALTH + WELLNESS PRODUCT

Carolina Offshore by Achella Design

ENVIRONMENTAL IMPACT: MATERIAL

Spinneybeck Søuld Wall 90

INTERIOR DESIGN

JAN/FEB.25

Uline Uline’s cushioning gives you the best seat in the house. And with over 42,000 products, you’ll love our variety. Order by 6 PM for same day shipping. Best service, products and selection – experience the difference! Please call 1-800-295-5510 or visit uline.com

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THERE’S MORE WAYS TO SHINE

BEYOND THE BOROUGHS Now for the 2nd year running, we celebrate your best across NYC and extending to the tri-state region!

PRESENTED BY

ENTER NOW

deadline for product & project submissions is March 21 nycxdesignawards.com

c enter fold

portal of perception For London Design Festival, Melekzeynepstudio installed thousands of suspended cubes that responded to visitor sound and movement, a concept inspired by a neurological condition

COURTESY OF MELEKZEYNEPSTUDIO

1-4: Designer and Melekzeynepstudio founder Melek Zeynep Bulut has synesthesia, which causes sensory crossovers—tasting colors, feeling sounds—and her projects are often informed by the neurological condition. One such was Duo, a site-specific temporary installation she created over the course of three months from interactive acrylic cubes for London Design Festival last September, collaborating with consultants on isometric views and sectional drawings using Rhinoceros, KeyShot, and Photoshop soft ware. 5. A rendering shows Duo where it was ultimately exhibited, the Painted Hall, an 18th-century building with elaborate murals often referred to as Britain’s Sistine Chapel that’s part of the Old Royal Naval College. 6. Measuring 46 feet long, suspended 20 feet from the ground via stainless-steel cables, the 40 rows of acrylic cubes formed a cuboid pierced by a vaulted tunnel through which visitors walked, their sound and movement captured by microphones, speakers, and sensors.

160

19,000

6,480

designers, engineers, lighting and sound technicians, and installers led by Melekzeynepstudio founder Melek Zeynep Bulut

CUBES

LINEAR FEET OF STEEL CABLE

ONEDOZEN SPEAKERS

6MICROPHONES SENSORS

“Duo is like our bodies—fundamentally not a solid mass but instead an entity that responds to stimuli” JAN/FEB.25

INTERIOR DESIGN

c e n t e r fold Duo’s handmade cubes, which were mostly 7 inches square except for the halved cubes that formed the arch, pro gressed from opaque white at the perimeter to transparent near the center for optical depth. As visitors proceeded through, microphones captured their voices, which were echoed back into the installation through speakers, and sensors detected move ment, triggering dynamic waves of light.

—Athena Waligore

MARK COCKSEDGE

INTERIOR DESIGN JAN/FEB.25

JAN/FEB.25

INTERIOR DESIGN

jan feb25

Plunge into positive vibes and refreshing projects

SHAI GIL

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text: wilson barlow and lisa di venuta

a memorable maze Environmentalism, inclusivity, saturated color, sport—all and more made for exceptional art and design in 2024

KIMSOOJA Commissioned for last February’s Desert X AlUla, an outdoor biennial in the Saudi Arabian desert, To Breathe, the South Korean artist’s site-responsive spiral, was made of 42 9-foot-tall glass panels coated in iridescent, diffraction-grating film. Photography: Lance Gerber/courtesy of The Royal Commission for AlUla.

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NICOLEHOLLIS In the family room of a 5,600-square-foot duplex penthouse in New York, a grid of Donald Judd woodcuts oversees a Groundpiece sectional by Antonio Citterio, coffee and side tables by Ini Archibong and Gary Magakis, and a custom oak media console. Photography: Douglas Friedman.

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MICHELANGELO PISTOLETTO Agenda 2030, a nude Venus lost in a sea of detritus, is part of “To Step Beyond” at Lévy Gorvy Dayan gallery in New York, a survey of the 91-year-old artist’s work that includes six decades of sculptures, silkscreens, and paintings, on view through March 29. Photography: Courtesy of Lévy Gorvy Dayan and Galleria Continua.

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ELENA SALMISTRARO Last year, for the 100th anniversary of Cini Boeri’s birth, the product designer created a 12½-inch-tall enameled statuette of the late architect that combines her physical attributes with signature patterns from her textile designs, part of the Most Illustrious series for Bosa that already includes figurines of other Italian icons: Michele De Lucchi, Achille Castiglioni, Riccardo Dalisi, and Alessandro Mendini. Photography: Courtesy of Bosa.

BADIE ARCHITECTS In the restrooms at Escá Cueva, a restaurant in Cairo, colored LEDs highlight the organic forms made from a steel infrastructure covered in a cement-polymer mix that’s found throughout. Photography: Nour El Rafai.

I IN In Tokyo, at the entrance to the Ginza flagship store of Ya-Man, the design studio lined a column with LEDs that mirror the ones found in the Japanese beauty brand’s red light–therapy products. Photography: Tomooki Tengaku.

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PETER PICHLER ARCHITECTURE Sustainability drove the Milan firm’s design of the Bologna, Italy, headquarters for Bonfiglioli, a manufacturer of gearmotors, drive systems, and industrial inverters, including the facade clad in pleated aluminum mesh that filters direct sun and the sloping roof that incorporates six south-facing terraces and results in an enlarged north facade for increased indirect daylight to the 67,000-square-foot interiors. Photography: Gustav Willeit.

ANDREA BRANZI Sticks of hand-painted driftwood suspended in an aluminum mesh explored the tension between natural and manmade in Roots, part of “The New Transcendence,” a group show at Friedman Benda gallery in New York last January. Photography: Timothy Doyon/courtesy of Andrea Branzi and Friedman Benda.

FREDERICK JOHN KIESLER The 1938 photograph of the Austrian-American architect’s Mobile Home Library Hinge appeared in “Frederick Kiesler: Vision Machines” at the Jewish Museum in New York last April. Photography: Courtesy of the Austrian Frederick and Lillian Kiesler Private Foundation, Vienna.

ANDREA PISANO The 14th-century sculptor and architect was the master builder of the Duomo di Orvieto, its banded white travertine and black basalt facade similar to other Gothic cathedrals built in central Italy around that time (and the inspiration for the interiors of the nearby Palazzo Petrvs, a boutique hotel by Giuliano Andrea dell’Uva Architetti featured in our March 2024 issue). Photography: Nathalie Krag/Living Inside.

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MILTON GLASER Referencing a Marcel Duchamp self-portrait, the graphic designer’s poster accompanied the 1966 release of “Bob Dylan’s Greatest Hits” and was featured in “Art of Noise” at San Francisco Museum of Modern Art last summer. Photography: Tenari Tuatagaloa/Milton Glaser, Dylan Poster, 1967, San Francisco Museum of Modern Art, gift of the designer, © Milton Glaser, permission of the estate of Milton Glaser.

STUDIO PROBA Known for her “art pools,” which feature vibrant murals painted onto a pool’s bottom, Alex Proba elevates her signature style with a puzzlelike arrangement of hand-glazed ceramic tiles from Cerámica Suro in Guadalajara, Mexico, into an abstraction of coral reefs for a private home in Miami. Photography: Jay Guzman.

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OLIMPIA ZAGNOLI Occupying the four exterior Jewel Box vitrines earlier this winter at the SCAD Museum of Art in Savannah, Georgia, was “Multifaceted,” the Italian illustrator’s site-specific vinyl artworks, all 8½ by 10 feet. Photography: Courtesy of Olimpia Zagnoli and SCAD.

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ADRIANA MEUNIÉ and JAUME ROIG Local artists crafted a mural of natural materials for the pine-beamed yoga studio at Son Blanc Farmhouse Menorca, a boutique hotel in Spain that had been a dormant, late 1800’s Spanish home and barn until a recent renovation by Atelier du Pont. Photography: Greg Cox/Bureaux; production: Sven Alberding/Bureaux.

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PORKY HEFER The nearly 6-foot-tall Warren appeared last summer in “no bats, no chocolate” at Galerie56 in New York, it and the solo show’s eight other sculptures of animals, all representative of “weird talents” that benefit the planet, handmade of locally sourced materials in collaboration with fellow South African studios Ronel Jordaan, Wellington Moyo, and Leather Walls. Photography: Hayden Phipps/Courtesy of Southern Guild.

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DRYDEN STUDIO A custom banquette with artfully clashing upholstery patterns distinguishes the lobby of the Wayback, a 134-key boutique hotel, in Pigeon Forge, Tennessee, by the Nashville architecture and design firm. Photography: Courtesy of the Wayback, Pigeon Forge, Marriott Tribute Portfolio.

JAMES BARNOR The 1971 image by the Ghanaian photographer of a shop assistant posing in front of the United Trading Company headquarters in Accra was included in “Tropical Modernism: Architecture and Independence” at London’s V&A South Kensington last summer. Photography: © James Barnor/courtesy of galerie Clémentine de la Féronnière.

M MOSER ASSOCIATES and TAV CERAMICS For accounting-software company Tipalti, abacus-inspired installations, including these 1-foot-tall ceramic beads, in corporate branding colors, inform its 24,000-square-foot office in Vancouver, Canada. Photography: Luis Valdizon.

KAWS Pittsburgh’s Andy Warhol Museum feted its 30th anniversary last year with “KAWS + Warhol,” which featured the painted bronze, nearly 6-foot-tall GONE from 2018 by Brian Donnelly, aka KAWS. Photography: Courtesy of KAWS.

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OMA Last July at Tokyo’s Roppongi Museum, “Miss Dior: Stories of a Miss” was a 9,150-square-foot exhibition that surveyed the 77-year history of the House of Dior scent, the dominant color derived from the pinks found in iterations of the perfume’s tinted formula and bottle designs. Photography: Daici Ano/courtesy of Dior.

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ANDRÉS REISINGER Also last July, Unreal, the Argentine artist’s three-day pop-up installation in New York, cloaked a NoLIta storefront in 850 yards of polyester to celebrate the launch of a liquid blush product of the same name by cosmetics brand Hourglass. Photography: Rocío Lamastra.

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BARBORA ŽILINSKAITĖ The 29-year-old Lithuanian’s anthropomorphic, 10-piece solo exhibition “Chairs Don’t Cry” at Friedman Benda Los Angeles last winter included the 6-foot-long Sunbather bench and 3-foot-tall Mr. Judgy mirror, both in pigmented reclaimed sawdust. Photography: Timothy Doyon/courtesy of Friedman Benda.

AURORA DESIGN Whimsical apertures, butter-yellow tile, and graphic accents welcome spontaneity at Lanwuu Imagine, a studio in Kunming, China, that specializes in wedding and portrait photography through a surrealistic lens. Photography: Xin Na/Inspace Studio.

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NO ARCHITECTS Occupying the 9,000-square-foot mezzanine level at The National Gallery Prague is ATLAS—the acronym for Creative Studio and Laboratory of Associative Dreaming in Czech—a public art gallery absconding with traditional museum bounds in favor of a reductive Mondrian palette, yoga platforms, movable seating, and touchable art. Photography: Studio Flusser.

BENT GABLE DESIGN and FUTURESTUDIO Toasting its 20th anniversary, Toronto’s famed Lee Restaurant relocated to the city’s 1932 art deco Waterworks building, where its 6,000 square feet feature walnut walls bisected by velvet patchwork banners in retro hues. Photography: Britney Townsend.

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ARK Paying homage to Yeun Long, Hong Kong’s agricultural roots, Shun Fook Barn reimagines the humble farmhouse as a 30,000-square-foot shopping mall with indoor/outdoor appeal, from living green walls, earthy hues, and a massive woodlike tree sculpture in the atrium. Photography: Harold de Puymorin.

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YOD GROUP Celebrating the Carpathian landscape, Hay Boutique and Spa by Edem Family in Polyanytsya, Ukraine, has dried grapevines appointed to thermos-spruce paneled walls in its Vinotheque restaurant, where local industrial designer Andrey Galushka’s pressed-hay pendant fixtures illuminate rustic tables and Emilio Nanni’s Croissant chairs. Photography: Yevhenii Avramenko.

ESTÚDIO CAMPANA The first solo show since Fernando Campana’s untimely passing in 2022, and the first with older brother Humberto as sole principal designer, “On the Road,” last spring at Friedman Benda in New York, included their 2017 cast-bronze Branches sofa. Photography: Fernando Laszlo/courtesy of Estúdio Campana and Friedman Benda.

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PASCALI SEMERDJIAN ARQUITETOS Celebrating late Venezuelan artist Carlos Cruz-Diez, the Brazilian studio curated “Chromatic Inductions” last fall at Simões de Assis gallery in São Paulo, where large PVC sheets hung from the ceiling creating an interactive mazelike experience. Photography: Courtesy of Estudio em Obra and Simões de Assis.

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EMMANUELLE MOREAUX The 47th iteration of the architect’s 100 Colors series, Timeline is also her first permanent one in Paris, occupying the eight-story atrium of Le Lumière office complex, with 3,200 steel, colorgraded numbers suspended in rows, each denoting a year. Photography, from top: Theo Baulig; Raphael Metivet.

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YNTEGRA GROUP Debuted during Art Basel Miami Beach, the city’s first-ever floating and transportable padel ball court, moored just off Fisher Island in Biscayne Bay, was constructed of recycled steel sourced from old shipyard materials, surrounded by glass walls, and clocked in at 84 tons. Photography: Courtesy of Yntegra Group.

looking forward and back In New Jersey, Verona Carpenter Architects’s thoughtful renovation of a 19th-century building at Princeton University honors the past while embracing the diversity of today—and tomorrow

text: jane margolies photography: eric laignel

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By the time senior administrators at Princeton University decided to renovate Prospect House, an 1852 Italianate mansion used for meetings and events, it was dark, dated, and dysfunctional. The recessed front door was cloaked in shadows and inaccessible to anyone in a wheelchair. Inside, paint colors were gloomy, furniture was tired. Kitchen facilities struggled to keep up with catering demands, and the audiovisual equipment might consist of an antiquated projector and screen. It was time to “press the restart button,” recalls university architect Ron McCoy, who oversees changes to the campus. The university had general guidance for the project from a master plan it adopted in 2017 that calls for the entire 700acre New Jersey campus to be converted to geo-exchange technology for heating and cooling. As existing buildings are being renovated and new ones built, the plan also calls for them to be welcoming and foster a sense of belonging for a student population that has grown increasingly diverse. To tackle Prospect House, McCoy and the renovation committee selected Irina Verona and Jennifer Carpenter of New York firm Verona Carpenter Architects, which focuses on inclusive design, striving to ensure spaces accommodate the broadest range of bodies and minds, with particular attention to sensory and physical disabilities. Verona and Carpenter were completing another project on campus, so their team was already steeped in the school’s priorities for its built environment. Also helping to tip the scale in their favor is that Verona is a Princeton undergrad alum, providing her with an intimate feel for the campus, which features an eclectic assortment of buildings, Prospect House, a National Historic Landmark, among the older structures. 130

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Previous spread: In the Rose Room at Prospect House, an 1852 Italianate mansion at Princeton University in New Jersey that’s been recently renovated by Verona Carpenter Architects, a custom console, contemporary photography by Josephine Sittenfeld commissioned by the Princeton University Art Museum, Manila chairs by Lievore Altherr Molina, and new wall paint matriculate with a marble fireplace mantel and a gilded mirror, both original. Opposite top: Verona Carpenter restored the centuries-old two-story chandelier and black-and-white marble flooring appointing the entry hall rotunda. Opposite bottom: The brownstone facade of the building, a 28,270-square-foot former home that is now a National Historic Landmark and faces Tony Smith’s Moses from 1967, was power-washed, its window frames repaired and repainted. Top, from left: The bench in the entry hall is by Piergiorgio Cazzaniga. The newly raised bluestone terrace, with Arenal rocking chairs in FSC–certified teak, allows access from adjacent rooms for the physically impaired. Bottom: In the Magnolia Room, beneath an original chandelier, Miry sofas by Douglas Levine—their backs upholstered in patterned velvet—flank a Cory Grosser coffee table, all standing on a custom rug.

Left, from top: The Cedar Room’s Allure pendant fixture in smoked glass and brass. A main stair window’s custom adhesive film of a landscape. Venetian plaster preceding the Dogwood Room’s aubergine wall paint. Right, from top: The entry’s marble-tile floor, original to the mansion. Tables with flip tops and casters for flexibility in the Cedar Room. Railings of powder-coated aluminum with integral LEDs installed along the steps leading to the porte cochere. Opposite: Warren Platner’s 1966 Platner table nod to his 1968 involve ment in the building; it’s joined by Lievore Altherr Molina’s Siesta SF3007 corner sofa and custom bronze signage.

Built by Philadelphia architect John Notman as a single-family home, the brownstone building was donated to the school in 1878 and for decades served as the official residence of university presidents, among them Woodrow Wilson. Pietro Belluschi and Warren Platner were hired to loosen it up when it became a faculty club in 1968, adding a glass-walled restaurant at the rear and bringing a bachelor-pad vibe to the interiors, complete with shag rugs. Robert Venturi turned back the clock and restored formality to Prospect House when he got involved in 1988. Verona Carpenter sought to capture aspects of this long and varied heritage—“a layering,” Verona calls it—in an overhaul of the 28,270-square-foot, three-story structure that involved restoring the exterior, opening up interior walls while preserving architectural features, installing state-of-the-art MEP and technology systems, and generally enlivening what had “felt frozen” in time, Carpenter notes. For a sense of the changes the firm has wrought, consider the entry, where Verona and Carpenter moved the port cochere and front steps outward so they could tuck gently sloping brick ramps on either side. “Everyone goes in the same way now,” Carpenter adds. “That’s really important.” The front door itself was also pushed outward, with glass replacing solid wood, bringing transparency to the facade; now there are views all the way through the building to the greenery at the back. The interior that visitors encounter upon entering still feels historic—the rotunda has retained its stained-glass dome, twostory chandelier, and black-and-white marble floor, all centuries old and restored by Verona Carpenter. But wall colors are fresh: Verona and Carpenter discovered a robin’s-egg blue on the walls of a third-floor storage space and mimicked it for the rotunda, while other colors came from the dome’s stained glass, such as the celadon green in the Magnolia Common Room, where the backs of a pair of streamlined sofas are upholstered in an exuberant floral velvet. But there are deeper tones, too, like aubergine in the Dogwood Room. Inclusive design, according to Verona Carpenter, includes a range of hues so that people can find a space that works for them. Furnishings throughout, too, offer choice: Chairs are high- or low-backed or without backs at all; rockers suit those who are wired to keep moving, even while sitting. Verona and Carpenter also sought out pieces by women and people of color; the pendant fixture in the Cedar Room, for example, is from 54kibo, a company founded by Ghanaian-born Nana Quagraine. And if the house was once decorated with framed portraits of former university presidents, it’s now filled with varied contemporary art. Verona and Carpenter identified places where pieces could go, and the Princeton University Art Museum called for submissions from students, staff, faculty, and alumni, then selected paintings, sculptures, and photography. Even room names were changed to eliminate any whiff of exclusivity. The Presidential Dining Room, for one, became 132

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the Rose Room. “Renaming was part of the objective of making the building more inclusive,” Verona explains. Diversity in seating options—wide, narrow, lounge—also characterizes Prospect Hall’s faculty restaurant, the 1968 addition dubbed the Garden Room, so called because it’s wrapped in glass visually merging it with the landscape; Verona Carpenter’s choice of carpet tile in a swirl of verdant greens further blurs the line between inside and out. Its famous crabcakes are still on the menu. But after Verona and Carpenter added acoustical insulation to the coffered ceiling, to aid the hard of hearing or those distracted by competing sounds, diners can now hear what their companions are saying. PROJECT TEAM IRIS KIM; CHARUL PUNIA; BIRANI NYANAT; EMILY EVANS: VERONA CARPENTER ARCHITECTS. FIELD OPERATIONS: LANDSCAPE ARCHITECT. CLINE BETTRIDGE BERNSTEIN LIGHTING DESIGN: LIGHTING DESIGN. KEAST AND HOOD: STRUCTURAL ENGINEER. POLISE CONSULTING ENGINEERS: MEP. VAN NOTE HARVEY + PENNONI: CIVIL ENGINEER. WSP: FACADE CONSULTANT. MASSIMINO BUILDING CORP: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ANDREU WORLD: CHAIRS (ROSE ROOM, GARDEN ROOM), BENCHES (ENTRY, MAGNOLIA ROOM, GARDEN ROOM), CORNER SOFA (ROTUNDA). MASAYACO.: ROCKING CHAIRS (TERRACE). THE BRIGHT GROUP: SOFAS, CHAIR (MAGNOLIA ROOM). TIMOROUS BEASTIES: FLORAL SOFA FABRIC. STEELCASE: COFFEE TABLE. AUDO COPENHAGEN: SIDE TABLE. CROSBY STREET STUDIO: CUSTOM RUG (MAGNOLIA ROOM), CUSTOM CARPET TILE (GARDEN ROOM). 54KIBO: PENDANT FIXTURE (CEDAR ROOM). PRISMA TIQUE DESIGNS: TABLES (CEDAR, GARDEN, ROSE ROOMS). KNOLL: TABLE (ROTUNDA). ABC STONE: FLOORING (HALL). VISUAL COMFORT & CO.: CHANDEL IERS (ROSE ROOM). THROUGHOUT SHERWIN-WILLIAMS COMPANY: PAINT.

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Opposite top: In the Garden Room, where acoustical insulation was added to the existing coffered ceiling, custom 36-inchsquare, wool-nylon carpet tile visually merges the restaurant with the landscape. Opposite bottom: Dating to 1852, the restored stained-glass dome capping the rotunda inspired the project’s color palette. Top, from left: In the corridor leading to the Garden Room, new flooring is Bardiglio Blue Venato marble and the oil on panel by Megan Duval. Cahn Cocktail chairs by Levine line its perimeter. Bottom: Ring chandeliers by Chapman & Myers echo the gold of the original sconces in the Rose Room, renamed from the Presidential Dining Room to be more inclusive.

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text: dan howarth photography: philip kottlorz

mind games

Ippolito Fleitz Group transforms a five-story building into seriously playful coworking space for Brainhouse247 in Hanover, Germany

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We all know by now that the world of work has undergone a seismic shift. However, there is still much debate about how future workplaces will look and how they’ll accommodate the evolving habits and needs of new generations of users. Architects and designers are currently in a significant phase of experimentation, striving to determine the next iteration of the “office”—if it can even still be called that—and how these spaces might entice workers away from their homes. In Laatzen, an industrial area on the outskirts of Hanover, Germany, Ippolito Fleitz Group has taken the experimental approach to an extreme in an effort to redefine this spatial category. The firm’s interiors for Brainhouse247, a coworking brand, have transformed a five-level 1970’s building—formerly a nondescript administrative center for Siemens—into 215,000 square feet of lively, playful environments that provide facilities, flexibility, and fun as compelling incentives for members to show up. “Why are people coming back to the office?” asks Peter Ippolito, an Interior Design Hall of Fame member along with comanaging partner, Gunther Fleitz. “The simple answer is because they want to, not because they have to.” Available to both individuals and corporate employees, Brainhouse247 membership offers round-the-clock access to a diverse range of meeting rooms, lounge and relaxation zones, communal breakout spaces, and food and beverage areas—all designed with an unconventional approach. The concept goes well beyond the beer taps and phone booths of 2010’s coworking startups, one that’s much more refined than the foosball tables and slides of the same decade’s tech-campus wonderlands. Along with more traditional open desk setups, there are specialized facilities for podcasting, photography, 3-D printing, and more, plus a mix of unorthodox places for quiet contemplation or letting off steam, depending on one’s mood.

Previous spread: In Hanover, Germany, custom monkey bars and gymnastic rings outfit a tran sition space at Brainhouse247, a five-level former administrative center transformed into a co working facility by Ippolito Fleitz Group. Top: Busetti Garuti Redaelli’s Buddyhub sofa surveys a private desk area on the third floor. Bottom, from left: In the same area, Jazz arm chairs by Pedrali and a custom table sit on an Afghan rug. Spruce arches frame niches for play ing board games on the ground floor. Wheels on custom bleacher seating allow it to be moved as needed.

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“We have a room where you don’t see anything because it’s all foggy, offering a moment of quiet,” Ippolito reports. “We even have a room where you can go in and just scream.” In essence, Brainhouse247 is conceived as a landscape of discovery. Each level (four aboveground and one below) features a distinct visual identity but is intentionally left unnamed to encourage users to assign their own monikers, aiding memory and orientation—or so the hope goes. While the top three floors all include a central “marketplace” as a nexus where members can grab coffee, socialize, and relax, each floor has a unique layout and scenario created for it. On level two, for instance, the “playground” is where collaborative work can take place around circular picnic tables or in pink-upholstered diner-style booths, while on the floor above, presentations can be viewed from brightly hued, stadium-style bleachers mounted on wheels for flexibility. “Everything is agile and mobile,” Fleitz explains. For focused tasks, there are custom cylindrical oak pods, which he refers to as “bird’s nests,” raised a couple of feet off the ground and accessed via short orange ladders. Another option for private calls or concentrated work is a series of color-saturated nooks, created by opening up former exhaust shafts and outfitting them with comfortable sofas and intimate pendant lighting. Members wishing to stay active while they work can utilize dedicated “walk ’n’ talk” areas or organize powwows with colleagues that incorporate sessions on monkey bars, gymnastic rings, and other exercise equipment. “What we’ve learned from completing a lot of projects in the corporate world is that you can’t ever be innovative enough,” Ippolito observes. “Let’s put it this way, the most unconventional formats we offer are typically used the most.” The raw bones of the original concrete structure and service ductwork, along with existing features like drywall and tiling, have been left exposed in many instances, creating an intentionally unfinished appearance that alludes to the constant flux of work habits. Colorful heating/cooling ceiling panels were installed in several work areas to improve the building’s energy efficiency,

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Opposite top: The private desks come with Industrial Facility’s Pastille task lamps and Paravan acoustic panels by Lievore + Altherr Désile Park. Opposite bottom: In the “urban square” zone, Thomas Bernstrand and Stefan Borselius’s Bob ottomans joins Fatboy’s Bonbaron Sherpa lounge chairs under a forest of vertical pendant fixtures and fabric strips. Top, from left: A custom oak-veneered “bird’s nest” provides single-person workspace in the second floor “playground.” Street art–style graphics adorn an unfinished wall. Bottom: In the “playground,” Claesson Koivisto Rune’s oversize pendant presides over a custom picnic table and benches.

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while also helping with acoustics. Bold color is applied fervently throughout, imbuing joy and lightheartedness. From forests of vertical textile ribbons sus pended above pillowy lounge chairs and soft ottomans to an area dedicated to playing board games in niches between arched spruce partitions, there’s a pal pable emphasis on buoyancy and pleasure around every corner. To further enliven the interiors, street art–style graphics featuring a cast of deftly sketched characters festoon many walls, enhancing the patchwork effect created by the many layered elements. “We love collage because it allows the user to develop their own story,” Ippolito notes. “They see what they want to see, and they connect it with their own memories.” The facility will eventually include restaurants, a fitness center, and maker workshops, among other ame nities on the ground floor, offering members everything they might need under one roof, if they choose. Choice is a fundamental principle of the project, em phasizing IFG’s contention that the future of work ultimately revolves around freedom—however that may manifest aesthetically. PROJECT TEAM LENA GRZIB; NADINE BATZ; ERKIN SAGIR; MANU DANKHED; KERRY PLIENINGER; NEELE KELINGARN; KATJA HEINEMANN; ARSEN ALIVERDIIEV; JUAN MANUEL DE AYARRA DEL OLMO; TIM LESSMANN; TIMO FLOTT; ROGER GASPERLIN; CHRISTIAN KIRSCHENMANN; JOHANNES HANEBUTH: IPPOLITO FLEITZ GROUP. AG LICHT: LIGHTING CONSULTANT. SUPER 8 STUDIO: GRAPHICS CONSULTANT. LINDNER: CUSTOM FURNITURE, INSTALLATIONS. PRODUCT SOURCES FROM FRONT OBJECT CARPET: CARPET (TRANSITION SPACE, PRIVATE DESKS). PEDRALI: SOFA, ARMCHAIRS (PRIVATE DESKS). KÖNIG + NEURATH: DESKS. ARPER: ACOUSTIC DESK PANELS. NAIN TRADING: RUG. WÄSTBERG: DESK LAMPS (PRIVATE DESKS), LARGE PENDANT FIXTURE (PLAYGROUND). MARAZZI: PORCEL AIN FLOOR TILE (PRIVATE DESKS, URBAN SQUARE). VITRA: MESH TASK CHAIRS (PRIVATE DESKS, CONFERENCE ROOM). BLÅ STATION: OTTOMANS (BLEACHERS, URBAN SQUARE). FATBOY: LOUNGE CHAIRS (URBAN SQUARE). NEMO LIGHTING: VERTICAL PENDANT FIXTURES. BRUNNER: STEEL CHAIRS (URBAN SQUARE), TABLE (CON FERENCE ROOM). FLURSTÜCK: CARPET (PLAYGROUND). EQUIPE CERÁMICAS: WALL TILES. MUUTO: SOFA (NOOK). &TRADITION: PENDANT FIXTURE.

Top: The picnic table and “bird’s nest” bookend a row of custom diner-style booths for collab orative work. Bottom, from left: A neon-suited character enlivens an exposed-concrete wall. A former exhaust shaft has been turned into a privacy nook furnished with Anderssen & Voll’s Connect sofa and Jaime Hayon’s Formakami pendant. Antonio Citterio’s ID Mesh chairs sur round a conference room’s Jehs + Laub A-Table. Custom bench seating and another bold graphic enhance the ground-floor “campus” waiting area.

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see and be seen

In Rátka, Hungary, the Sauska Tokaj winery by Bord Architectural Studio and Tihany Design resembles a pair of saucerlike eyes surveying the UNESCO World Heritage-listed landscape text: peter webster photography: marc goodwin

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How do you create an attention-grabbing modern building that integrates seamlessly with its timeless rural setting as though it has always belonged there? This conundrum faced Bord Architectural Studio and Tihany Design when they collaborated on Sauska Tokaj, a new hilltop winery and restaurant complex near Rátka, in Hungary’s UNESCO World Heritage-listed Tokaj-Hegyalja wine region. The resulting structure—a pair of limestone-clad saucers—is both strange and familiar, like a UFO that’s just touched down or is emerging, chrysalislike, from the earth. It’s almost as if the Hungarian countryside itself is giving birth to the next wave in contemporary architecture. “Normally, you couldn’t build anything here because it’s a protected area,” says Péter Bordás, principal of Bord Architectural Studio. “But somehow this particular hill isn’t part of it.” Searching for a building typology that minimized site impact yet realized the client’s vision of a brand-enhancing, destination-worthy landmark, the architect rejected working in the vernacular as “fake.” Instead, he turned to the sphere as a structural form that requires minimal contact with the ground or can even seem to float above it. He cut off the sphere’s top and bottom caps and placed them on the ridge. Slightly overlapping, the steel-framed, limestone-clad bowls, each 118 feet in diameter, are gently tilted to follow the slope of the hillside, from which they survey the landscape like a pair of benevolent eyes. The architecturally iconoclastic, two-level winery breaks regional precedent in other ways, too. “We had to accommodate hospitality functions—a restaurant and bar—which have never really existed in this area,” Bordás continues. Nor has the kind of large-scale industrial production the facility supports. “You don’t see any ‘factories’ here because, traditionally, the region’s winemakers dig small cellars and put the aging barrels there.” Following that artisanal model, the architect has buried all the viticulture works and equipment either directly beneath the bowls or in the hillside behind them. Only the fermentation areas, with tall stainlesssteel tanks encircling rows of oak wine casks, are visible through the glazed gap between the building’s spherical undersides and the ground.

Previous spread: In Rátka, Hungary, a curved canopy overhangs the entrance to the res taurant and bar at the rear of Sauska Tokaj, a winery by Bord Architectural Studio and Tihany Design. Inset, from left: Backed by a sunken garden, the custom oak reception desk’s biomorphic form echoes the curves of the building. In the restaurant, steel columns clad in walnut flut ing frame a high table and stools overlooked by a custom sconce. Spread: Set amidst vineyards, the restaurant and bar are housed in a pair of limestone-clad steel-framed saucers, tilted forward and topped with green roofs, while the winemaking facilities are largely subterranean.

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Top, from left: Beneath a curving soffit, the open kitchen dominates one of the restaurant saucers, where flooring is either limestone or stained oak, as it is throughout. The other saucer includes the horseshoe bar, above which track-lighting grooves radiate from an illuminated fixture incorporating a stainlesssteel wineglass rack. Bottom: Naturally lit via the glazed gap between the saucer’s underside and the ground, a fermentation area’s oak barrels are encircled by stainless-steel tanks.

The twin bowls house the restaurant, bar, and dining terraces. Together with the reception area and a tasting room—about a quarter of the 63,000-square-foot winery—they were outfitted by Tihany Design. The client, familiar with the firm’s work in Hungary and elsewhere, approached now-retired founder and Interior Design Hall of Fame member Adam D. Tihany, who initiated the project and remained involved throughout, working closely with new owner and principal Alessia Genova. She’s the first to admit that the intersecting cup shapes of the two major volumes with their sloping walls presented a challenge. “We needed to be respectful of Peter’s unique architectural vision,” she says, “creating an interior that complements the exterior while also providing a warm restaurant ambience.” One issue was that the entry and reception area are located at the rear, so arriving patrons don’t see the structure’s sculptural form, which is mostly hidden by the crest of the hill. It’s not until they pass through a skylit tunnel and reach the restaurant itself that they get to experience the building’s complex curves, though the sweeping arc of the forecourt canopy hints at things to come. So does the custom oak reception desk, a massive biomorphic form that not only echoes the architecture but also recalls, as Genova notes, “the hills of Tokaj as well as the wood barrels and other organic elements that go into winemaking.” Behind the desk, a glass-enclosed, sunken garden brings in natural light and offers a view into the tasting room beyond, one of the few orthogonal spaces in the hospitality area. At the end of the restaurant tunnel, immediately before

“Normally, you couldn’t build anything here because it’s a protected area, but this particular hill isn’t part of it”

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the maître d’ station, a curving staircase leads down to the fermentation areas, the only section of the winemaking facilities that is accessible to the public. The dining area spills across both bowls, each boasting a large hemispherical terrace for eating, lounging, and taking in the vineyard-dotted panorama. Near the entrance, the wine bar exemplifies Genova’s response to the spaces’ curvilinear geometrics. A marble-topped horseshoe faced in oak, the stool-lined counter curls beneath an illuminated tubular ceiling fixture with an integrated stainless-steel wineglass rack. This striking element not only anchors the bar but also acts as a node from which deep track-lighting grooves radiate like a sunburst—a dynamic feature that, the designer observes, “creates the same dramatic effect you get on the outside of the building on the inside, while putting a focus on the glasses and the bar, attracting people to it.” An open kitchen—similar to the bar in form, materials, and space-orchestrating function—dominates the second dining area. Walnut fluting encases the steel structural columns, introducing a note that harmonizes classical refinement with rustic warmth. The same wood, which Genova describes as “soft to the touch, velvety,” is used throughout for millwork and furniture. The plaster-finished walls share an equivalent silky tactility and are rendered in the palest green, a delicate hue echoed in the napkins and other details. By contrast, the custom bronze-and-alabaster sconces punctuating the rooms are anything but reticent. Resembling tiny flying saucers, the captivating fixtures could almost be the offspring of the mother ship that shelters them. PROJECT TEAM CSILLA KRACKER; ROBERT GYÖRGY BENKE; FRUZSINA DAMÁSDI; RÓBERT GULYÁS; ÁGOTA MELINDA KERESZTESI-ANGI; ANDRÁS KÉKI; BALÁZS MÓSER; GYÖRGYI PÜSPÖKI; TAMÁS TOLVAJ; KATA ZIH: BORD ARCHITECTURAL STUDIO. ADAM D. TIHANY; MARCO BARONE: TIHANY DESIGN. CRISTINA MENOTTI: GRAPHICS/BRANDING CONSULTANT. JVL STUDIO: LIGHTING CONSULTANT. HYDRASTAT: STRUCTURAL ENGINEER. BORD HVAC ENGINEERING: MEP. ARTDOT: MILLWORK. PRODUCT SOURCES FROM FRONT ERTL BÚTOR: CUSTOM DESK (RECEPTION). ARTISAN: STOOLS (RESTAURANT, BAR), CHAIRS (RESTAURANT). PORADA: CUSTOM TABLES (RESTAURANT). VERY WOOD: HIGH TABLE (RESTAURANT), CHAIRS (TASTING ROOM). UNOPIÙ: CHAIRS, TABLES (TERRACES). VERASCHIN: CIRCULAR SOFAS. CASAMANCE: SEATING UPHOLSTERY. TUCCI: UMBRELLAS. ATELIER VIERKANT: PLANTERS. APPARATUS: SCONCES (TASTING ROOM). THROUGHOUT FOGLIZZO 1921; MOORE & GILES: LEATHER UPHOLSTERY. GC: PAINT.

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Top, from left: The sunken garden provides daylight to reception and adjacent subterra nean spaces. Viewed from reception across the garden, the wine-tasting room is out fitted with This Weber’s stackable Camden chairs and Gabriel Hendifar’s Lariat sconces. Bottom: Dining terraces front both saucers, which appear to float above the landscape when their undersides are illuminated and the fermentation areas glow lanternlike after dark.

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forward motion

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Wellness-seekers at health-centric facilities ranging from a Canadian animal hospital to a Chinese sports center can step into the future with optimism text: georgina mcwhirter

See page 154 for BBA Bnei Brak Active Sports & Leisure Center in Israel by Studio Shira Lavi BD. Photography: Shai Gil.

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Studio Shira Lavi BD project BBA Bnei Brak Active Sports & Leisure Center, Israel. standout Just three main materials—concrete, oak, and Dekton solid surfacing—comprise the palette of a 43,000-square-foot public swim center featuring an Olympic-size pool and a smaller one for lessons. The effect is spare, almost monastic, yet also sybaritic. In reception, wooden stools of various sizes recall the stone seats found in ancient baths, and a steel-framed clerestory and angled slot windows, all fitted with frosted glass, flood the natatorium with light while ensuring users’ privacy. photography Shai Gil.

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“There’s a delicate balance between minimalism and warmth, a richness of elements while maintaining a modest aesthetic”

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“The hospital reflects my and the client’s deep love for animals and sets a new standard for veterinary facilities: blending homelike warmth with state-of-the-art medical services”

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Kelly Wearstler project King Animal Hospital, King City, Canada. standout The Los Angeles–based design star’s foray into the healthcare sector brings her signature heady, multilayered luxury—most often applied to hospitality and residential projects—to an unusual site: a 60,000-square-foot hospital for small animals and equines. Waiting rooms are a symphony of European oak paneling, Venetian plaster walls, brass light fixtures, and custom terrazzo flooring, while the hydrotherapy pool is tiled in the prettiest of pinks, bringing warmth to critical care. photography Nick Hudson.

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“The studio aims to broadcast the values of the business: that movement should be fun, and that Pilates is for all genders and ages”

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Thoughtbarn project Moogie Pilates, Austin, Texas. standout A 1960’s post office was transformed into a hub for a quartet of local businesses, including a Pilates studio that broadcasts its emphasis on fun and inclusivity through a spin on ’80’s nostalgia. Lengths of off-the-shelf crown molding—installed vertically and painted red-orange—clad the meandering, curve-cornered wall that separates the reformer studio from the back-of-house zone housing a cobalt-tiled restroom, storage, staff room and private massage rooms, and the blush-plastered reception area. photography Andrea Calo. JAN/FEB.25

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UAD project Hexi Sports Field at Shaoxing University, China. standout On the urban campus, a monumental concrete structure skillfully stacks functions: A 400-meter running track and a soccer pitch commandeer the rooftop, while the partially enclosed area below, sheltered by the brutalist embrace of coffered vaults, houses climbing walls, martial arts spaces, and courts for basketball, tennis, badminton, and volleyball. On either end of the sprawling edifice, ramps and stairs with white-painted perforated-aluminum balustrades connect the levels. photography Zhao Qiang

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“From the start, we were committed to exploring an inspirational, open-ended space that truly interacts and shares with the campus and the city”

“Juggling a sense of institutional permanence with flexibility was key, since all areas, not only classrooms, are used as teaching sites according to EMS pedagogy”

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Merge Architects project EMS Training Facility, Boston. standout A warehouse converted into a 20,000-square-foot training center for Massachusetts paramedics and other emergency-services personnel takes its bold graphic identity from a source familiar to students: the safety-orange striping and blue lettering of Boston’s EMS ambulance fleet. Divisible classrooms, a gym, and a cafeteria line the perimeter, while the 250-foot-long double-loaded central corridor, cleverly illuminated by solar tubes that shine through the metal-mesh ceiling, is peppered with semiprivate huddle nooks boasting built-in “window” seats. photography Jane Messinger. JAN/FEB.25

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Balcon Studio project Estee Clinic, Moscow. standout Aesthetic medicine (think restrained “tweakments”) is practiced in this chic 3,300-square-foot clinic where earthy colors such as muted green— the brand hue—and elemental materials like dynamically striated marble emphasize the values associated with natural beauty. A seamless application of microcement on both the floors and walls creates a unified, smooth-as-skin canvas, the ideal foundation for curvaceous all-custom furniture. photography Nick Rudenko.

“Crafting a cohesive interior that spoke through varied materials, textures, and colors proved an intriguing and fulfilling challenge”

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Balcon Studio (“Forward Motion,” page 152), balconstudio.com. Merge Architects (“Forward Motion,” page 152), mergearchitects.com. Studio Shira Lavi BD (“Forward Motion,” page 152), shiralavi.com. Thoughtbarn (“Forward Motion,” page 152), thoughtbarn.com. UAD (“Forward Motion,” page 152), uad.com.cn. Kelly Wearstler (“Forward Motion,” page 152), kellywearstler.com.

PHOTOGRAPHERS IN FEATURES Marc Goodwin (“See and Be Seen,” page 144), archmospheres.com. Philip Kottlorz (“Mind Games,” page 136), philipkottlorz.com. Eric Laignel Photography (“Looking Forward and Back,” page 128), ericlaignel.com.

DESIGNER IN CREATIVE VOICES Patrick Jouin iD (“Back to Basics,” page 43), patrickjouin.com.

DESIGNER IN WALKTHROUGH University of Stuttgart Cluster of Excellence Integrative Computational Design and Construction for Architecture (“A Joint Effort,” page 49), intcdc.uni-stuttgart.de.

PHOTOGRAPHER IN WALKTHROUGH Roland Halbe (“A Joint Effort,” page 49), rolandhalbe.eu.

DESIGNER IN CENTERFOLD

Interior Design (ISSN 0020-5508), Jan/Feb 2025, Vol. 96, No. 1, is published monthly with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices. POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2025 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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ROLAND HALBE

Melekzeynepstudio (“Portal of Perception,” page 97), melekzeynep.com.

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editors' picks

Opener: Space Relics illuminated hanging sculpture made of stoneware, glaze, white gold luster, borosilicate glass, mason stains, and jewelry hardware by Jeremy Anderson through Gallery Fumi. galleryfumi.com 1. Voyeur hand-knotted, cut-pile wool-silk rug in Rose/Burgundy by Erik Lindstrom. eriklindstrom.com

2. Ryan Lawson’s Mutsu, Porto, Persimmon, Neggin Saffron, and Rose Water paints, by Ressource, on custom Thomas Engelhart sculptures. ressourcepaints.us 3

3. Puddle nested coffee tables with laser-cut sheet-aluminum tops on aluminum legs by Klein Agency. klein.agency 4. Sasha Bikoff’s The Dino glass-top dining table in maple and red oak by Abner Henry. abnerhenry.com

5. Tube bench and side tables with pine tops on tubular-aluminum legs powder-coated vanilla or lavender blue by Studio Thier & van Daalen. thiervandaalen.com 6. Kateryna Sokolova’s Archipen leather-upholstered chair with stained-ash legs by Noom. noom-home.com 7. Kiki van Eijk’s Sprout 02 floor lamp of hand-glazed Raku clay and handblown glass by Studio Kiki & Joost. kikiandjoost.com 8. Sofia Venetucci’s Tronco M coffee table of recycled polymer rope by Estúdio Venetucci. sofiavenetucci.com 9. Steph Betesh’s Trio swivel chair in COM upholstery by Ember Studio through Colony. goodcolony.com

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i n t er vention

toward heaven

ONDŘEJ BOUŠKA

Amid the rolling fields of southern Moravia in the Czech Republic stands a circular medieval-looking structure. It’s Our Lady of Sorrows Chapel, but it was actually completed just last year by RCNKSK, a Prague architecture studio that prioritizes the use of sustainable materials and strong connection to heritage. Cofounders Filip Kosek and Jan Říčný, along with help early on from Říčný's father, Atelier Tišnovka cofounder Michal Říčný, built the church over a decade through a combination of techniques ancient and modern, its concept reflecting the story of the Virgin Mary. The exterior is a mix of traditional larch and ash, while its 90-foot apex is a futuristic steel spire. The contrast continues for the 1,600-square-foot interior, characterized by rammed earth and locally quarried gneiss at ground level, with sunlight radiating through CNC-cut apertures above, around a series of ascending timber beams that symbolize the Seven Sorrows of Mary. “The suffering she endured is woven into the very fabric of the space,” Říčný says. “It’s an expression of craftsmanship and the Nesvačilka community’s faith.” Representing the strength of that faith and the unyielding quality of humanity are the 16-foot-high entry doors in patinated copper and blackened oak, the steel and ash pews, the tabernacle formed from a historic piece of sandstone, and the building’s stone plinth—all materials that should stand the test of time, even age beautifully from it. The same can be said of the apple trees flanking the stone pathway, which echo the nearby orchards. —Wilson Barlow

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Ancillary

Work from Anywhere with Openest