Interior Design December January 2020 by Interior Design Magazine

DEC/JAN 2020

best of year

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10 011.8 CONTENTS DECEMBER/JANUARY 2020

Ippolito Fleitz Group transformed a former 1980’s depart ment store in Shanghai into the five-story SOHO 3Q, the Interior Design Best of Year Award winner in the coworking space category. Photography: Sui Sicong.

VOLUME 90 NUMBER 18

best of year 24 ART INSTALLATION

74 CASUAL DINING

26 ARCHITECTURAL I NSTALLATION

76 HOTEL DINING

28 EXHIBITION

78 RESORT 80 CHAIN HOTEL

30 TRADE SHOW BOOTH

82 BOUTIQUE HOTEL

32 BEAUTY/SPA

84 HOSPITALITY TRANSFORMATION

34 BUDGET 36 HIGHER EDUCATION

86 LARGE TECH OFFICE 88 SMALL TECH OFFICE

38 EARLY EDUCATION

90 CREATIVE OFFICE

40 KIDS’ ZONE

92 LARGE CORPORATE OFFICE

42 ENVIRONMENTAL I MPACT 44 SOCIAL IMPACT

94 MIDSIZE CORPORATE OFFICE

46 CIVIC

96 SMALL CORPORATE OFFICE

48 LIBRARY

110 COWORKING SPACE

50 LARGE MUSEUM/ GALLERY

112 FIRM’S OWN OFFICE

52 SMALL MUSEUM/ GALLERY

114 OFFICE RENOVATION

54 ENTERTAINMENT 56 TRANSPORTATION 58 OUTDOOR 60 HEALTHCARE 62 LARGE HEALTH/ WELLNESS 64 SMALL HEALTH/ WELLNESS JONATHAN LEIJONHUFVUD

66 BAR/LOUNGE

116 OFFICE AMENITY 118 COMMERCIAL LOBBY 120 FACADE 122 RESIDENTIAL AMENITY 124 MULTIUNIT HOUSING 126 LARGE APARTMENT 128 SMALL APARTMENT 130 CITY HOUSE 132 BEACH HOUSE

68 COFFEE/TEA 70 COUNTER SERVICE 72 FINE DINING 54

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CONTENTS DECEMBER/JANUARY 2020

best of year 134 L ARGE COUNTRY HOUSE 138 LARGE COUNTRY HOUSE 2 140 SMALL COUNTRY HOUSE 142 RESIDENTIAL RENOVATION 144 RESIDENTIAL RESTORATION 146 K ITCHEN/BATH 148 SALES CENTER 150 MANUFACTURER HQ 152 SHOWROOM

VOLUME 90 NUMBER 18

hall of fame supplement S8 HALL OF FAME MEMBERS S12 2019 PLANNING COMMITTEE S18 INDIA MAHDAVI by Charlotte Abrahams S26 RICK JOY by Raul Barraneche S34 M ARC TSURUMAKI, DAVID LEWIS, AND PAUL LEWIS by Marc Kristal S42 PAULA WALLACE by Judith Gura

154 DEPARTMENT STORE/MALL 156 FASHION RETAIL 158 MIXED RETAIL 160 ACCESSORIES RETAIL 162 BOOKSTORE 164 ENVIRONMENTAL BRANDING/GRAPHICS 165 COLLATERAL BRANDING/GRAPHICS 166 ON THE BOARDS: RESIDENTIAL 167 ON THE BOARDS: COMMERCIAL 168 INNOVATION 173 PRODUCTS

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ALL IN THE MIX

b e st ofyear

Where passion, talent, and excellence align

DEC/JAN.20

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INTERIORâ&#x20AC;&#x2020;DESIGN

12/18/19 5:32 PM

art installation 24

INTERIOR DESIGN

DEC/JAN.20

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PETER AARON/OTTO

be stofyear

PETER AARON/OTTO

“Buren’s acrylic gel filters adhere to skylights, casting changing patterns throughout the day”

French conceptual artist Daniel Buren has put his signature stripes in subway stations, public plazas, and museums. His site-specific works use simple patterns and saturated colors to transform the experience of a space, like when he layered bright filters on the Fondation Louis Vuitton in 2016. “He is a master of using light and sympathetic to the surrounding architecture,” partner Rick Bilski observes. After seeing an exhibition of Buren’s work, Bilski and art consultant Lisa Austin commissioned him for the law firm’s office. Bilski, founding partner and Interior Design Hall of Fame member Debra Lehman Smith, and team, who had envisioned an art installation from the start of the 97,000-square-foot project, gave Buren a worthy canvas: a two-story lobby with skylights,

lsm Filters on Glasses and To Align: 3 Pillars, Cleary Gottlieb, Washington

mirrors, and Lasa marble flooring. He consulted photographs and plans to create the work from Paris, making freehand sketches and determining the precise layout. Overhead, blue, orange, yellow, and red acrylic gel filters adhere to the windows, casting changing patterns through out the day. Below, three columns get vinyl stripes on one side. “It makes the space feel fresh and dynamic,” Bilski adds. The 2,500-square-foot reception is the heart of the office and promotes an open, collaborative work environment. —Rebecca Dalzell

PETER AARON/OTTO

PROJECT TEAM: JAMES MCLEISH; TERESE WILSON; DONALD MORPHY; EVIE SOILEAU.

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 4:36 PM

be stofyear architectural installation

TIMOTHY SCHENCK

“The artificial turf was derived from sugarcane and soybeans”

INTERIOR DESIGN

DEC/JAN.20

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lab at rockwell group

TIMOTHY SCHENCK

Lawn, Washington

Enjoying a repast on the grass is a quintessential summertime activity. Even when it happens inside. As the latest big-name firm to produce the National Building Museum’s annual Summer Block Party, the team forming the experience design studio at Rockwell Group, led by Interior Design Hall of Fame member David Rockwell, conceived a verdant grade to engulf the institution’s 29,000-square-foot Great Hall. The simulation was doubly green, as artificial turf derived from sugarcane and soybeans covered the sloping metal superstructure. In the ticketing area, a pixelated cloudscape of seasonally correct imagery morphed into a mural of the sky, the digital effect mirrored by custom-dyed carpet tile. Across the grounds, picnic blankets and Adirondack chairs encouraged spontaneous lounging. Most conspicuous of these gathering spots: A series of hammocks, suspended 100 feet from the ceiling grid, contained hidden speakers programmed with prerecorded audio of storytellers sharing warm-weather memories. Further auditory engagement was provided in the form of a chirping-cricket and whirring-lawnmower soundscape. The immersive experience included lemonade and popsicle stands. Guests could even scale scaffolding to the observation deck for never-before-seen views of the hall’s architectural detailing. —Mark McMenamin PROJECT TEAM: MELISSA HOFFMAN; DAN MARINO; WAYNE FUNG; DAVID TRACY; KYLE GREENBERG; DONNA PALLOTTA; LAURA RANKIN; HAROLD GAINER; ECEM CASTRO; MICHELLE SUGENG; TIFFANY WU.

DEC/JAN.20

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INTERIOR DESIGN

12/16/19 2:17 PM

be stofyear exhibition

karv one design

PROJECT TEAM: JIMMY HE; DEREK NG; DERRICK LEUNG; KORVER TSANG; LEON ZHANG; EDWIN NG; CAROL CHAN; SUSHILA LAW; YANG YANG.

INTERIOR DESIGN

DEC/JAN.20

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DICK L./KARV ONE DESIGN

This is no orbiting mothership. Instead it’s a slick marketing exhibition made to sell commercial space in the Longfor Hyperiôn Project, part of a 5-million-square-foot real-estate development centered around the city’s new high-speed rail node. Futurism is the point of departure in the variety of tech-driven interiors that borrow visuals from science fiction. The 14,000square-foot location, inside a mixed-use high-rise, offered a relatively low 11-foot finished ceiling. So some surfaces have been dematerialized with reflectivity to add depth and luster: shimmery copper ceiling panels and mirror-finished black stainless-steel walls. The polished black marble floor of a darkened passageway only enhances the sense of wandering through an LED-lit Tron sequel. That passage terminates in a floor-to-ceiling animated wire-frame “wheel” projection that, when you watch it turn for a few ticks, is revealed to be an abstracted clock. “There isn’t much furniture because the exhibition is about mood and lighting,” chief designer Kyle Chan says. What pieces are present, from lounge vignettes to café settings, are tailored and sybaritic, nodding to art moderne style. —Craig Kellogg

DICK L./KARV ONE DESIGN

Hyperiôn Longfor TOD, Chongqing, China

DICK L./KARV ONE DESIGN

“The interiors borrow visuals from science fiction”

DEC/JAN.20

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INTERIOR DESIGN

12/16/19 2:18 PM

jisushe Guangzhou Design Week Exhibition Hall, China Recently, C&C Design Co. founder Peng Zheng tapped designers from five of the city’s top firms to join him in devising a welcome pavilion for Guangzhou Design Week. The collective, called Jisushe and composed of people from Pone Architecture, Daosheng Design Co., RMA, Leaping Creative, and V2gether, crafted an installation of thousands of wheat chaffs that snagged a 2018 Interior Design Best of Year Award in this very category. So it’s no huge surprise that Jisushe returned to the fair a year later to defend its title. Although the collective has won again, its creation is entirely different—more supernatural than natural. The 3,100-square-foot volume made a statement in cobalt blue and shimmering silver, the latter coming from unexpected yet familiar materials: foam covered in tinfoil. Jisushe formed it into a mountain landscape with a jagged fissure carved out of it. Visitors were encouraged to follow the path beneath the crack, an experience akin to walking through a canyon.

—Colleen Curry

PROJECT TEAM: GOLDEN HO; MING LEUNG; TONY HO; ALAN CHAN;

TAN ZHAOLIANG

The installation was a commentary on evolution, particularly the effects of industrial mass production and digital technology, and life overall. The crack, or change, can, Peng says, help us “connect to another space—and the world.”

ALICE DENG; HORACE RAY WONG; ZEN ZHENG.

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INTERIOR DESIGN

DEC/JAN.20

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TAN ZHAOLIANG

“Following the path beneath the crack is an experience akin to walking through a canyon” DEC/JAN.20 INTERIOR DESIGN

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ilaria miani Monteverdi Tuscany, Castiglioncello del Trinoro, Italy An entire medieval hilltop village is now a hospitality complex offering a culinary academy in a former schoolhouse, suites outfitted in furniture custom-made on-site, and a jet pool inspired by ancient Roman baths. In fact, the simplicity of the entire spa resembles a centuries-old thermae. Cement stairs hug rugged rock outcroppings leading to a black granite plunge pool framed in iron and glass. Sunlight dapples the gray plaster walls of a heated underground pool, and bare travertine marble wraps the hammam room. Designer Ilaria Miani had the pools carved into a cliff, excavating 26 feet to create grottolike spaces for classical hydrotherapy rituals. “Roman thermal constructions demonstrate a great sense of space and attention to natural light,” says Miani, who looked to baths in Pompeii and Istanbul for inspiration. “They immerse you in the surrounding landscape.” More than 30 local artisans worked to bring the village’s pastoral aesthetic to the creation of the 2,000-square-foot spa, a process that involved adding three floors beneath former stables. Though burrowed in the earth, oversize windows afford restorative views of the clay hills and beech forests of Tuscany’s Val d’Orcia. —Rebecca Dalzell

be stofyear

BERNARD TOUILLON

beauty/spa

INTERIOR DESIGN

DEC/JAN.20

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PROFESSIONAL CURATION, CUSTOM COMMISSIONS, WHITE-GLOVE INSTALLATION

Meredith Pardue, B.F.A. painting, Fragments (Coral) XXXI, mixed media on canvas, 60" x 48"

martin lejarraga architecture office Loop Inn, Cartagena, Spain

Blend in but also disrupt. Cater to tourists yet also serve locals. Those were the primary directives given to this firm for the six-level, 47-room hostel in the southeastern coastal town that’s both ancient and modern. Beginning with the building’s exterior, Martin Lejarraga was careful to respect his hometown’s neutral, timeworn palette by incorporating traditional materials. He collaborated with local painter Ángel Charris to create four applied-plaster patterns— subtle stylizations of the sea, sun, wind, and city walls—that run in story-height bands around the 18,300-square-foot structure. Paired with ceramic latticework screens that evoke Moorish Spain, the plasterwork swaths pay homage to classic Iberian decorative traditions while modernizing their aesthetics and application. Visitors are greeted in the lobby by an orange slide that leads to the game room. “It’s one of the public-space connectors,” Lejarraga says. Flooring in reception is ceramic tile but the ceiling and walls are covered in toile de Jouy fabric. It’s bold to introduce a pastoral note, yet the 18thcentury classic looks right at home in the 21st-century setting. And it was all done for $52 per square foot. —Alexandra Cheney PROJECT TEAM: JOSÉ BOTÍ; BLANCA GUTIÉRREZ;

INTERIOR DESIGN

DEC/JAN.20

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DAVID FRUTOS

JOSÉ MARÍA MATEO; ÓSCAR ROMERO.

be stofyear budget

DAVID FRUTOS

“Ceramic latticework screens evoke Moorish Spain”

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 3:15 PM

be stofyear

INTERIORâ&#x20AC;&#x2020;DESIGN

DEC/JAN.20

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12/18/19 1:31 PM

MICHAEL GRIMM

higher education

snøhetta and stantec Charles Library, Philadelphia The research facility isn’t always the most exciting place on campus. But this new Temple University library, a joint venture between the two firms, is much more than just a book repository. Rather, it’s a human-centric space that embraces its role as a dynamic learning commons within 220,000 square feet and four floors. That’s partially thanks to its automated book-retrieval system for the 1.5 million on-site volumes, which drastically reduces the space required for stacks. Instead, there’s an unexpected airiness, as evidenced by the cedar-clad atrium topped by a triple-height dome with an oculus. “We were inspired by the historic academies of Greek antiquity, where social spaces for exchanging ideas were primary and storage of written content took a secondary role,” Stantec’s Tony Clifford says. Also largely absent are traditional fixed workstations. Laptops and charging banks are scattered throughout, and more than 40 meeting rooms and study spaces are available for reservation. One of two expansive reading rooms on the top floor looks out onto the roof garden, among the largest in Pennsylvania. Adds Snohetta’s Craig Dykers: “It was key that the building expressed its position as the intellectual and social heart of the campus.” —Wilson Barlow SNØHETTA: MICHELLE DELK; ALAN GORDON; NATHAN MC CRAE; CHAD CARPENTER; NICK KOSTER; BEHRANG BEHIN; JEFF CHEUNG; IAN COLBURN; JACKIE MARTINEZ; KURT MARSH; KARLI MOLTER; MISAKO MURATA; ANNE-RACHEL SCHIFFMANN. STANTEC: JESSICA FISHER; ANTON GERMISHUIZEN; KRISTY HOLLIS; BRENNAN

MICHAEL GRIMM

ONUSHCO; KRISTIN SHIFFERT; SCOTT SULLIVAN; MICHAEL THOMPSON.

“It’s a human-centric space—much more than just a book repository” DEC/JAN.20

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INTERIOR DESIGN

12/18/19 1:31 PM

The Montessori method, a 100-year-old approach to education based on scientific observations of children, is on full display at this 53,000-squarefoot kindergarten, serving kids ages 2 through 6. L&M devised an airy building that prioritizes the little students’ freedom and well-being and the idea of learning through discovery. Sunshine permeates the interior through a threestory atrium carved into the existing structure and crowned with a generous skylight. Down below, the designers created a forest of sorts: Beige columns and beams resemble trees and bridges, patches of grassy green turf spot the floor, and winding staircases lead to “tree houses,” aka quiet refuges for reading and drawing. Child safety was among the foremost concerns, so ultra-white safety glass lines each level, and corners and edges are gently curved. When the kids aren’t busy learning, there’s plenty of designated play space. The third-floor indoor/outdoor activity areas are connected by a plastic track, and a swirling metal slide is a fun alternative to the stairs. —Colleen Curry PROJECT TEAM: GUO LAN; LIU JINRUI; FENG QIONG; ZHU SIJUN; LAI WUYI; GUO WEI; FENG FEI; MING XIANGYI; YANG HUANGWEI; ZHANG SU; ZHANG HAOSHENG; ZHANG ENDONG; XIE SHUNBING; LIN ZEHUI; YANG XULUN; LIU CHENGLIANG.

l&m design lab

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INTERIOR DESIGN

HU YIJIE

XinMeng Montessori Kindergarten, Xiamen Island, China

DEC/JAN.20

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12/18/19 2:08 PM

Contemporary. Elegant. Acoustic Lighting.

â&#x20AC;&#x201D; BuzziDome by BuzziSpace Studio

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be stofyear kids’ zone

wutopia lab

PROJECT TEAM: SHENGRUI PU; MINGSHUAI LI; SONG LIU; XUEQIN JIANG.

INTERIOR DESIGN

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DEC/JAN.20

12/18/19 2:33 PM

CREATAR IMAGES

When the 9-year-old daughter of firm founders Yu Ting and Min Erni drew a picture of a magical land one morning, it spurred the architect couple to action. We want to make that a reality, they decided. The opportunity to do so came from two clients: PACEE Education, which provides STEAM programs to Chinese youth, and Fairyland, a restaurant group. The companies joined forces to open China’s first educational family restaurant, a 6,200-square-foot kid-centric food and amusement venue in the north eastern port city. Beckoning from behind the paintedaluminum facade perforated in a dotty pattern is a circular reception that leads to the main zone, Cloudy Town: an expansive room with dining booths, a carousel, slide, and ball pit—and named for the fluffy white-acrylic “clouds” on the floor and ceiling. “It’s a world somewhere between dream and reality,” Yu explains. The fanciful elements are clear; reality, meanwhile, is introduced by a plywood hut with a replica produce stand and faux kitchenette where kids can act grown-up. —Georgina McWhirter

CREATAR IMAGES

Lolly-Laputan Kids Café, Dalian, China

CREATAR IMAGES

“It’s a world somewhere between dream and reality”

DEC/JAN.20

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INTERIOR DESIGN

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“It’s a modern-day sailing ship, built on land”

gg-loop Freebooter, Amsterdam

be stofyear environmental impact

In the 17th century, Dutch privateers called freebooters roamed the seven seas. It’s that maritime tradition that principal and firm founder Giacomo Garziano and his team drew on for inspiration for their first designed and developed residential project, the aptly named Freebooter. Located on Zeeburgereiland, the city’s triangular island, the four-story structure consists of a pair of 1,300-square-foot apartments, each with two bedrooms. The structure, like the hull of a ship, is built with timber and steel, as well as glass, and was largely prefabricated off-site, allowing for a build time of only three weeks. Garziano’s other guiding principle was biophilic design. “I see it as the key to truly great architecture,” he says. “We’re part of nature in a deep and fundamental way.” GG-loop conducted a year-round study of light conditions on the site to determine the optimal shape and position of the timber louvers to maximize both sunlight distribution and privacy. It’s ecologically focused in other ways, too. The building offsets more than 80 tons of carbon dioxide, equivalent to more than 400,000 miles of exhaust from a midrange car. —Wilson Barlow PROJECT TEAM: JOHAN BEIJERS; ROBBIE NIJZEN; SIMONE PELUSO; DANIELE COLOMBATI; JAN-WILLEM TERLOUW; PIERGIORGIO ANGIUS; LUIS CASCALES;

FRANCISCO NOGUEIRA

KRZYSZTOF ZINGER.

INTERIOR DESIGN

DEC/JAN.20

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12/16/19 5:42 PM

Motive Outdoor Light as Expression Light space, light architecture, light expressively. Motive luminaires celebrate the beauty of light and its interaction with objects, architecture, and space, blurring the line between indoor and outdoor lighting to create out-of-theordinary settings. Designed by Justin Champaign. Find us at landscapeforms.com or contact us toll free at 800.430.6205.

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:44 PM

WU QINGSHAN

FROM TOP: WU QINGSHAN; COURTESY OF OPEN ARCHITECTURE

“We wanted to make a new type of art institution that’s as open, generous, and accessible as the great urban parks”

be stofyear social impact

open architecture

WU QINGSHAN

FROM TOP: WU QINGSHAN; COURTESY OF OPEN ARCHITECTURE

Tank Shanghai Move over, power stations: Repurposed aviation fuel tanks are the latest place to exhibit contemporary art. In fact, a group of them is the sleek centerpiece of a 12-acre cultural hub and park, part of a massive redevelopment of the former Longhua Airport, which operated from 1922 to 1966 and was once a restricted Chinese military zone. Partners Li Hu and Huang Wenjing saw potential in the five rusted steel cylinders situated along the Huangpu River in the West Bund. “Each had a small, rounded opening in the center of its dome and a Pantheon-like spatial quality,” Li says. “Sounds reverberated for a long time.” The architects connected three of the tanks with underground ramps and gave all of them terrazzo flooring and painted plasterboard ceilings. The 72- to 92-foot-wide structures now offer a pristine 117,000 square feet that house galleries, a restaurant and bar, and installations; one tank is framed in a steel rectangle, creating an open-air stage. Outside, undulating lawns weave between the tanks and steam mists over a granite plaza. “We wanted to make a new type of art institution that’s as open, generous, and accessible as the great urban parks,” Huang adds. Like the best public spaces, it’s welcoming and engaging, making something old new again. —Rebecca Dalzell PROJECT TEAM: YE QING; LUO REN; VICTOR QUIROS; ZHOU TINGTING; CHEN XIUYUAN; LI ZHENTAO; ZHAO YAO; LU DI; JIA HAN; ZHANG YIWEN; STEVEN SHI; ZHOU XIAOCHEN; HUANG ZHONGHAN; LAURENCE CHAN; CYNTHIA YUROU CUI; YANG QI; GE CAN; GAO QI; STEPHANIE LEE; JIN BOAN; ZHANG HAO; WANG MANGYUAN; YAN DIHUA; ZHANG CHANG; TOMAS KOWALSKY; JIANG SIMIN.

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12/16/19 9:15 PM

nbbj Denny Substation, Seattle When Seattle City Light, the city’s publicly owned electric power utility, challenged the firm to configure a substation within a densely populated urban center, partner Jose Sama, senior associate Katie Davis, and their team hit upon the idea of enhancing the community’s awareness of energy through a vibrant municipal space. The translucent glass and stainless-steel panel enclosure slopes inward, encouraging visitors to engage with the facility from the outside in. Elevated 16 feet above street level, the 110,000-square-foot facility is crowned with multiple terraced walkways, creating an ADA-accessible quarter-mile loop that draws in pedestrians. Natural light floods the interior meeting rooms, public art gallery, and other gathering spots, which are accompanied by integrated educational graphics. Since the client is considered the nation’s greenest utility, sustainability was implicit from the start. Projected to be net positive, the building generates 105 percent of its own energy needs with a range of eco innovations, including an HVAC system that harnesses excess heat from the substation to warm and natural ventilation to cool. —Mark McMenamin PROJECT TEAM: BLAKE FISHER; CARL TULLY; RYAN FAGRE; SCOTT ROAF; KERRY HEGEDUS; PETE LORIMER; ERIC LEVINE; JOSEPH MONTANGE.

be stofyear

CLOCKWISE FROM TOP RIGHT: BENJAMIN BENSCHNEIDER; SEAN AIRHART (2)

civic

INTERIOR DESIGN

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DEC/JAN.20

12/17/19 1:59 PM

Timely and on time. THIS IS NOT A TEST.

Introducing Etc.™, curated styles from the friendly folks at National. That’s right—it’s the union of fashionable designs and spectacular service. Name a more iconic duo. See the launch collection for yourself at LifeWorkEtc.com

“A steel grid system adds maximum flexibility, there to serve whatever needs arise”

department of architecture co. Architecture Library, Bangkok Once solely book repositories, libraries are being reinvented as multifunctional spaces as information increasingly moves online. A 12,640-square-foot example at Chulalongkorn University is a case in point. Co-principal Twitee Vajrabhaya Teparkum calls the three-level space “a creative incubator.” A steel grid system adds maximum flexibility, there to serve whatever needs arise. On the lowest floor of the library—devoted to coworking, collaborating, and display—the grid incorporates magnetic pin boards and a digital screen, allowing the school’s architecture students to create exhibitions or hang up work on an impromptu basis. On the next floor up, the grid displays reading material. The top floor has a mezzanine reading area tucked under a ceiling decorated with a map of Bangkok made of layers of painted and printed acoustic panels. Elsewhere, a maze of carrels arranged in a labyrinth—designed to minimize disturbance from those passing back and forth— has dividers of translucent laminated glass lit from below. A mirror image of the maze hangs from the ceiling, helping students find their way. —Jane Margolies PROJECT TEAM: AMATA LUPHAIBOON; CHAIYAPAT MIRASENA;

library

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 1:33 PM

WISON TUNGTHUNYA/W WORKSPACE

be stofyear

WISON TUNGTHUNYA/W WORKSPACE

BOONVADEE LAOTICHAROEN; PATTAMAPA KOMONNIRAMIT.

WISON TUNGTHUNYA/W WORKSPACE

DEC/JAN.20

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INTERIORâ&#x20AC;&#x2020;DESIGN

12/17/19 11:31 AM

be stofyear large museum/gallery

open architecture

PROJECT TEAM: ZHOU TINGTING; WANG MENGMENG; HU BOJI; FANG KUANYIN; JOSHUA PARKER; LU DI; YE QING; STEVEN SHI; JIA HAN.

INTERIOR DESIGN

DEC/JAN.20

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12/17/19 11:44 AM

WU QINGSHAN

Can a concrete structure in the sand protect its fragile coastal environment? Partners Li Hu and Huang Wenjing say yes. Elsewhere in this popular resort area, developers have leveled dunes to construct high-rises. But this 10,000-square-foot museum, an offshoot of the Ullens Center for Contemporary Art in Beijing, practically disappears into the drift— and will ultimately save the dune. Under native acacia and beach grass, a collection of cavelike galleries opens out to the Bohai Sea. Cast-in-place reinforced concrete walls sweep up to skylights, placed to avoid direct sun on artworks, and wrap around a spiral staircase leading to a lookout. Li and Huang enlisted local boatbuilders to shape the plywood boards, steel rebar, and rubber tubes that gird the structure. “The formwork was too complex for a normal contractor,” Li explains. Their handiwork is left visible in the lines and uneven texture of the exposed concrete. “The space inspires artists to create work that has a direct dialogue with nature,” Huang adds. Sustainability was integral to the design, too. Abundant natural light and ground-source heat pumps reduce emissions, while a thick sand-covered roof moderates temperatures. The dune will stabilize as root systems above grow back in. —Rebecca Dalzell

WU QINGSHAN

UCCA Dune Art Museum, Qinhuangdao, China

WU QINGSHAN

“We were inspired by ancient human settlements, by timeless forms of space”

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 11:44 AM

be stofyear

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12/18/19 3:20 PM

COURTESY OF ROTH-ARCHITECTURE

small museum/gallery

Sfer Ik Museion Uh May, Tulum, Mexico

COURTESY OF ROTH-ARCHITECTURE

roth-architecture

This coastal town is renowned for its Mayan ruins and Caribbean beaches. But it holds another draw for intrepid tourists willing to venture 14 miles deep into the jungle. It’s there that this gallery, or “interdisciplinary creative sphere,” as the institution calls itself, resides—and it’s like nothing we’ve ever seen. The partially openair, undulating structure is built from concrete and local wood and

incorporates live trees. “Preserving all the site’s trees gave us the opportunity to build around nature, respecting and learning from it,” says Roth’s Eduardo Neira, who is also the founder of Azulik, a local company that develops initiatives in hospitality, architecture, sustainability, wellness, gastronomy, art, fashion, and innovation. Visitors, who enter through a tunnel formed by bejuco, the endemic climbing plant, explore the exhibition spaces and areas for artisanal workshops barefoot on winding pathways. Comprising an 18,400-square-foot central building, plus three satellite structures for services, the project is part of Azulik Uh May, a 25-acre arts and wellness complex being constructed in phases. Slated next are 42 villas, a restaurant, spa, and an artists’ residence. There will also be a headquarters for the Roth team, an international consortium of Argentines, Brazilians, and Mexicans, including, of course, Mayans. —Edie Cohen PROJECT TEAM: FERNANDO ARTIGAS; JORGE BEREA; OSCAR COUOH; SILVERIO CANO; EMILIO TUZ.

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 3:20 PM

one plus partnership Xi’an Changjiang Insun Imax Cinema, China

entertainment

INTERIOR DESIGN

be stofyear

JONATHAN LEIJONHUFVUD

—Georgina McWhirter

DEC/JAN.20

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12/17/19 2:02 PM

CLOCKWISE FROM TOP LEFT: SETH POWERSJONATHAN (1); RICHARD LEIJONHUFVUD BRYANT (3)

Design directors Ajax Law and Virginia Lung are arguably the world’s premier cinema designers. They’ve masterminded more than 80 of them (and won Interior Design Best of Year Awards for five), with each as bold and idiosyncratic as the next. Although typically modern, their latest, a 45,000-square-foot cinema in the Shaanxi Province’s capital city, was sparked by nostalgia for analog film. As a teenager, Lung worked at a photoprocessing shop and was intrigued by the way film negatives produce their inverse color—or complement on the color wheel—once developed into a positive image. That sparked the redand-green and black-and-white complementary hues animating these interiors. The striking lobby is reminiscent of Georges Rousse’s perspective art: From certain angles, one sees only red or only white. “It was especially difficult to achieve here because there were so many objects to coordinate,” Lung notes. That includes a slide, the playfulness of which continues with candy cane–striped tubes for kids to climb and circular seating resembling a camera lens.

CLOCKWISE FROM TOP LEFT: SETH POWERSJONATHAN (1); RICHARD LEIJONHUFVUD BRYANT (3)

JONATHAN LEIJONHUFVUD

“The concept was sparked by nostalgia for analog film”

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 2:03 PM

exp CTA 95th/Dan Ryan Terminal Station, Chicago Scarlet aluminum bands are the head-turning flourish on this busy transit hub. Aptly signaling the Red Line train below, they wrap its disparate parts into one streamlined whole, visually connecting the renovated 1960’s North Terminal, a new South Terminal, and the pedestrian bridge between them. The entrances jut out like brows over the Dan Ryan Expressway, which runs on either side of the station. “The idea was to create an iconic element and a gateway to the South Side,” says vice president and principal design architect Thomas Hoepf, who led the 66,250-square-foot project, composed of passenger concourses and boarding platforms and CTA field offices. The previous station, a dark concrete hulk, poorly served its 20,000 daily bus and train riders. Hoepf and his team more than doubled its size. They designed airy terminals with aluminum curtain walls, low-emissivity glass windows, and granite and poured-concrete flooring. During the planning process, neighbors expressed hope that the station would also become a community space. Public art by Chicago native Theaster Gates and an active DJ booth suggest the project is on the right track. —Rebecca Dalzell PROJECT TEAM: JEFREY JAKALSKI; MINDY VIAMONTES; JASENKO BADIC; CASEY JOHNSON; ALZIRA MALDONADO PROTSISHIN; SAUL MORENO; MELINA DE OLIVIERA; SARA FETEROLF; STEVE CITKO; JONATHAN PEARSON; ARAM EBBEN.

JAMES STEINKAMP

be stofyear transportation

INTERIOR DESIGN

DEC/JAN.20

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12/16/19 9:19 PM

Emmy Sectional

A DIVISION OF DESIGN WITHIN REACH

1.800.591.6965 DWRCONTRACT.COM

saguez & partners Icade Parcs d’Affaires–Grand Paris, Rungis, France

With this striking project, thousands of French workers may no longer eat lunch at their desks. At least, that’s the hope of firm founder Olivier Saguez. What he calls a “city square” now occupies part of the 150-acre Paris-OrlyRungis Icade Park, a former industrial swath in the city’s southern suburbs that’s been transformed into a business campus accommodating more than 200 companies and some 16,000 employees. Saguez and his team, working with CV2A Architectures, conceived an environment and graphic design articulated around three large squares— a plan encompassing 630,000 square feet and including daily services, places of connection, physicality, and relaxation. “After the office city, the business park becomes a real city within the city,” he notes. Among the recreational options is a 820-foot exercise track surrounding ping-pong tables and pétanque courts, its amber all-weather surfacing embellished with crisp white lines and dots. But athletics aren’t the only activities on offer. A vibrant food kiosk anchors a patio devoted to alfresco dining, spotted with pergolas and picnic tables, and shipping containers patterned in orange and green house pop-up shops. —Colleen Curry SAGUEZ & PARTNERS: VIRGINIE PARISOT; MICHAEL BEZOU; ETIENNE BAUCHET; LAURENT BRUDNER; ISABELLE DUFFIEUX; MARIKA SAARINEN; AMAUD LALY. CV2A ARCHITECTURES: SANDRA DE JESUS;

INTERIOR DESIGN

DEC/JAN.20

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12/17/19 2:45 PM

MIKAEL LAFONTAN

be stofyear outdoor

MIKAEL LAFONTAN

FANNY ROUZIES.

MIKAEL LAFONTAN

“It offers places of connection, physicality, and relaxation” DEC/JAN.20

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INTERIOR DESIGN

12/18/19 4:43 PM

be stofyear healthcare

eyp architecture & engineering

It’s nicknamed the City in a Forest. That’s Atlanta, the metropolis with the most abundant tree coverage per square mile in the U.S. This natural occurrence significantly influenced the design of a new children’s medical center there. “It’s nurture through nature,” EYP principal and national interior design group leader Roseann Pisklak says. With advanced and outpatient medical practices sharing one 265,000-square-foot building, the center required a clear circulation strategy to ensure a successful program. Along circulation corridors, wooden panels rise up walls and wrap onto ceilings, like a tree canopy, guiding patients and visitors through the multilevel facility. On the way, pops of grassy greens and ocean blues coupled with playful seating nooks and uncomplicated signage are meant to welcome, soothe, and engage patients and parents. “Our hope was to enable feelings of awe and inspiration,” Pisklak adds. Furthering that mission is the firm’s effort to optimize natural light and incorporation of a no-VOC materials palette. All of it added up to the center earning LEED Gold certification—and an atmosphere that promotes wellness, naturally. —Wilson Barlow PROJECT TEAM: BETSY BEAMAN; KIMBERLY STANLEY; PORTIA ELLIS; ROBIN KIRKMAN; MADISON MONTGOMERY; DONALD GLITSIS; VANESSA LAMPE HEIMBUCH; DAVID DEIS.

INTERIOR DESIGN

JONATHAN HILLYER

Children’s Healthcare of Atlanta Center for Advanced Pediatrics

DEC/JAN.20

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12/18/19 3:45 PM

FRENCH SAVOIR FAIRE MEETS COMMERCIAL ENDURANCE. Contact info@lignerosetcontract.com to include Ligne Roset in your next project. ligne-roset-contract.com

be stofyear large health/wellness

beijing yishijing architecture design consulting Beijing Institute of Technology Sports Center It’s quite a leap from Leonardo da Vinci’s flying machine to the new sports center at the Beijing Institute of Technology, a university that specializes in military science. But the Renaissance artist and inventor’s contraption was an inspiration for the soaring 170,000-square-foot structure. The flying machine’s influence can most clearly be seen in the ceiling treatment of the 3,000-seat stadium, which flanks one side of a wide hallway running through the center of the building, with the 10-lane swimming pool on the other. Suspended from the roof, the ceiling is comprised of concave and convex surfaces evoking wingspans. Within the building, glass interior walls provide transparency wherever possible, a deliberate attempt by architect and firm principal Yingfan Zhang to encourage table-tennis players to try swimming or yoga and vice versa—just as success in academics is increasingly dependent on fluid, cross-disciplinary explorations. “It’s a new model for the Chinese educational system,” says Zhang, who was born in China and educated at the Cooper Union and Harvard University. —Jane Margolies PROJECT TEAM: XIAOJUN BU; ZHENWEI LI; KAI QIN; PING JIANG; WEI HUANG; TONGWEI LIU; DEHU DU; JIAHE ZHANG; RAN YAN; LAIRONG ZHENG; JIAMING MEI; LIDONG SONG; XIAOXIAO ZHAO; JINGSHI

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:09 PM

WEIQI JIN

ZHANG; BIDA WEI.

WEIQI JIN

“Glass interior walls provide transparency wherever possible”

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 11:41 AM

esoteriko Shelter, Sydney, Australia Feels like a spa, works like a gym. That catchphrase is embodied in this multifunctional center occupying a two-story building in one of the city’s harborside suburbs. In addition to a generous changing area, the 2,150-squarefoot shedlike structure had to accommodate four distinct programs: exercise facilities, ice baths, saunas, and a juice bar. The firm’s approach was a simple organization of spaces—defined by screens rather than walls for openness but some privacy—with a restrained and carefully considered materials palette. A typical visit starts in the locker room, demarcated by sleek metallic screens. After a boxing or cycling class upstairs, members might indulge in an ice bath or a trip to the sauna, each unit sheathed in sun-bleached cedar paneling. They can then head to the light-dappled juice bar on the enclosed front veranda. Shaded by a timber-slat roof and surrounded by greenery, a hint of eucalyptus in the air, it perfectly captures the essence of the Australian lifestyle and landscape. —Colleen Curry PROJECT TEAM: ANNA TREFELY; JESS MASON.

TOM FERGUSON

be stofyear small health/wellness

INTERIOR DESIGN

DEC/JAN.20

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12/16/19 9:17 PM

FIRE &

ICE

The contrast of fire on ice—element on element—highlights each separation within the fractured frosted landscape. The fire does not overwhelm the effect on the ice but dramatically transforms the scope—which takes an epic appeal. Fire & Ice is available in 24” x 24” modular tile. jjflooring.com

alberto caiola studio Nyx, Shanghai

Although named after the Greek goddess of the night, this futuristic rooftop bar takes its inspiration from Roman ruins. A native of Pordenone, Italy, design director Alberto Caiola drew on his visits to the Columns of San Lorenzo in Milan as a student. Tourist attraction by day, the colonne are a relaxed hangout by night. “They’re accessible 24/7,” the designer recalls. “We could grab a beer under the stars in that spectacular historical space.” Such an open, comfortable spot is hard to find in densely populated Shanghai, where Caiola now lives, so it was a fitting conceit for a nightlife destination. The 6,458-square-foot lounge reinterprets classical architecture in glowing blue light. Caiola wrapped 13 miles of UV-reactive PVC cord around modular painted-steel frames, forming pillars, benches, and an arched portico around the bar. “We created a story with a single material as the visual core,” he notes. The design also references the city’s illuminated highways and tangles of electric wires, while feeding the insatiable local appetite for novelty. —Rebecca Dalzell PROJECT TEAM: TOBIA ZAMBOTTI.

DIRK WEIBLEN

be stofyear bar/lounge

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12/16/19 5:26 PM

“The space draws on classical Chinese garden design—with a contemporary spin”

atelier zz Phoenix-Tree Garden, Beijing Before this architecture studio came on the scene, the project site, the courtyard of a teahouse, could be seen at a single glance: It was all of 600 square feet. So, to give it the illusion of greater size, and provide outdoor seating on pleasant days, chief designer Zhang Qingfan drew on classical Chinese garden design, which plays with scale, rendering natural landscapes in miniature. And then gave it all a contemporary spin. A gently folded wall divides up the courtyard, its circular opening providing a peek of what’s on the other side. Against it, stacks of rocks—a traditional Chinese garden element intended to evoke towering mountains—stand out. Some stones serve as seats for sipping tea. The water from a small pool, inspired by the ponds in larger landscapes, is channeled through another opening in the wall, this one reminiscent of the bridges common in Chinese gardens. Colored stones are mixed in with gray ones. “When wet,” Zhang notes, “the colored pebbles look like fallen leaves.” Another trick of the eye—and Atelier ZZ’s hand. —Jane Margolies PROJECT TEAM: ZHANG BO.

be stofyear SUN HAITING

coffee/tea

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:41 PM

PRODUCT DESIGN

thewarmth

wood

of real

imbued with

100+patterns

bespoke

or imagery and

graphics

a revolutionary process

infuses art

wood grain

deep into the

for a

durable

four-by-eight foot

three-quarter-inch thick

wood core panel

Infused Veneer

™

SUN HAITING

Here, Diamond Duct on Cherry

DEC/JAN.20

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INTERIOR DESIGN

BNIND.COM

800.3503.4127

12/18/19 3:41 PM

be stofyear

counter service

oytt design Charlotte by PA Patisserie, Wuxi, China Located approximately 80 miles northwest of Shanghai, this striking dessert shop reads European, perhaps contemporary French. Yet it holds no particular allegiance to any one culture or design movement. What it does have is a strong sense of architectural form, presented chiefly through the ceiling plane, its molded and modulated forms swooping downward to become quasi-wall treatments. Throughout the 860-square-foot space, a minimalist aesthetic prevails within a crisp white and pine-green palette punctuated by splashes of “Christmas red” to add “a touch of enthusiasm and cool,” lead designer Tiao Ouyang notes. These colorful pops come via hanging lanterns and detailing on the service bar, topped by a smooth terrazzo counter. Meanwhile, the expansive glass corner storefront brings in natural light and lets passersby view the mise-en-scène while they decide whether to have a bite inside or out. A glowing logo is another attention grabber. Architecture, design, and sweets: It’s all so enticing. —Edie Cohen

MING CHEN

PROJECT TEAM: JIAHUI ZHU; DANFENG ZHOU; YANG LI.

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12/18/19 2:39 PM

FLEXâ&#x201E;¢ WALL Flex your space. clarus.com

shanghai hip-pop design team Omakase, Shanghai Enter a room by chief designer Sun Tianwen and you fall into an alternate universe. Each of his mesmerizing interiors creates a discrete, futuristic world straight out of Blade Runner. A student of design psychology, Sun plays with space, light, and color to trick the eye and influence emotions. At this elegant Japanese kaiseki-ryori restaurant, he evokes a sense of tranquility and refinement by showering guests in what he calls “sakura rain.” From the busy Xuhui district, visitors step into a radiant pink maze. Cherry blossom petals and dewdrops are etched into layered, low-iron glass partitions lit by LEDs, and illuminated textured glass flooring glows beneath a black ceiling. A central volume holding the stairwell and private dining room is painted gold, setting it apart from the rest of the 1,500-square-foot restaurant. While the ambiance might seem too engaging, Sun says the dim lighting actually helps people focus on the food, lowers their voices, and relaxes them, enhancing their dining experience. “We utilized lighting to create a romantic and new environment,” he notes. Furthermore, dishes aren’t bubblegum pink: a low color temperature and high color rendering value protect their natural hue. —Rebecca Dalzell PROJECT TEAM: CAO XINDI; LIU DONG; ZHANG DEJIE.

b e stofyear

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:17 PM

BORIS SHIU

fine dining

BORIS SHIU

“Space, light, and color are played with, to trick the eye and influence emotions”

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 3:17 PM

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:18 PM

QINGSHAN WU

“The perforated metal lattice is a nod to China’s Yellow River”

kane aud and studio linc-arc Banu Hotpot, Zhengzhou, China Chinese civilization first started some 5,000 years ago in the basin of the Yellow River, so named for the color of its silt. It remains an important part of life for those living on its banks today. Here, its turbulent flow inspired the 25,000-square-foot flagship for a growing local chain. The two firms collaborated on the facade as well as the interior, which has a flowing plan encompassing two levels, with open kitchens and private dining. “We sought to honor the river’s history with a fluid layout,” Studio Linc-Arc principal Yichen Lu says. The project’s perforated metal lattice is another nod to the waterway. It appears on the ceiling inside the eatery, but actually begins outside the building, where the facade is lifted to provide continuity between outside and in. “It’s a recognizable landmark for the community,” Kane AUD principal Ted Kane adds. The rippling element also calls to mind the spicy, roiling broth served at Banu’s tables. —Wilson Barlow

QINGSHAN WU

KANE AUD: SANHOI LAM. STUDIO LINC-ARC: VIVIANA WANG; MARIAROSA DOARDO.

be stofyear

casual dining

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 3:19 PM

jouin manku BBR by Alain Ducasse, Raffles Singapore An open kitchen is the heart of this 5,700-square-foot restaurant, the 17th collaboration between the French chef and Interior Design Hall of Fame member Patrick Jouin and his partner, Sanjit Manku. But diners here are likely riveted not only by the preparation of food but also by the sculpture over the cooking area, which evokes an enormous marine creature sailing through the sea. Built in Japan, the lightweight structure is formed from wrapped textured aluminum that has been painted blue on the outside, then overlaid with woven stainless-steel cables. Sections of the aluminum are folded up, revealing the unpainted side and creating reflective, fishlike scales. The interior—copper, “like kitchen pans,” Manku notes—is inkjet printed with a map of the Mediterranean, the inspiration for the menu. All this daring is tucked into an historic envelope, a freestanding building that’s part of the landmark Colonial-era hotel. The design team pays respect to the original detailing. Pendant fixtures are hung from the wood-paneled ceiling, now restored, and the old ceramic-tile flooring runs under the Jouin-designed dining chairs. —Jane Margolies PROJECT TEAM: MIO SHIBUYA; BRUNO PIMPANINI; KEN TCHIKAYA; PASCAL

INTERIOR DESIGN

DEC/JAN.20

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be stofyear hotel dining

PIERRE MONETTA

LEGRAND; VALENTINE FINET; TIMOTHÉ DUC; VINCENT CUZIN; AXEL MAK.

12/18/19 4:42 PM

A R C H I T E X- L J H . C O M

SWEET CAROLINE COLLECTION S O U T H E R N H O S P I TA L I T Y

resort

be stofyear

sordo madaleno arquitectos Solaz Los Cabos, San José del Cabo, Baja California Sur, Mexico

PENA; NADIA BORRÁS; ENRIQUE RALPH; GUILLERMO MÁRQUEZ; GREG LEINER; PILAR OCEJO; GABRIELA MONDRAGÓN; ANDONI BARCÓN; HÉCTOR GALAZ; MARIPAZ COTO; MELISSA PEÑA; ROSSY LEÓN; LUZ EDITH OSUNA; KESHIN FUHRMANN; INGRID FLORES; FERNANDA PATIÑO; REGINA JARQUE; ALEJANDRO GÓMEZ-MONCADA; MARCIA MEJÍA; MIGUEL GALINDO; CRISTINA RAMOS; ALEJANDRA ANGELES.

INTERIOR DESIGN

DEC/JAN.20

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RAFAEL GAMO

PROJECT TEAM: JAVIER SORDO MADALENO BRINGAS; JAVIER SORDO MADALENO DE HARO; ALEJANDRO COETO; BORIS

RAFAEL GAMO

At this expansive luxury resort on the Sea of Cortés, the Mexico City–based firm took care to integrate the architecture with the landscape. Unembellished, low- and mid-rise whitewashed buildings are tucked into the oceanfront hillside—long, green-roof, singlestory structures that step down to the water among them. The interiors, too, have been designed to be at one with the 24-acre surroundings. Totaling over 1.6 million square feet, encompassing 128 hotel rooms, 147 time-share units, and 39 apartments as well as a multitude of amenities, they draw on such natural materials as travertine and tropical hardwood. The open-air hotel lobby features marble flooring, reflecting pools, and sculptural seating and tables in parota wood by Mexican artist César López Negrete. Rooms in the terraced section open to private patios and ocean-view plunge pools. Next to the spa’s saltwater thalassotherapy pool, a cylindrical treatment room is encircled by two layers of Himalayan salt bricks. In between the layers, a transparent acrylic structure houses LEDs, so the whole entity glows. —Jane Margolies

RAFAEL GAMO

“The interiors have been designed to be at one with the surroundings”

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 12:52 PM

neri & hu design and research office be stofyear chain hotel

PROJECT TEAM: LAURENT TEK; LINGLING SHENG; HWAJUNG SONG; SCOTT HSU; AKSEL CORUH; CARMEN MARIN; CHRIS CHEN; CHIARA ALIVERTI; DANYAN JIN; ESTHER QIAN; FINO FAN; JESSICA LEE; KENNETH QIAO; RUTH CHANG; SARAH XIE; TIANYOU WU; FEDERICO SALMASO; CHRISTINE NERI; HAIOU XIN; CHENGJU CHANG; LITIEN PEONG; BRIAN LO; SIMIN QIU; CHEN XIAOWEN; JUNHO JEON; MONA HE; LILI CHENGA.

INTERIOR DESIGN

DEC/JAN.20

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12/17/19 3:07 PM

PEDRO PEGENAUTE

Reconciling dichotomies is part and parcel of any project for partners Lyndon Neri and Rossana Hu. But the challenge was twofold as the Interior Design Hall of Fame members plotted the latest iteration of the Ian Schrager Company’s bur geoning brand. First, the aesthetical: creating a contemporary hotel while honor ing the historical context of its surroundings. Then, the structural: turning two existing buildings—an art deco block bordering a brutalist tower—into a single 52,300-square-foot property. The firm envisioned a dual solution by configuring a new entry podium, which bridges the gap in the guise of a lobby bar and lounge, the unification underscored by the ceiling’s seamless walnut grid. Inside the 85-foot-high atrium, natural light is harnessed to highlight the original facade. The sleek second-floor spa and lap pool is adjoined by full-height windows with slatted details. All of the 145 guest rooms feature oak in the living areas and white marble in the bathrooms. Public amenities span six floors, including Michelin-star chef Jason Atherton’s 27th-floor restaurant. There, an aged bronze spiral staircase leads to the rooftop terrace, where a series of bars and green spaces permit 360-degree views of the bustling metropolis below. —Mark McMenamin

PEDRO PEGENAUTE

The Shanghai Edition

PEDRO PEGENAUTE

“The hotel is firmly grounded in cultural heritage while fully engaging with its contemporary context”

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 3:07 PM

“The palette extends yet mellows Sottsass’s color blocks”

INTERIOR DESIGN

DEC/JAN.20

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WILL PRYCE

be stofyear boutique hotel

hirsch bedner associates The Sifang, Nanjing, China

Conceived by Sottsass Associati a few years before the death of Ettore Sottsass himself, the splashy and colorful Artyzen Sifang Nanjing Recreation Centre was a pure example of the famed architect’s exuberant style. Construction had already been completed when the developer decided to turn the facility, with its quirkily irregular layout, into a boutique hotel featuring a wellness spa for the body, mind, and soul. Challenged with transforming the building, Dubai-based HBA partner David T’Kint began by reaffirming his respect for such recognizable and assertive architecture. Without changing the exterior shell, he devised a workable floor plan and developed a palette to extend yet mellow Sottsass’s color blocks. Soft textures and tones, which provide feelings of calmness and refuge, are accented with playful primaries, dabbed on door frames, furniture, and even bath fittings. Furniture is boldly contemporary, in distilled shapes; accessories contribute to a casual sensibility. “I reinterpret the essence of the language in the form of details, rug designs, and the like,” T’Kint says. In this way, he captures the master’s sensibility while still delivering spaces that are immaculate, comfortable, and preternaturally soothing. —C.C. Sullivan

WILL PRYCE

PROJECT TEAM: EILYN XIN.

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 1:22 PM

INTERIOR DESIGN

DEC/JAN.20

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ERIC LAIGNEL

“Thanks to the multi-firm collaboration, Saarinen’s TWA Flight Center is back”

be stofyear hospitality transformation

Thanks to a multi-firm collaboration, the TWA Flight Center— designed by Eero Saarinen, built in 1962, and mothballed in 2002—is back, transformed into the lobby of this new hotel at John F. Kennedy International Airport. After overseeing a decadelong series of restoration efforts on the shuttered landmark, Beyer Blinder Belle spearheaded its redevelopment and restored such elements as the first-class mezzanine lounge while satisfying current hospitality needs and codes. INC was responsible for turning a baggage-claim area into a small ballroom—the only major intervention in the terminal

beyer blinder belle architects & planners inc architecture & design lubrano ciavarra architects stonehill taylor TWA Hotel, Queens, New York

proper—as well as creating a three-story subterranean events center below the adjacent tarmac. The stratification of woods and metals on the walls is offset with backlit clerestories that prevent the underground spaces from feeling claustrophobic. Lubrano Ciavarra worked with the hotelier from the beginning to develop the master plan that won the RFP. The firm designed the hotel as a pair of seven-story, steel-and-glass towers, which connect to the terminal by the tubes that originally led to plane-boarding satellites, plus the roof deck with a stunning lap pool. Stonehill Taylor was in charge of outfitting the 512 guest rooms, furnishing them with Saarinen’s seminal pieces. —Joseph Giovannini ERIC LAIGNEL

ERIC LAIGNEL

BEYER BLINDER BELLE ARCHITECTS & PLANNERS: RICHARD W. SOUTHWICK; MIRIAM KELLY; JOE GALL; SUSAN BOPP. INC ARCHITECTURE & DESIGN: ADAM ROLSTON; DREW STUART; GABRIEL BENROTH; HILARY KROLL; LOUISA REVITTE; SEJUNG KIM. LUBRANO CIAVARRA ARCHITECTS: ANNE MARIE LUBRANO; LEA CIAVARRA; DALE LUNAN; JOSH BARKAN; HEATHER DELA CRUZ. STONEHILL TAYLOR: MICHAEL SUOMI; SARA DUFFY; DEEDEE SANCHEZ; LAUREN GORGANO; STEVEN ESHELMAN.

DEC/JAN.20

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INTERIOR DESIGN

12/17/19 4:44 PM

be stofyear large tech office

studio o+a Slack, San Francisco

Principals Verda Alexander and Primo Orpilla like to invent—and reinvent—the workplace. The Interior Design Hall of Fame members also like to tell stories. Their firm took the narrative concept for the headquarters of Slack, the office-messaging innovator, to a new high. The metaphor, aptly enough, was inspired by Slack CEO Stewart Butterfield, an avid outdoorsman. The O+A team imagined the site, 300,000 square feet spanning 10 floors, as a figurative hike, each level evoking a different landscape as seen along the Pacific Crest Trail. “The culture of collaboration that people share in wilderness situations,” Alexander notes, “correlates to the sharing of resources at work.” Interpretations of desert, forest, glaciers, lakes, waterfalls, and mountains represent the trail, represented through materials, colors, and clever treatments. The lobby, for example, is base camp, peppered with tentlike wooden structures for casual confabs. Private meetings are held in the conference room suggesting a campsite’s night sky via a black vinyl wall graphic cut in the pattern of the Milky Way. Lounge enclosures reference California’s stately redwood trees, and dichroic glass paneling allude to glacier formations. —Edie Cohen

ELIZABETH VEREKER; GEORGE CRAIGMYLE; EMILY CANO; SAMANTHA CALABRESE; ALEX BAUTISTA.

INTERIOR DESIGN

DEC/JAN.20

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12/17/19 11:29 AM

GARRETT ROWLAND

AMY KWOK; NIKKI HALL; MARBEL PADILLA; AMY YOUNG; CHASE LUNT;

GARRETT ROWLAND

PROJECT TEAM: DANI CANEPA; MILLIE KWONG; BRIANNA BERNSTEIN;

GARRETT ROWLAND

“Each level evokes a different landscape as seen along the Pacific Crest Trail”

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perkins&will When a client embraces design as a transformational tool, the difference can be like night and day. This fin-tech firm’s network operations center was initially intended as a back-of-house, function-first environment. But the design studio recast the 2,500-square-foot hub as a customer-friendly focal point. “Our client began thinking about design as a tool that reflects innovation,” managing principal Alice Hricak says. Extreme contrast became a defining influence, the combinations of black and white framed as a metaphor for change. A high-gloss visitor entry maximizes the dramatic impact of the disparity, the white-floored corridor surrounded by backlit perforated-metal panels and joined by custom lighting and video displays. Upon crossing the threshold into the work area, the aesthetic about-face is immediately palpable. The transition to black-painted walls and ceiling and moody carpet tile establishes a shadowy backdrop for a pivotal gesture: the state-of-the-art digital display wall, highlighting the company’s brand identity and technological expertise, spanning 40 by 12 feet. When it’s time for meetings or training sessions, an adjacent war room retains visual connections to the space while still providing privacy. —Mark McMenamin PROJECT TEAM: YURIVA BUENO; SETH SAKAMOTO.

BENNY CHAN/FOTOWORKS

Confidential client, Los Angeles

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INTERIOR DESIGN

DEC/JAN.20

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PHOTOGRAPHY: MIKE PRATT

CUSTOM CEILING STRUCTURE // PROJECT RBC CONVENTION CENTRE, WINNIPEG MB DESIGN LMN ARCHITECTS // ARCHITECTS LM + NUMBER TEN ARCHITECTS BUILT BY EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

TORONTO | NEW YORK | DETROIT

be stofyear creative office

behnisch architekten

PROJECT TEAM: STEFAN BEHNISCH; CORNELIA WUST; NADINE HOSS; CARINA STEIDELE; DENNIS WIRTH; NEVYANA TOMEVA; MARTIN BUCHALL; JORGE CARVAJAL; LAETITIA PIERLOT; SAORI YAMANE; ADRIANA POTLOG; IOANA FAGARASAN; ANNA-LENA WÖRN; ABDALRAHMAN ALSHORAFA; ARLETTE HAKER; HAMDY SAFLO; MATTEO CAVALLI; MAHBOUBEH SHOEYBI; ANDREAS PEYKER; NADINE WALDMANN.

INTERIOR DESIGN

DEC/JAN.20

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DAVID MATTHIESSEN

All in. Firm partner Stefan Rappold applied that company slogan to the new office and reception building, creating a landmark on this Adidas campus. All in is the steel-and-concrete construction on slanted steel supports containing 560,000 square feet and 2,000 employees. Inside, the design is based on the tenets of transparency, outdoor connection, interaction, and innovation. Those are immediately apparent in the atrium, where a dramatic black floating staircase rises through the center. It’s the main circulation route to the three workplace floors, providing views across the interior as well as outside along the way. This being Germany, environmental concerns were key. For heat-gain and light control, the facade boasts a custom system of opaque and perforated metal sheets mounted on an aluminum frame that adapts to the orientation of each elevation. Plus, there’s extensive use of recyclable materials. Further proof that this project is all in: It’s awaiting LEED Gold certification. —Edie Cohen

DAVID MATTHIESSEN

Adidas World of Sports Arena, Herzogenaurach, Germany

DAVID MATTHIESSEN

“The design is based on the tenets of transparency, outdoor connection, interaction, and innovation”

DEC/JAN.20

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INTERIOR DESIGN

12/18/19 2:27 PM

be stofyear

large corporate office

architecture + information

Founded by Interior Design Hall of Fame members Brad Zizmor and Dag Folger, the design studio was hired to consolidate the firm’s two divisions under one roof. The 250,000-square-foot combined office, which spans eight floors in a new Hudson Yards high-rise, was conceived to be an engaging environment that encourages collaboration and creative thinking. By adhering to the Well Building Standard, it promotes employee health, too. A+I used internal staircases to link the floors, treating the new digs like a vertical campus with a single entrance opening onto a signature reception area—a common ground in the middle of the stack with an inviting wraparound terrace that extends the space outdoors. This floor, which sets the tone and ethos for the entire workplace, includes a comfortable Texas-size lounge with barista service; a presentation pavilion wrapped by an enormous interactive data screen; a light and airy canteen with a hospitality vibe; and walls hung with contemporary art. By getting employees to leave their desks and interact, the amenities help stimulate new investment strategies. —Joseph Giovannini PROJECT TEAM: TIM AARSEN; VIVIEN CHIN; SOMMER SCHAUER; JULIE HONG; PATTY HARRIS; ANDREW MCBRIDE; VANÉ BROUSSARD; ANJALI PATEL; SAM TITONE; CARMEN POTTER.

INTERIOR DESIGN

MAGDA BIERNAT/COURTESY OF A+I

Financial services firm, New York

DEC/JAN.20

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12/18/19 2:42 PM

™

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be stofyear

midsize corporate office

schiller projects A modernist architect might begin a design with a concept. A textdriven architect might initiate a project with a theory. But for firm founder and principal Aaron Schiller, the process starts with data. For the headquarters of a high-profile international law practice that was relocating, the first thing Schiller and his team did was to descend on the firm’s existing offices like sociologists. The research revealed that the best floor plan for the client broke down into an array of small rooms, lounges, and individuated work spaces. The final layout did not simply translate the social hierarchy of a law firm into a map of its power structure but facilitated interaction across such lines. “There are no corner offices,” Schiller states. To break the vertical separation of the 81,000-square-foot office, the firm connected the three levels with a stack of generously proportioned curving stairs set in an open well. A measure of unpredictability comes courtesy of The Ribbons, a ceiling sculpture of thousands of beaded strands hanging like an inverted mountain range, further connecting spaces. —Joseph Giovannini

ERIC LAIGNEL

Boies Schiller Flexner, New York

PROJECT TEAM: COLIN CLELAND.

INTERIOR DESIGN

DEC/JAN.20

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ARCHITECTURAL TEXTURES COLLECTION

me m o s a m p l e s . c o m

be stofyear

small corporate office

shelton mindel Soros Capital, New York Not long ago, Robert Soros broke out and started his own financial firm. (His father, George, is the well-known philanthropist.) Soros’s spirit is echoed in his company’s 5,500-square-foot Midtown office, by Interior Design Hall of Fame member Lee F. Mindel. Working with Reed Morrison Architect, Mindel introduces unconventionality right at the entry: Next to the cockpitlike reception desk is a floor-to-ceiling Barbara Kruger artwork proclaiming “Money Can Buy You Love.” The team threw curves into both the desk—with its bowed front—and an S-shape screen that divides reception from the trading floor, both made of clean white Corian. Overhead, a grid of angled planes drops below the 12-foot ceiling, providing baffled light as well as visual interest. The walls echo the dimensionality of the ceiling but fake it with a trompe l’oeil shading of facets. At the perimeter, gray carpet gives way to green stripes, evoking the grass in Central Park, visible through the windows. A bench here runs the length of the workplace, extending into the glass-walled president’s office, to, Mindel says, “give the full dimensions of the space.” —Jane Margolies

MICHAEL MORAN

PROJECT TEAM: MARC NEWMAN; DANIEL KIMICATA.

INTERIOR DESIGN

DEC/JAN.20

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12/18/19 3:53 PM

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Williamson Williamson; Toronto, Canada; Photography: Ben Rahn/A-Frame.

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ISLAND LIFE 88% of new kitchen designs have medium-to-large islands between 12 and 35 square feet. STEELY RESOLVE Stainless-steel sinks dominate Contemporary kitchens (82%), Industrial (71%), Transitional (67%), and Mid-Century (65%). MIX IT UP Mixed materials (55%) and metal (41%) characterize cabinets in Industrial-style kitchens while painted wood prevails for cabinets in 77% of Farmhouse kitchens.

(1) Hancock Architects; Sydney, Australia; Photography: Simon Whitbread. (2) David Jameson; Bethesda, Maryland; Photography: Paul Warchol.

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12/11/19 5:48 PM

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Slab backsplashes dominate in Contemporary kitchens.

BLUE CHIP After white, gray, and beige/ bone, blues are most popular in the three leading kitchen categories: Transitional (19% of kitchens), Contemporary (13%), and Farmhouse (15%). IN THE HOOD Updraft hoods are featured in more than 82% of all kitchens. FORWARD THINKING Transitional (88%), Contemporary (80%) and Farmhouse (55%) are projected to be the most popular kitchen styles over the next three years. Industrial (50%) and Traditional (46%) round out the top five.

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12/12/19 10:26 AM

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Minarc; Los Angeles, CA; Photography: Art Gray.

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GLASS HOUSES Clear glass dominates shower doors in all categories, but frosted glass scores highest (25%) in Coastal style bathrooms. METAL URGES Chrome is the most popular (41%) faucet treatment in polished finish (49%) for Contemporary bathrooms. 60% are lever styles.

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12/12/19 10:27 AM

ADVERTORIAL

THAT SINKING FEELING Integrated sink/ countertop combinations are popular in 37% of Contemporary bathrooms, in composite/ solid surface material 38% of the time.

(1) and (2) Pascali Semerdjian; SÄ o Paulo, Brazil; Photography: Ricardo Bassetti.

NKBA_2019_December_Insert_r3.indd 7

12/12/19 10:18 AM

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61% MY GRAIN

of design professionals say cabinets make the biggest statement in Mid-Century kitchens most often wood grain (56%), medium tone (75%) with flat-panel or slab doors (86%).

PLANKS PLEASE Flooring in 53% of Mid-Century kitchens is hardwood or engineered wood, while 30% are ceramic/porcelain/stone. Hardwood/ engineered wood in plank style is most popular in Farmhouse (92%) and Transitional (81%) kitchens. COLORING UP Mid-Century kitchens use a wider range of colors than other styles: 40% are white, 20% use gray, 18% feature beige/bone, and 16% feature gold.

SCREEN GEMS

77% of consumers watch TV or stream videos in the kitchen.

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12/12/19 2:19 PM

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Messana Oâ&#x20AC;&#x2122;Rorke; New York, NY; Photography: Eric Laignel.

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12/12/19 10:19 AM

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27% SPRAY ME

of design professionals say the shower makes the greatest visual statement in a Transitional bathroom.

CITY OF INDUSTRY Gray dominates industrialstyle baths (43%) with large format tiles (62%); 63% of countertops are 2 inches thick or more; 27% of sinks and countertops are integrated; 63% of bathrooms have separate tubs and showers; 68% have freestanding tubs, 60% have no doors and 90% are two-person showers. Iâ&#x20AC;&#x2122;M FLOORED Ceramic/porcelain/stone flooring is found in 82% of Transitional baths, but just 57% of Industrial baths.

Williamson Williamson; Toronto, Canada; Photography: Ben Rahn/A-Frame.

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12/12/19 2:20 PM

YOUR BATHROOM IS WHERE YOU... Soak. Escape. Shower.

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Gargle. Primp. Rehearse. Recover. Floss. Moisturize. Pop a Pimple. Tell Stories. Blow-dry. Flat-Iron. Psych Yourself Up. Light a

Scented Candle. Curl. Kiss a

Boo-Boo. Wash Up. Have Coffee. B.E ARCHITECTURE; MELBOURNE, AUSTRALIA; PHOTOGRAPHY: DEREK SWALWELL

Weigh In. Wind Down. Color.

Condition. Check Your Phone.

Highlight. Catch Up on the News. Laugh. Listen to Music.

Brush (50 Strokes). Decompress. Practice Your Oscar Speech.

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be stofyear

coworking space

“It’s an inspiring, engaging atmosphere”

ippolito fleitz group With over 60 million square feet of office space in its portfolio, SOHO China prides itself on being the country’s leading workplace developer. Maintaining that title has meant keeping pace with the largest working demographic: millennials. Cue its line of hip coworking spaces, dubbed 3Q, the latest installment of which occupies a former 1980’s department store in the Wujiaochang district. The developer tapped Interior Design Hall of Fame member Peter Ippolito to transform 150,000 square feet of space across five levels. Connected via an artful spiral staircase, each floor’s central hub branches off into conference rooms, cafeterias, and workstations, plus offices accommodating anywhere from two to 30 people. Soft seating and barstool-lined counters suggest hospitality influences, while wooden bleacher seating speaks to current office trends. Motivational wall graphics honor revered icons, including I.M. Pei and Albert Einstein. “The design language mirrors the energy of the coworking ethos,” Ippolito says. “It’s an inspiring, engaging atmosphere for a target group that’s always on the move.” —Colleen Curry PROJECT TEAM: KIM ANGENENDT; RUTH CALIMLIM; WEI GAO; LENA GRZIB; JONATHAN HERNANDEZ; AXEL KNAPP; TIM LESSMANN; KANRU LIU; JOSE MISO; MARIO RODRIGUEZ; CAROLIN STUSAK; WENSO YANG; DIRK ZSCHUNKE.

110

INTERIOR DESIGN

CLOCKWISE FROM BOTTOM LEFT: CREATAR IMAGE (2); SUI SICONG (2)

SOHO 3Q, Shanghai

DEC/JAN.20

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CLOCKWISE FROM BOTTOM LEFT: CREATAR IMAGE (2); SUI SICONG (2)

DEC/JAN.20

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gid international design Shanghai

For design director Gary Zeng, updating a historic four-story building meant preserving as much of the original structure as possible. His client, the building’s owner, planned to keep the upper two floors for his own use but invited the multidisciplinary firm to move into the lower two levels. The project required that the 7,300-square-foot building be renovated inside and out, so Zeng painted the iron facade white, installed a new black frame, and raised the double-pitched roof by 1 foot. Interior demolition provided space for a new, open stairwell, where black, white, and gold tones reign. A striking crimson box between floors two and three signifies the change from GID’s floor to the client’s. GID office areas now occupy the second floor. Limited by the amount of work space, approximately 3,500 square feet, Zeng combined some functions, like reception and the library, making what he calls “the headache point the luminous point.” Additionally bright is the downstairs, where a striking art collection mixes with luxe metallic surfaces, cove lighting, and lounge seating. —Colleen Curry

be stofyear firm’s own office

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INTERIOR DESIGN

DEC/JAN.20

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“Updating a historic building meant preserving much of the original structure”

DEC/JAN.20

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gensler

PROJECT TEAM: MADELINE BURKE-VIGELAND; ED WOOD; LYDIA GOULD; AMBROSE ALIAGA-KELLY; JOHNATHAN SANDLER; JOHN BRICKER; BEVIN SAVAGE-YAMAZAKI; JONAS GABBAI; KAREN PEDRAZZI; THOMAS TURNER; MEGHAN MAGEE; KRIS GREGERSON; ANTHONY HARRIS; IAN KORN; DAVID BRIEFEL; LISSA KRUEGER; CRAIG BYERS; ANDREA PLENTER MALZONE VELEZ; KEVIN CARLIN; JOCELYN MASTROIANNI; CORINA BENATUIL; JOSE TROCONIS.

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CLOCKWISE FROM BOTTOM LEFT: GARRETT ROWLAND/COURTESY OF GENSLER (3); ROBERT DEITCHLER/COURTESY OF GENSLER

Since 1936, the Ford Foundation has been a trailblazer in promoting human rights, equity, and justice. When it opened its Kevin Roche John Dinkeloo and Associates–designed head quarters in 1968, the 12-story tower of glass, granite, and weathering steel with a soaring atrium was groundbreaking. But after 50 years, it had to be brought up to code, which required installing all new systems and meeting ADA requirements. The foundation saw an oppor tunity to reimagine its landmarked building for the 21st century. Regional managing principal and Interior Design Hall of Fame member Robin Klehr Avia integrated the nonprofit’s values of transparency and inclusion into the 415,900-square-foot renovation. “Good design helps create a socially just and equitable world,” she says. Her team transformed warrenlike work spaces into airy, nonhierarchical realms with atrium views for all, and added a wheelchair-friendly pathway and braille signage to the garden. Legacy furnishings were restored wherever possible, including the Charles and Ray Eames auditorium seating, in pursuit of LEED Platinum certification. With a new public art gallery, and works by the likes of Hank Willis Thomas and Kehinde Wiley, the renamed Ford Foundation Center for Social Justice is now eminently accessible and inviting to all. —Marisa Bartolucci

GARRETT ROWLAND/COURTESY OF GENSLER

The Ford Foundation Center for Social Justice, New York

GARRETT ROWLAND/COURTESY OF GENSLER

CLOCKWISE FROM BOTTOM LEFT: GARRETT ROWLAND/COURTESY OF GENSLER (3); ROBERT DEITCHLER/COURTESY OF GENSLER

“Good design helps create a socially just and equitable world”

DEC/JAN.20

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gensler Campari Group, New York

Workplaces often contain cafés and lounges galore. But a bar? Not as likely. . .let alone four of them. But such is the case at the 65,000-square-foot, two-story office. It’s the North American headquarters of the Milan-based company famous for its bright-red aperitif that now also counts more than 50 other beverage brands in its portfolio. Principal and design director Stefanie Shunk made a pilgrimage to the Italian city to steep herself in the com pany’s 160-year history. She translated her inspirations into elements that include a C-shape reception desk that doubles as an espresso bar—with barista. Just behind it, the firm carved a double-height atrium through the two floors and inserted a 16-foot-tall cerused-oak wall assemblage inspired by a Fortunato Depero building facade. Here, it serves as a backdrop to a full-scale, buffed-brass bar, also C-shape, on the floor below. Lest anyone think all everyone does is party at Campari, “Foremost, this is designed for work,” Shunk states of the project. The office areas for the 135 employees are spread across the two floors, connected by an LED-lit stairway drenched in red. —Jane Margolies AMANDA LANGWEIL; ANDREW STERN; LAURA MORAN; ARIELLE LEVY; LAURA BISHOP; AUDREY STROM; CARLY KLAIRE; KATHRYN MORSE.

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JAMES JOHN JETEL

PROJECT TEAM: AMANDA CARROLL; MEGAN DOBSTAFF; STEPHANIE LAN;

DEC/JAN.20

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nbbj Two Union Square, Seattle

MOGAN; RANDY FISCHER; ERIC LEVINE; NATE HOLLAND.

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SEAN AIRHART

PROJECT TEAM: ANNE CUNNINGHAM; DANIEL COCKRELL; JASON MILLER; ROBERT LEYKAM; SARAH OLIVER; TAYLOR

SEAN AIRHART

When the firm first designed this iconic 56-story skyscraper, “work” was a 9-to-5 activity relegated to cubicles and corner offices. That was 1989. Nearly three decades later, when it returned to refresh the building’s public spaces, things were quite different, the address now catering to a highly mobile, tech-centric work force accustomed to toiling in communal areas. So the team re-envisioned the 86,000 square feet as a series of humancentered and -scaled “social landmarks,” senior associate Sarah Steen explains. “We concentrated on adapting the design to the evolving nature of work.” The renovation resolved spatial discontinuities that had resulted from ill-conceived modifications in the intervening years while preserving some original elements: the main lobby’s grand staircase, a moody fireplace lobby with an oculus skylight, and a landscaped cascading courtyard. New interventions reference organic motifs. The travertine wall’s faceted protrusion was inspired by tectonic activity in the Pacific Northwest. The ceiling plane is animated by an undulating woodclad canopy. Artfully integrated lighting mimics natural illumination via indirect cove and concealed LEDs. Equally bright: The client credits the building’s high retention rate and nearly 20 percent increase in rental rates to NBBJ’s efforts. —Jen Renzi

SEAN AIRHART

“We adapted the design to the evolving nature of work”

DEC/JAN.20

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department of architecture co. Little Shelter, Chiang Mai, Thailand What makes a shingle a shingle? That was the question principals Amata Luphaiboon and Twitee Vajrabhaya Teparkum asked themselves for their innovative 8,900-square-foot inn. After initially scouting approximately 40 locations, an idyllic spot was discovered minutes away from the Old Town, with its distinctive wood-shingled sloped roofs, some dating to the city’s 13th-century founding. The catch? “While the city doesn’t specifically require the same language, officials strongly prefer that any new architecture this close to the Old Town blend in,” Luphaiboon explains. “But we don’t do traditional,” Teparkum adds. So they nodded to the past with a peaked roof topped with shingles made of scrap teng, a Thai hardwood DAC repurposed from local timber factories, while providing a contemporary twist with the four-story front facade. Here are more shingles, but in a different yet equally cost-effective material. Starting from the roofline and arranged within a steel armature, teng shingles morph into semitransparent polycarbonate ones, the latter creating a dramatic gradient effect as well as catching and playing with natural light. —Mairi Beautyman PROJECT TEAM: ADHITHEP LEEWANANTHAWET; PITCHAYA POONSIN; TANADETH MAHAPOLSIRIKUN; SUPAVIT JUNSOMPITSIRI; YADA PIANPANIT;

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WISON TUNGTHUNYA/W WORKSPACE

APISARA LERTRATTANAKIT.

DEC/JAN.20

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Designing with the Climate in Mind No need to sacriﬁce beauty or sustainability. Interface® Carbon Neutral Floors™ help you lower your carbon footprint with one positive step. Every ﬂooring product that we sell—whether carpet, LVT, or rubber—is 100% carbon neutral.

one plus partnership Hong Kong Tseung Kwan O Alto Residences Clubhouse

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JONATHAN LEIJONHUFVUD

Making a specialty of cinema design, Ajax Law and Virginia Lung have completed dozens of scene-stealing theater projects across China. This three-story clubhouse offered a change of pace, but the design directors still brought drama and storytelling to the 26,000-squarefoot project. Since the building is located in a complex along the South China Sea, the designers played with undulating forms. Vertical planks of wood-clad galvanized steel hang above the foyer, creating a theatrical swell that doubles as a sunshade. “You can see how the shadows change throughout the day,” Law notes. Upstairs, a ceiling installation of mirroredsteel rods brings kinetic energy to an event room. “It imitates a slowly moving wave,” Lung explains. “To achieve it, we needed to create a 3-D model first, because the length and angle of each rod would impact the whole design.” Elsewhere, references to the sea extend to a sports court surrounded by ocean-blue walls, and even to a brown-and-gray marble floor pattern that appears to ripple beneath residents’ feet. —Rebecca Dalzell

DEC/JAN.20

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JONATHAN LEIJONHUFVUD

DEC/JAN.20

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unitedlab associates Hadohilljo Townhouse, Hado-ri, South Korea They say it takes a village. Or in this case, a housing development. Retained to design the latter, the firm eschewed the predictable block-of-flats approach, and instead proposed a cluster of 48 freestanding houses, which effectively establishes an instant community. Sited on a gently sloping seaside tract on Jeju Island, the structures are informed by the principles of Korean minimalism, devoid of any exterior protrusions. Rather, the facades are fitted solely with oversize windows that erase boundaries between indoors and out, their asymmetric geometry recalling graphic Piet Mondrian-esque patterns. Constructed in four varieties, ranging from 840 to 1,060 square feet, the units farthest from the sea are positioned to peer over ones that boast closer views, giving all a similar sense of place. The concise partitioning of space and close proximity of the homes made land scaping critical. Pocket parks between units become soft counter points against the austere architecture, enhance visual and acoustical privacy, but also help encourage interaction between villagers—er, homeowners. —Mark McMenamin PROJECT TEAM: SANG DAE LEE; EUIHYUN LIM; SEUNGMIN LEE; MICHAEL CHAVERIAT.

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EUIHYUN LIM

“The cluster of freestanding houses establishes an instant community”

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Moodier than a teenager without WiFi. 22

EUIHYUN LIM

The absence of pattern, the presence of mood. That’s Moving to Mood, 7 new metal designs for interior spaces. Here: #620 Civilization. See them all at chemetal.com, no matter what mood you’re in.

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sheltonmindel

PROJECT TEAM: JOSÉ MARTY.

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MICHAEL MORAN

For some, the unmistakable glass stacks and city views that come standard with a home on the upper floors of the Herzog & de Meuron famed “Jenga” tower, aka 56 Leonard, would be a complete setting. But for the lower-floor residences, particularly this 9,000-square-foot two-bedroom on the sixth floor, which was put in the hands of Interior Design Hall of Fame member Lee Mindel, they are a blank canvas just waiting to be filled. Inspired by the Anish Kapoor mirrored sculpture at the building’s entry, which is visible from the apartment’s terrace, and the client’s own stellar collection, including pieces by Zaha Hadid and Gaetano Pesce, Mindel turned the space into a gallery all its own. Sliding walls replace fixed spatial demarcations, and the resulting public spaces are furnished with Flos, Knoll, and Vitra classics. The remaining fixed walls, along with floating shelves, are tastefully appointed with art and objets. Cheeky artificial turf appears inside, anchoring a seating arrangement, then reappears outside on the generous terrace, which, with works by Mark Fornes and Isamu Noguchi, resembles a private urban sculpture garden. “We created a relationship of indoor-outdoor spaces and interior-exterior gardens,” Mindel says, “to celebrate the building’s architecture.” —Jesse Dorris

MICHAEL MORAN

New York

MICHAEL MORAN

“Mindel turned the apartment into a gallery all its own”

DEC/JAN.20

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messana o’rorke New York

ERIC LAIGNEL

Even luxury can come in small packages. Take this 430-squarefoot studio in the West Village. Its penthouse views stretch to the Hudson River, but once Brian Messana and Toby O’Rorke entered the scene and assessed the interiors, everything in the apartment had to go. Since founding their firm in 1996, the architects have been refining an essentialism that provides visual stimulation through compelling materials and meticulous construction. That approach is evident here, particularly in the bathroom, where Carrara marble forms the envelope and the extra-long vanity, as well as in the storage walls and wide floor planks throughout, both in oak. “We’ve also been working with the idea of living with space-defining volumes that you move through and that contain all the storage you might need,” Messana says. But they had never done a volume to sleep in. “Rethinking the classic fourposter,” O’Rorke notes, they devised a 7-foot cube containing a queen-size bed with cabinetry underneath. The hinged box, which floats free of the surrounding walls at one end of the living area, is lined in gray-dyed cowhide and clad in panels of unlacquered brass (which coordinates with the bathroom’s sink and shower fittings). This may be micro-living, but it makes a big impact. —Michael Lassell

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EMA PETER

“It’s inspired by L.A. ’s modern floating houses”

clive wilkinson architects Los Angeles A new wife meant a new life. Architect Clive Wilkinson had two small kids, Elisabeth (now proudly Mrs. Wilkinson) had one teenager. Each needed a bedroom. The other chief consideration was the steep hillside site. Though challenging, it gave the Interior Design Hall of Fame member the opportunity to build the home he had long desired. “It’s inspired by L.A.’s modern floating houses, like tethered spaceships on stilts,” he says. The setting prescribed organization: the children’s rooms plus a studio on the ground floor, the master suite and guest quarters on two, social spaces for the family above. The latter features an expansive balcony off the living-dining-kitchen area, which is warm and welcoming with sandblasted Douglas fir paneling and wide-plank white oak flooring. The adjoining library– media room has custom steel shelving. They’re all contained in an angular blackened-zinc volume that appears to float above its paler base. Green weighs in, too, as the 3,700-square-foot house is harmoniously scaled to its surroundings and includes such eco-friendly considerations as a water-retention system and energy-efficient lighting. The project proves Wilkinson to be a good family man and a good citizen. —Edie Cohen PROJECT TEAM: DAVID BURNS; BEN HOWELL.

EMA PETER

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FERNANDO GUERRA/FG + SG ARCHITECTURAL PHOTOGRAPHY

“Nature asserts itself as the greatest collaborator”

studio mk27 Porto Segura, Brazil

PROJECT TEAM: MARCIO TANAKA; BEATRIZ MEYER; DIANA RADOMYSLER; SERGE CAJFINGER; PEDRO RIBEIRO; CARLOS

FERNANDO GUERRA/FG + SG ARCHITECTURAL PHOTOGRAPHY

COSTA; LAURA GUEDES; MARIANA SIMAS; OSWALDO PESSANO.

Little can compete with the natural beauty of northeast Brazil’s Itapororoca Beach and its surrounding rain forest. For an 8,800-square-foot residence just off the Atlantic Ocean coast, founder Marcio Kogan was smart enough to not even try. “The house abandons any reference to the dwelling machine of the modernist evocation,” Kogan says. “It offers itself as a sensorial project in which nature, light, shadows, and the constant and infinite of the ocean become the fundamental materials.” Other materials include eucalyptus, which forms a pergola supported by 14 frames and encloses five volumes. They house a kitchen, dining and living rooms, and master and guest bedrooms, each flowing into the next without the need for corridors. Concrete and stone serve as flooring and countertops; wood returns to frame doorways. A pool sits to one side of the house, a man-made iteration of the sea, but nearby nature asserts itself as the greatest collaborator: Growing through the deck and openings in the pergola, tropical vegetation sprouts to offer dappled shade across the entire residence. —Jesse Dorris

DEC/JAN.20

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JOHN HORNER

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JOHN HORNER

“The design establishes a tight rapport between residence and landscape”

From certain angles, this board-formed concrete abode seems an almost impenetrable monolith, a stonelike extrusion of the rocky slope that anchors it. But the two-story structure is much more permeable than it first appears, with copious walls of fullheight glass, strategic apertures framing verdant vistas, consistent finishes indoors and out, and a green roof supported by

South of France

nadaaa

JOHN HORNER

surface-active vaults that produce strong lateral stability. The design establishes a tight rapport between residence and landscape, its angular form a calculated response to key aspects of the site—from strict zoning guidelines to the sloping terrain and surrounding vineyard and olive grove. Nader Tehrani, principal of the research-driven experimental practice, nodded to the hallowed tradition of courtyard-style houses by conceiving two wings that wrap around a polygonal pool. “The configuration creates a ‘slipped court’ that is at once private and extroverted,” he notes. The main armature of the 5,300-square-foot sevenbedroom is supported by beams that he describes as “encrypted within the experience of the house”: framing doorways between living and sleeping areas and bracketing sight lines out to the property—and into the pool’s watery depths. —Jen Renzi PROJECT TEAM: HARRY LOWD; LISA LACHARITÉ; KATIE FAULKNER; CRAIG CHAPPLE; JOHN HOUSER; ELLEE LEE; KEVIN LEE; PARKE MACDOWELL; RYAN MURPHY; JONATHAN PALAZZOLO; CAITLIN SCOTT; JOANA RAFAEL; RAWAN ALSANE; TIM WONG; BIDARD & RAISSI.

DEC/JAN.20

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12/18/19 6:04 PM

roger ferris + partners Westport, Connecticut “The more refined and simple something looks,” principal Roger Ferris begins, “the more complicated it is to execute.” This 4,280-square-foot pool and guesthouse proves his point. Set into an incline overlooking the Long Island Sound, the green-roof structure is barely visible from the rest of the 4-acre property, its scale managed by lowering it into the landscape, most of it concealed behind a berm. A grass entrance slopes down from the lawn between concrete retaining walls, leading to an airy pavilion with a lounge/bedroom and a 75-foot saltwater lap pool. The bathroom, kitchen, and mechanical systems are buried behind it. “It feels like it’s grounded in the earth on one side and then opens up and reaches toward the sea,” the architect notes. This required some engineering wizardry. With a goal of column-free interiors, Ferris and his team concentrated the structural load on a heavy steel frame tilted slightly back into the hill. The result is what looks like a 35-foot cantilever extending over the pool and retractable glass wall, and out to an aluminum trellis. It all looks deceptively modest. Only at night, when the long skylight glows against the horizon, does the building allow itself to preen. —Rebecca Dalzell

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PAÚL RIVERA

PROJECT TEAM: ROBERT MARX; MYRON MIRGORODSKY; BRIAN RIDGEWAY; AHMED ARASTU; PETRA NAVRATILOVA.

PAÚL RIVERA

“The building’s scale was managed by lowering it into the landscape”

large country house

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ALESSANDRO MAGI GALLUZZI

“It’s a modern twist on the farmhouses dotting the Italian countryside”

simone subissati architects Polverigi, Italy Situated between the Adriatic Sea and the Appennine Mountains, the Marche region holds strong ties to agriculture. The stone farmhouses populating the area are evidence writ large. For this new-build version nestled in the panoramic landscape, architect Simone Subissati combined the vernacular’s barnlike linearity with a decidedly modern twist. Subissati employed different materials to demarcate the 3,000-square-foot residence’s two levels. The first floor, which the Ancona-based architect conceived for daytime activities, is clad in red iron panels treated with an anti-rust primer. Vertical openings provide entry at various points—the patio, the living room, the bathroom—as well as visual permeability, something Subissati calls a “cut block.” The second floor, designated for nighttime, is finished with creamy, self-cleaning plaster, the contrast with the darker lower level lending a floating effect. He describes its punched square windows as “kaleidoscopic viewfinders.” The interior is further meant to evoke the rural surroundings and their simple architectural language. White chicken wire encloses an interior balcony, and Subissati designed most of the minimal furnishings himself, in white ash, pine, or concrete. The pool is positioned to afford swimmers views of the entire countryside. —Edie Cohen PROJECT TEAM: ALICE CERIGIONI; DOMENICO LAMURA; MATTEO VIRGULTI.

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ALESSANDRO MAGI GALLUZZI

small country house

DEC/JAN 20

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be stofyear residential renovation

skidmore, owings & merrill

PROJECT TEAM: DICKSON WHITNEY; MICHELLE MIRRIELEES.

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DAVE BURK/COURTESY OF SKIDMORE, OWINGS & MERRILL

The late architect Walter A. Netsch specialized in library and education buildings as a partner at SOM from 1947 to ’79. He was a devout brutalist who favored complex formal geometries. Perhaps the purest expression of Netsch’s philosophy is his own home, which he completed in 1972. Its lofty, skylit interior was partitioned solely by level changes— only the bathrooms were enclosed—with railing-free angular platforms connected by open-riser stairs. In 2013, new owners who had purchased the property from Netsch’s widow tapped SOM to render the 3,500 square feet more functional as a living environment while preserving its wide-open sight lines and unique spatial experience. “Careful restoration and renewal of select elements enhanced the expansive sense of movement, materiality, and light,” design partner Brian Lee says. That entailed installing new appliances, cabinetry, and a 40-foot-long walnut counter in the kitchen; updating tiles, surfaces, and lighting in the bathrooms; adding concealed sliding doors to privatize the master bedroom; and inserting white-painted blocks between risers and minimalist railings to mitigate vertigo. Also new: a site-specific digital artwork by Luftwerk, projected above the living platform’s custom sofa. Netsch would surely have approved. —Jen Renzi

DAVE BURK/COURTESY OF SKIDMORE, OWINGS & MERRILL

Chicago

DAVE BURK/COURTESY OF SKIDMORE, OWINGS & MERRILL

“Careful renewal of select elements enhanced movement, materiality, and light”

DEC/JAN.20

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rysia suchecka

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ERIC LAIGNEL

It was a friend and fellow architect who introduced Interior Design Hall of Fame member and NBBJ consulting partner Rysia Suchecka to the province of Gers in the South of France. Smitten by the region’s ancient stone farmhouses, she and her environmental engineer husband, John Warburton, decided to purchase a farm there with Pyrenees views. Populating the acreage were a series of 17thcentury limestone structures in various states of disrepair, having sat unoccupied for 50 years. The couple restored the property, where they live part-time, over the course of two decades, starting with the maison de maître; phase two was to transform the pigeonnier, or pigeon-roosting tower, into Suchecka’s design studio. More recently, the pair rebirthed the old farmhouse as a venue for chamber music concerts and the cow barn as an art-teaching center and exhibition space. All elements throughout the 8,700-squarefoot interiors were designed by Suchecka and made within 10 miles of the property, and every subcontractor—from the mason who rerendered the stone walls to the metalworker who fabricated the steel stairs and furnishings— was local. “Supporting the surrounding community,” Suchecka notes, “was a driving force.” —Jen Renzi

ERIC LAIGNEL

Larroque-Saint-Sernan, France

ERIC LAIGNEL

DEC/JAN.20

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kitchen/bath

peter marino architect Never one to shy away from extreme elegance, architect Peter Marino stays true to form with this residential project. Overlooking the glorious High Line park, the 12-story, 56,000-square-foot condominium tower brings together all the passions of the Interior Design Hall of Fame member: art, design, and overriding luxury—as well as his deep appreciation for stone, present throughout his oeuvre. “I love that no two pieces are the same,” he says. “Every slab is unique and beaut iful in its own way.” Here, each bathroom and powder room in the building’s five units is different, clad with its own species. Rare, colorful, and highly striated, they include Sun and Gold Mirage onyx and brown Zabrino and amber Striato marble. Particularly dramatic are the blackveined white onyx walls surrounding a custom vanity in deep charcoal resin in one apartment’s expansive master bathroom. So strong is the overall statement, little else is needed. It’s Marino’s own brand of minimalism. —Edie Cohen PROJECT TEAM: CRAIG GREENBURG.

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EVAN JOSEPH

The Getty Residences, New York

DEC./JAN.20

12/16/19 9:25 PM

“The project pays tribute to the city’s Western Hills”

CLOCKWISE FROM TOP LEFT: COURTESY OF BEIJING YISHIJING ARCHITECTURE DESIGN CONSULTING (2); HIGHLITE IMAGES

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beijing yishijing architecture design consulting WuliEpoch Cultural Center, Beijing The capital’s Western Hills area, with its cooler climate and beatific vistas, has long been a sacred location. Lately, it’s also become a desirable place to live, helped in large part by the success of this sales office and accompanying low-rise residential developments. The complex pays tribute to the hills, partner Xiaojun Bu says, via in teriors with “stacked layers of curved walls, one on top of the other in a crisscrossing manner.” Gently sloping flooring and sinuous wood-clad aluminum ceiling panels gradually cool in color from yellow to white. Masonry nods to the Great Wall nearby. “We placed three axes on the site,” Bu adds. “The first aligns with the street, the second points toward Badachu Monastery, and the third directs to Fragrance Hill Mountain.” These form the main 16,000-square-foot space, with a model exhibition area, sample rooms, staff offices, and a VIP lounge. A ramp connects them to the neighboring 4,300-square-foot iceskating rink, built in anticipation of the city’s 2022 Winter Olympics—proof that the area is looking to the future, as well as its past. —Jesse Dorris PROJECT TEAM: YINGFAN ZHANG; PING JIANG; WEI HUANG; ZHENWEI LI; RAN YAN; LAIRONG ZHENG;

CLOCKWISE FROM TOP LEFT: COURTESY OF BEIJING YISHIJING ARCHITECTURE DESIGN CONSULTING (2); HIGHLITE IMAGES

JUE WANG; LEILEI MA; BO HUANG; CHUAN QIN; LIANHUA LIU; CHUNYU CAO; JIANG WU; WEICONG LIN.

Fine Solid Bronze Architectural Hardware 866.788.3631 • www.sunvalleybronze.com Made in the USA

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tsao & mckown architects Sunbrella, Burlington, North Carolina “We’re equally comfortable with architecture and interior design,” Calvin Tsao says. So he and fellow Interior Design Hall of Fame member Zack McKown were naturally the top picks of the Gant family members who were planning headquarters for Sunbrella, their growing performance fabric brand, in a former mill they owned. Tsao & McKown started by knocking down an unsightly 60-year-old addition to the 118-year-old mill, leaving its existing 100,000 square feet over two levels and exposing an original brick facade that was in need of a little love. Luckily, the Gants had a friend with a 1905 mill built by the same brick mason that had recently been torn down, so the architects were able to seamlessly integrate the renovations among the structural columns and ceiling beams, all also original. Installing a new glass curtain wall and windows and removing a floor slab resulted in adding copious natural light, most notably in the lobby, where massive stadium seating greets employees as does an adjacent café for their morning coffee fix. —Nicholas Tamarin PROJECT TEAM: RICHARD RHODES; JUSTIN SCURLOCK; CHANDLER OLDHAM.

ERIC LAIGNEL

be stofyear manufacturer headquarters

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esrawe studio Grupo Arca, Guadalajara, Mexico

b e stofyear showroom

Wood flooring from France, Italian-fabricated engineered stone, exotic natural stone from around the globe. Offering these in showrooms around Mexico, Grupo Arca is a favorite of architects and interior designers. But the company also takes pride in promoting design, culture, and art through extraordinary experiences. This 70,000-square-foot facility is just that, providing spaces not only to display exquisite building materials but also to host temporary exhibitions, film screenings, and musical performances. “We like to provoke our clients to include a cultural component in their projects,” states director Héctor Esrawe, who did so here with clearly defined zones: a skylit warehouse for inventory and a three-level showroom wing with product galleries, offices, and a bookstore-café. The latter is situated around an open-air agora, or courtyard, enveloped by Italian Ocean Blue travertine panels. The entry facade boasts lighter-hued Italian travertine interjected with planes of blackened concrete. In-house artisans crafted the restroom’s monolithic Italian marble sink and reception’s rustic Turkish marble desk. “The interiors are neutral,” architecture coordinator Laura Vela says, “with gallery lighting to show off the drama of the materials.” —Raul Barreneche PROJECT TEAM: ANTONIO CHÁVEZ; MARÍA SANTIBAÑEZ; JACOBO MENDOZA; ANDREA GUILLÉN; BRENDA VÁZQUEZ; FERNANDO CARNALLA; TATIANA GODOY; FABIÁN DÁVILA; DANIELA PULIDO; JAVIER GARCÍA RIVERA; ROBERTO GONZÁLEZ; YAIR UGARTE; MOISÉS

CLOCKWISE FROM TOP LEFT: GENEVIEVE LUTKIN; CÉSAR BÉJAR/PRODUCTION REVISTA CONTAINER; GENEVIEVE LUTKIN; CÉSAR BÉJAR/PRODUCTION REVISTA CONTAINER

GONZÁLEZ; GAEL FÉLIX; CADENA+ASOCIADOS CONCEPT DESIGN.

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eldoradostone.com

“The immersive design aims to draw shoppers offline”

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CLOCKWISE FROM TOP LEFT: MARCO CAPPELLETTI (2); SALEM MOSTEFAOUI

CLOCKWISE FROM TOP LEFT: MARCO CAPPELLETTI; MATTHIEU SALVAING; MICHEL FLORENT

be stofyear department store/mall

big–bjarke ingels group

Department stores here have been as much about spectacle as shopping. Like the city’s boulevards, les grands magasins were belle epoque catwalks where the Galeries Lafayette Champs-Élysées, Paris bourgeoisie came to see and be seen. When Galeries Lafayette opened its mag nificent art nouveau store on Boulevard Haussmann in 1912, it became an icon, both commercially and architecturally. The brand’s new location, in a 1932 building, dazzles contemporary flaneurs. Partners Bjarke Ingels and Jakob Sand restored the his toric cupola and grand staircase, while designing a series of vignettes that unfold across the four-story, 73,200-square-foot flagship. “The raw space has an almost urban scale and character,” Ingels notes, with room for “even the wildest interventions.” A 32-foot glass tunnel takes visitors into the dramatic atrium, where a perforated gold-finished steel ring wraps around marble col umns and links retail displays on the next floor. Suspended steel-and-glass boxes, cantilevered above, draw eyes up to rotating designer installations. The entire store employs visual tricks: Shoes perch on undulating carpets that double as seating; glasses in stacked fiber glass boxes swerve before a mirror. The immersive design aims to draw shoppers offline, creating a place for gawkers, tourists, and stylish locals to gather—and spend. —Rebecca Dalzell PROJECT TEAM: KARIM MUALLEM; GABRIELLE NADEAU; XAVIER DELANOUE; FRANCESCA PORTESINE; PAULINE LAVIE-LUONG; AGLA SIGRIDUR EGILSDOTTIR; ALVARO MAESTRO GARCÍA; AMRO ABDELSALAM; ANIS SOUISSI; ANNA JUZAK; AURELIE FROLET; CATALINA RIVERA; CHRISTIAN LOPEZ; CLEMENTINE HUCK; DIMITRIE GRIGORESCU; EMILY PICKETT; EMINE HALEFOGLU; ENEA MICHELESIO; ETHAN DUFFEY; ÉTIENNE DUVAL; FILIP MILOVANOVIC; FRANCISCO JAVIER SARRIA SALAZAR; GERHARD PFEILER; HUGO YUN TONG SOO; HYE-MIN CHA; JAKOB LANGE; JANIE GREEN; JOANNA M. LESNA; JOSÉ CARLOS DE SILVA; KATARZYNA SWIDERSKA; LAURENT DE CARNIÈRE; LUCAS STEIN; LUCIAN RACOVITAN; MALGORZATA MUTKOWSKA; MARIE LANCON; MIGUEL REBELO; MONIKA DAUKSAITE; PAULA DOMKA; PHILIP RUFUS KNAUF; QUENTIN BLASING; RAHUL GIRISH; RAMONA MONTECILLO; RAPHAEL CIRIANI; SERGI SAURAS I COLLADO; STEFANO ZUGNO; TAYLOR FULTON; TERRENCE CHEW; THOMAS SEBASTIAN KRALL; THOMAS SMITH; TOMAS KARL RAMSTRAND; TRACY

CLOCKWISE FROM TOP LEFT: MARCO CAPPELLETTI (2); SALEM MOSTEFAOUI

CLOCKWISE FROM TOP LEFT: MARCO CAPPELLETTI; MATTHIEU SALVAING; MICHEL FLORENT

SODDER; YESUL CHO.

DEC/JAN.20

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be stofyear fashion retail

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SHAO FENG

“The shop offers a sense of ‘ceremonial space’”

various associates SHAO FENG

SHAO FENG

SND, Chongqing, China

Chinese consumers dominate the luxury goods market. But in cities outside Shanghai, Beijing, and Guangzhou, it can be difficult to access niche designer brands. To address this, three young fashion buyers opened womenswear retailer SND six years ago in their southwestern hometown. The store aggregates international labels such as Antonio Berardi, Ellery, and Elizabeth and James, alongside a selection of top local designers. The latest outpost, by designers Dongzi Yang and Qianyi Lin, is 3,100 square feet of austere symmetry. Occupying a large storefront in a high-end mall, the shop offers a sense of “ceremonial space,” dominated by a central monumental structure: a trapezoidal monolith containing an inner sanctum accessed via a triangular sliver of an entry. Within its sloping gray-terrazzo walls, the form houses a spare selection of spotlit garments, a fitting room, and a service counter; a long jewelry display case peeks out of its far end. Dubbed the “milestone’ by the designers—a metaphorical bridge to international design—the structure has an exterior that is painted a sandy beige, which is also the color of the sales floor that surrounds it. —Georgina McWhirter PROJECT TEAM: JINGJING TANG.

DEC/JAN.20

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r ich ar d f r in ier. com

koichi takada architects National Museum of Qatar gift shops, Doha With its interlocking disks modeled on the desert rose minerals found in Doha, this museum by Ateliers Jean Nouvel was one of the signal architectural achievements of 2019. Its pair of gift shops inside, similarly influenced by the area’s natural heritage, are an interior tour de force. It was Qatar’s Dahl Al Misfir, a wondrous cave of gypsum crystals, that provided inspiration for the shops—one for children, another for adults, together totaling 1,195 square feet. But while the cave’s interior is craggy, the shops’ walls are smooth and undulating, comprised of 40,000 slices of CNC-cut European oak that were designed using 3-D modeling software. The pieces were fitted together on-site—“like a giant jigsaw puzzle,” Koichi Takada says—and attached with brackets to a steel-rib structure that stands free of the building. As if all that weren’t complex enough, the shelves are adjustable and the tables stand on casters, allowing staff to change around retail displays depending on the merchandise in hand. Given the design drama, visitors tend to linger—and sales have tripled expectations.

PROJECT TEAM: GEORGIA WILSON; TERRY BRABAZON; FABIOLA

TOM FERGUSON

—Jane Margolies

AABRAL-MONASTERIOS.

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12/17/19 3:54 PM

TOM FERGUSON

celebrating 40 years of award-winning design I furniture | textiles

be stofyear mixed retail

TOM FERGUSON

“A wondrous cave of gypsum crystals provided inspiration”

DEC/JAN.20

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odd YǏN Fine Jewelry, Beijing Marketing its delicate necklaces, earrings, bracelets, and rings, all in 18-karat gold, to the professional “gentlewoman,” the fledgling jewelry company favors sleek minimalism over traditional opulence. Its first-ever boutique needed to do the same, so the young co-owners called upon firm co-founders Tsutomu Deguchi and Keiz Okamoto to conjure that spirit in YǏN’s tidy 410-square-foot boutique. “The scale did not restrict our imagination,” Deguchi recalls. He, Okamoto, and their team developed a concept they call a “wonderland under a sea of clouds.” Beneath an installation of suspended white cotton voile, they outfitted the store in a pared-down palette of white and gold, then placed lighting evenly throughout. It reflects off wall-hung titanium-plated mirrors and bathes the stainless-steel display pedestals and terrazzo flooring in a soothing wash of white, softening the environment. “The lighting is not scattered or motionless, but well-proportioned and dynamic,” adds Okamoto, “and the space helps tell the company story.” —Colleen Curry PROJECT TEAM: FENG ZHANG; XUENI FANG.

RUIJING PHOTO

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12/18/19 3:46 PM

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“Strategically placed mirrors conjure the illusion of never-ending stacks”

x+living architectural design co. Chongqing Zhongshuge, China

Shoppers enter a fantasy world at this trippy bookstore, creative director Li Xiang’s eighth project for the client. The space is large—occupying two floors and nearly 14,000 square feet— but looks twice that courtesy of strategically placed mirrors that conjure the illusion of neverending stacks. Patrons enter a dark and moody “study” outfitted with tapering bookcases, some of which hang from the looking-glass ceiling and curl around brass floor lamps to mimic lampshades. Beyond are a kids’ reading area with storybook built-ins and a shelf-lined corridor with reflective flooring that creates the effect of a tunnel of tomes. In between these two zones is a doubleheight “ladder hall.” Staircases zigzagging up each side incorporate display space, and a mirrored ceiling here, too, doubles the sense of volume. A portal in the upper mezzanine’s bookcase wall permits access to a café-lounge and an adjacent library devoted to the works of influential thinkers. At Zhongshuge, reading is no solitary pursuit: “We hope visitors not only discover new books,” Li says, “but also new friends with the same interests.” —Jen Renzi

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SHAO FENG

bookstore

SHAO FENG

PROJECT TEAM: LIU HUAN.

SHAO FENG

DEC/JAN.20

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BE STofyear environmental branding/graphics

gensler American Kennel Club Museum of the Dog, New York Centered around the relationship between humans and hounds, the 11,230-square-foot museum boasts a winning logo in the form of “Arty,” an obediently expectant blue pup. He’s part of a holistic brand program that uses colorful signage, wayfinding, and print materials to help give new life to an extensive collection of canine-related art and artifacts in a modern environment. He also makes a virtual appearance in the museum’s smartphone app, which features augmented-reality experiences. These include a kid-friendly scavenger hunt led by Arty that encourages visitors to find objects and images throughout the museum. Good dog! —Peter Webster PROJECT TEAM: JAN GROSS; EJ LEE; JOHN BRICKER; BEVIN SAVAGE-YAMAZAKI; AMANDA ZAITCHIK; MATT PIECHOWIAK; JESSICA BARNHOUSE; ADI MAROM; ROSE NOVAK; RYAN MILLER; KELVIN CHIANG; BRANDON SMART; JU HYUN LEE; MIYEON

164

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12/16/19 9:23 PM

DANIELLE TROTTER

ERIC LAIGNEL/COURTESY OF GENSLER

KIM; HANNAH HUFF; EILEEN MOORE.

collateral branding/graphics

d2 branding Firm holiday card For this architecture, branding, engineering, and interior design firm based in King of Prussia, Pennsylvania, sending out the annual holiday card had become a chore—a futile marketing exercise in one-upmanship to outdo last year’s missive. But by keeping its strategic thinking simple— an on-brand mailer that’s unique but replicable, impactful but recognizable—design director Lyndsi Dengler and designer Dan Wothers came up with a nifty concept: a pop-out-and-piece-together puzzle-card featuring the Chinese zodiac animal for the upcoming year. Following the Years of the Rooster and the Dog, 2019 added the Pig to the growing menagerie of desktop sculptures. The paper porker’s shape and color mimic D2’s logo, while a bold money-inspired graphic on the back of the card nods to the message on its front: “Bring home the bacon in 2019.”

DANIELLE TROTTER

ERIC LAIGNEL/COURTESY OF GENSLER

—Peter Webster

DEC/JAN.20

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BE STofyear on the boards: residential

hariri & hariri architecture Folding Pods Sisters Gisue and Mojgan Hariri, both Interior Design Hall of Fame members, conceived a lightweight, collapsible shelter that fits on a flatbed truck for easy transport to any desired location. Inspired by origami, the unit measures 500 square feet, with hinged exterior panels of glass and thin, 3-D fiber cement that play with light and shadow. The architects designed the pod as a disaster-relief shelter but the concept is also suitable for use as a beach cabana or, when assembled in clusters, facilities for large events. “Units could be prefabricated at a basic cost,” Gisue Hariri explains, “and a percentage of sales used to donate pods to refugees.” —Nicholas Tamarin PROJECT TEAM: BIEINNA HAM; KYUHUN KIM;

166

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12/18/19 2:26 PM

COURTESY OF BELZBERG ARCHITECTS

COURTESY OF HARIRI & HARIRI ARCHITECTURE

CHRIS WHITESIDE.

on the boards: commercial

belzberg architects Aurora, Mexico City

COURTESY OF BELZBERG ARCHITECTS

COURTESY OF HARIRI & HARIRI ARCHITECTURE

Inspired by the Mexican capital’s temperate climate, Hagy Belzberg’s design of this 26,500-square-foot, eight-story office building, scheduled for fall 2020 completion, plays with the relationship between interior and exterior. “The flatness of the streetscape led us to carve an entryway that draws people in from the narrow sidewalk,” the Interior Design Hall of Fame member explains. He also introduced a curve cut in the facade that appears to defy the weight of the precast concrete panels. This gesture is echoed in a series of openings focused on mountain views. Their variation ensures a unique experience on every floor that activates the senses: At times, the fresh smell of plants waft inwards; other times, it’s the sound of the breeze. —Nicholas Tamarin

DEC/JAN.20

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curiosity Moncler, Singapore Baby, it’s cold outside. But bringing the heat in fashion and forward-looking design is Moncler, the ne plus ultra of puffer jackets. For the brand’s 6,400-square-foot flagship in the Asia-Pacific region, located within the Safdie Architects–designed Marina Bay Sands casino resort, firm president Gwenael Nicolas interpreted the quilting forming Moncler’s classic down coat in black marble. A heavy stone to stand in for lightweight down? You bet, and the 132 pieces of Spanish Nero Marquina marble covering the shop’s three-story front facade are seemingly every bit as light and floaty. That’s because the stones have been cut, shaped, and polished so they are not totally square but instead gently curved, almost beveled if you will. The same goes for their back sides, which helps to reduce the stone’s weight. The finished result has created highly recognizable branding that stands out within the resort’s mall. Inside, Nicolas and his team embraced an iceberg vibe, channeling the label’s Alpine roots through white fir and creamy marble. —Edie Cohen

be stofyear innovation

168

ALESSANDRA CHEMOLLO

PROJECT TEAM: SHINYA INOBE; SILVIO VINELLA.

INTERIOR DESIGN DEC/JAN.20

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12/18/19 2:30 PM

THE SHADE STORE® IS A REGISTERED TRADEMARK OF THE SHADE STORE, LLC. SUNBRELLA® IS A REGISTERED TRADEMARK OF GLEN RAVEN, INC.

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T H E S H A D E S TO R E . C O M / S U N B R E L L A

8 0 0 . 7 5 4 .1 4 5 5

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MADE YOU LOOK. Indoor and outdoor lighting, ceiling fans and accessories. Built on quality, service and unbelievably good looks.

craftmade.com

BEAUTIFULLY DISTRACTING.

be stofyear products

SUSTAINABLE DESIGN: HARD GOODS

ECO-oh!, through Ernest+ H-bench by Studio Segers

DEC/JAN.20

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ACCESSORY

Submaterial Wander

ACOUSTICAL WALL APPLICATION

ACOUSTICAL HANGING APPLICATION

Turf

Offecct, through Flokk

Tubular

Soundsticks by Andrea Ruggiero

ARCHITECTURAL PRODUCT

TABLETOP

Kriskadecor

Sempli

Gradient by Luis Eslava

Monti-IRI

BATH FITTING

D Line Pebble by BIG Ideasâ&#x20AC;&#x201C;Bjarke Ingels Group

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products B E S T

ofyear

BATH CABINETRY

Scavolini Gym Space by Mattia Pareschi

BATH FIXTURE

Claybrook William Gray Vessel by Meyer Davis

BROADLOOM CARPET

Shaw Contract Community

HARDWARE

Nest Studio Geo Colorful

RESIDENTIAL RUG

Gan Ply by Mut Design

DEC/JAN.20

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INTERIOR DESIGN

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MODULAR CARPET

The Rug Company Gensler Collection

products B E S T

ofyear

TILE/STONE FLOORING

Juju Papers Trapeze

EDUCATIONAL FURNITURE

Naughtone Lasso

HARD FLOORING

Tarkett iD Mixonomi

HEALTHCARE FURNITURE

IOA Healthcare Furniture Horizon by Perkins&Will

176

INTERIOR DESIGN

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CONTRACT CONFERENCE TABLE

CONTRACT TABLE

Andreu World

Zanotta

Status

Echino by Sebastian Herkner

CONTRACT DESKING

CONTRACT FURNITURE COLLECTION

Dfm

Stylex

Blend by Studio O+A

Free Address by Gensler

CONTRACT CASE GOODS

Darran Furniture Chameleon by Mark MÃ¼ller

DEC/JAN.20

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B E S T ofyear products

CONTRACT PARTITION SYSTEM

BuzziSpace BuzziBracks by Alain Gilles

RESIDENTIAL STORAGE

Living Divani Aero V by Shibuleru RESIDENTIAL OCCASIONAL TABLE

RESIDENTIAL DINING TABLE

Glas Italia

Fiam Italia

Nacre by Yabu Pushelberg

Coral Beach by Mac Stopa

RESIDENTIAL DESK

Shanghai Expocasa Furniture Co. Trident by Hesu Dong and Nan Li

178

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12/16/19 3:31 PM

KITCHEN FITTING

Hamat USA Lazy by Ronen Joseph

KITCHEN FIXTURE

Vigo Matte Stone Farmhouse KITCHEN CABINETRY

Cesar Unit in Rosso Jaipur Fenix Laminate and Metallic Effect Lacquer by García Cumini Associati

KITCHEN APPLIANCE

Dacor Heritage 30-inch Induction Pro Range with DacorMatch

RESIDENTIAL BED

Poltrona Frau Coupé by GamFratesi

DEC/JAN.20

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ACOUSTICAL LIGHTING

Luceplan Trypta by Stephen Burks ARCHITECTURAL LIGHTING

CHANDELIER

Vibia

Flos

Tube by Ichiro Iwasaki

Noctambule by Konstantin Grcic

SCONCE

PENDANT FIXTURE

Boyd Lighting

Wangan

Scorpio by Roger Thomas

Three Quarter

B E S T ofyear products

180

INTERIOR DESIGN

DEC/JAN.20

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OUTDOOR COLLECTION

Janus et Cie Rio by Rios Clementi Hale Studios FLOOR LAMP

Hubbardton Forge Abacus

TASK LAMP

Ambientec Sage by Nao Tamura

TABLE LAMP

MATERIAL/TREATMENT/SURFACE

Ross Gardam

Artistic Tile

Hemera

Zephyr by Alison Rose

DEC/JAN.20

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OUTDOOR SEATING

Dedon Cirql by Werner Aisslinger

CONTRACT TASK/CONFERENCE SEATING

Studio TK Clip by Claesson Koivisto Rune

CONTRACT LOUNGE SEATING

Keilhauer Verge by Eoos

CONTRACT MODULAR SEATING

Bernhardt Design Luca by Luca Nichetto

OUTDOOR FURNITURE

Blu Dot Circula

182

INTERIOR DESIGN

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B E S T ofyear products

CONTRACT SEATING

CONTRACT BENCH/STOOL

Chairs & More, through Jane Hamley Wells

COR Sitzmรถbel

Tulip by Kazuko Okamoto

Nenou by Jรถrg Boner

CONTRACT SOFA

CONTRACT HIGH-BACK SEATING

Sancal

OFS

Next Stop by Luca Nichetto

LeanTo by Webb Associates

RESIDENTIAL ACCENT CHAIR

Soft Limits Soft Cylinders by Ara Thorose

DEC/JAN.20

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INTERIOR DESIGN

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b e s t ofyear products

HOSPITALITY FABRIC

Arc-Com Mad4Plaid RESIDENTIAL SOFA

HEALTHCARE FABRIC

Molteni&C

Carnegie

Surf by Yabu Pushelberg

Xorel Knit

RESIDENTIAL BENCH/STOOL

RESIDENTIAL LOUNGE SEATING

Ewe Studio

Fritz Hansen

Partera

Fred by Jaime Hayon

184

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DEC/JAN.20

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12/18/19 5:00 PM

OUTDOOR FABRIC

Sunbrella Dimension CONTRACT FABRIC

CONTRACT FABRIC: DESIGNER COLLABORATION

Designtex

Wolf-Gordon

The Bauhaus Project

Veer by Aliki van der Kruijs

RESIDENTIAL FABRIC

KnollTextiles Knoll Luxe Anniversary

FABRIC WALL COVERING

Phillip Jeffries Flight

DEC/JAN.20

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35TH ANNUAL

h a l l of fa m e

The 2019 inductees India Mahdavi, Rick Joy, Paula Wallace, David J. Lewis, Marc Tsurumaki, and Paul Lewis. Photography: Paolo Roversi; Stephen Yeakley; courtesy of SCAD; courtesy of LTL Architects.

S8 HALL OF FAME MEMBERS S12 2019 PLANNING COMMITTEE S18 INDIA MAHDAVI by Charlotte Abrahams

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CLOCKWISE FROM TOP LEFT: AARON KIMBERLIN; COURTESY OF SCAD (2); DANIEL TERNA; STEPHEN YEAKLEY

ON THE COVER

CLOCKWISE FROM TOP LEFT: PHILIPPE GARCIA; JOE FLETCHER; PAOLO ROVERSI

S18 S26

CONTENTS DECEMBER 2019

VOLUME 90 NUMBER 18

CLOCKWISE FROM TOP LEFT: AARON KIMBERLIN; COURTESY OF SCAD (2); DANIEL TERNA; STEPHEN YEAKLEY

CLOCKWISE FROM TOP LEFT: PHILIPPE GARCIA; JOE FLETCHER; PAOLO ROVERSI

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S26 RICK JOY by Raul Barreneche

1.9

S34 PAUL LEWIS, MARC TSURUMAKI , AND DAVID J. LEWIS by Marc Kristal

S42 PAULA WALLACE by Judith Gura

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members Marvin B. Affrime Kalef Alaton Verda Alexander Davis Allen Anda Andrei Nada Andric Stephen Apking Pamela Babey Benjamin Baldwin Shigeru Ban Barbara Barry Florence Knoll Bassett Harry Bates Louis M.S. Beal Hagy Belzberg Ward Bennett Maria Bergson Deborah Berke Bruce Bierman Peter Q. Bohlin Laura Bohn Joseph Braswell Robert Bray Don Brinkmann Tom Britt R. Scott Bromley Denise Scott Brown Mario Buatta

INTERIOR DESIGN

Collin Burry Richard Carlson Arthur Casas Francois Catroux John Cetra Alexandra Champalimaud Steve Chase Tony Chi Antonio Citterio Clodagh Celeste Cooper Robert Currie Carl D’Aquino Barbara D’Arcy Joseph D’Urso Todd DeGarmo Neil Denari Thierry W. Despont Orlando Diaz-Azcuy Angelo Donghia Jamie Drake Jack Dunbar Tony Duquette Melvin Dwork David Easton Rand Elliott Henry End Mica Ertegun Ted Flato Gunter Fleitz Dag Folger Bernardo Fort-Brescia Billy W. Francis Neil Frankel Michael Gabellini Frank Gehry Arthur Gensler Richard Gluckman Mariette Himes Gomez Jacques Grange Michael Graves Bruce Gregga Charles Gwathmey Albert Hadley Victoria Hagan Anthony Hail Mel Hamilton Mark Hampton Antony Harbour

Hugh Hardy Gisue Hariri Mojgan Hariri Steven Harris Kitty Hawks David Hicks Edith Mansfield Hills Richard Himmel Howard Hirsch William Hodgins Malcolm Holzman Rossana Hu Peter Ippolito Franklin D. Israel Carolyn Iu Lisa Iwamoto Eva Jiricna Jed Johnson Patrick Jouin Vladimir Kagan Melanie Kahane Ronette King David Kleinberg Robert Kleinschmidt Ronald Krueck Kengo Kuma Tom Kundig David Lake Gary Lee Sarah Tomerlin Lee Naomi Leff Debra Lehman-Smith Joseph Lembo Lawrence Lerner Neville Lewis Sally Sirkin Lewis Christian Liaigre Piero Lissoni Nick Luzietti Eva Maddox Stephen Mallory Peter Marino Leo Marmol Paul Masi Ingo Maurer Patrick McConnell Margaret McCurry Zack McKown Kevin McNamara

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special honorees

members (continued)

Richard Meier Robert Metzger Lee Mindel Francine Monaco Juan Montoya Paola Navone Lyndon Neri Frank Nicholson James Northcutt Jim Olson Primo Orpilla Mrs. Henry Parish, II John Pawson Gaetano Pesce Norman Pfeiffer Charles Pfister Warren Platner Donald D. Powell Gwynne Pugh William Pulgram Glenn Pushelberg AndrĂŠe Putman Ron Radziner Karim Rashid Chessy Rayner Lucien Rees-Roberts David Rockwell Lauren Rottet Nancy J. Ruddy Rita St. Clair John F. Saladino Lawrence Scarpa Michael Schaible Craig Scott Annabelle Selldorf Peter Shelton Betty Sherrill Robert Siegel Paul Siskin Ethel Smith

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William Sofield Laurinda Spear Jay Spectre Andre Staffelbach Philippe Starck Robert A.M. Stern Rysia Suchecka Takashi Sugimoto Lou Switzer Rose Tarlow Michael Taylor Roger P. Thomas Matteo Thun Stanley Tigerman Patrick Tighe Adam Tihany Calvin Tsao Billie Tsien Patricia Urquiola Michael Vanderbyl Carleton Varney Robert Venturi Lella Vignelli Massimo Vignelli Kenneth H. Walker Margo Grant Walsh Sally Walsh Kevin Walz Marcel Wanders Isay Weinfeld Gary Wheeler Clive Wilkinson Bunny Williams Tod Williams Trisha Wilson Vicente Wolf George Yabu Mark Zeff Brad Zizmor

Robert O. Anderson Jaime Ardiles-Arce Robin Klehr Avia Stanley Barrows George Beylerian Howard Brandston Adele Chatfield-Taylor John L. Dowling Lester Dundes Cheryl S. Durst Lidewij Edelkoort Sherman R. Emery Edward A. Feiner Karen Fisher Arnold Friedmann Alberto Paolo Gavasci Gensler Jeremiah Goodman Louis Oliver Gropp Olga Gueft Erwin Hauer Jack Hedrich Benjamin D. Holloway Philip E. Kelley Kips Bay Decorator Show House Jack Lenor Larsen Santo Loquasto Ruth K. Lynford Gene Moore Murray Moss Diantha Nype Sergio Palleroni I.M.Pei Dianne Pilgrim Paige Rense Ian Schrager Julius Shulman Barry Sternlicht Tony Walton Kenneth Wampler Winterthur Museum and Gardens Andrea Woodner

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2019 planning committee Stephen Apking Partner Skidmore, Owings & Merrill Robin Klehr Avia Regional Managing Principal Gensler Dan Calkins President & CEO Benjamin Moore & Co.

Richard French Vice President, Global Sales & Marketing Bentley Catherine & Richard Frinier Principals Richard Frinier Design Studio John Fuller Vice President Geiger

Dan Chong President HBF|HBF Textiles

Jack Ganley President Mannington Commercial

Stephanie Norton Cizinsky Marketing Director Glen Raven

Arthur Gensler Founder Gensler

Susanna Covarrubias President International Interior Design Association

Clifford Goldman Executive Chairman Carnegie

Jackie Dettmar Vice President, Design & Product Development Mohawk Group James P. Druckman President & CEO New York Design Center Cheryl S. Durst Executive Vice President & CEO International Interior Design Association Vernon Evenson Managing Partner EvensonBest

Matthew Haworth Chairman Haworth Jerry Helling President Bernhardt Design Erica Holborn President Sandow Jim Keane President & CEO Steelcase Bob King Founder & CEO Humanscale

Randy W. Fiser Chief Executive Officer American Society of Interior Designers

12 S12 INTERIOR INTERIORDESIGN DESIGN DEC.18 DEC.19

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planning committee (continued) Alexander P. Lamis Partner Robert A.M. Stern Architects Susan Lyons President Designtex Maxine Mann President Teknion US Tony Manzari President Maharam B. J. Miller Chair American Society of Interior Designers Richard Mines Principal WB Wood

Byron Morton Vice President Leasing NeoCon Produced by Vornado Realty Trust Ted Moudis, AIA Senior Principal Ted Moudis Associates Wendy Murray Director, Product & Marketing Kimball

David Rockwell Founder & President Rockwell Group Frederick J. Schmidt Corporate Interiors Global Practice Chair Perkins+Will

Lindsey Ann Waldrep Vice President, Marketing Crossville

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Rick Wolf President Wolf-Gordon

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Amy Storek Vice President, A&D Sales North America Herman Miller

John â&#x20AC;&#x153;Ozzieâ&#x20AC;? Nelson Jr. Chairman & CEO NELSON

Chris Stulpin Chief Creative Officer Tarkett North America

Tom Polucci Senior Principal HOK

Marc Valois Executive Vice President & Principal Transwall

Dan Tuohy Chief Executive Officer TUOHY

thank you to our benefactors Arper Bentley Bernhardt Design Designtex Design Within Reach EvensonBest Geiger Gensler Herman Miller HOK IA Interior Architects IOC USA Maharam Perkins+Will Ralph Pucci International Rockwell Group

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DEC.19

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H A L L of FA M E

India Mahdavi text: charlotte abrahams

Top: The architect, designer, and founder of India Mahdavi. Photography: Paolo Roversi. Center: Merry-Go-Round in “Homo Faber,” a 2018 exhibition organized by the Michelangelo Foundation in Venice. Photography: Tomas Bertelsen/courtesy of the Michelangelo Foundation. Bottom: Mahdavi’s 2004 Bishop stools in enameled ceramic. Photography: courtesy of India Mahdavi. Opposite: The Gallery at sketch restaurant in London, opened in 2014 and refreshed in 2018. Photography: Leandro Farina. S18

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“I don’t want to sound like I’m boasting, but I changed the way people thought about pink,” India Mahdavi begins. The architect and designer is talking about making the color cool, a feat she achieved by saturating the Gallery at sketch, the London restaurant she designed in 2014, in a single shade of pink—a shade that is both the pink we all see in our minds when we hear the word but also quite unlike any pink we’ve ever encountered before. It was clever and radical, an Instagram sensation, and encapsulated everything that makes Mahdavi who she is: a creative who “reinterprets the times we live in in a sincere, fresh, and modern way,” according to Ralph Pucci, who, in 2008, brought her furniture stateside to Ralph Pucci International gallery in New York. London, New York. . .Mahdavi is something of a nomad. Born in Tehran to an Iranian father and an Egyptian/ English mother, she spent her childhood, the middle of five children, in a household where French and English were spoken, moving between Cambridge, Massachusetts; Heidelberg, Germany; and the south of France, absorbing the widely different landscapes and aesthetics of each place. Age 2 to 6, her time in Cambridge, where her father was attending Harvard University, gave her a lifelong love of cartoons and pop-bright shades of pink and green. Germany gave her a deep respect for rigor and structure. France taught her the power of understated elegance. Mahdavi’s training—an architecture degree from the École des Beaux-Arts in Paris, followed by studies in industrial, graphic, and furniture design at the Cooper

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h a l l of fa m e

Opposite top: A 2018 furniture installation and painted mural at Ralph Pucci International’s Miami showroom featuring the Jetlag Tokyo sofa, Botero armchair, Henri mirror, table, and bench, and Cap Martin chairs. Photography: courtesy of Ralph Pucci International. Opposite bottom: Germain, a 2009 bistro and Mahdavi’s first public project in Paris. Photography: Derek Hudson. Left: The 2018 round Cap Martin sofa in rattan and linen. Photography: cour tesy of India Mahdavi. Right, from top: “Nouvelles Vagues” exhi bition at the International Design Parade festival in Toulon, France, 2019; photography: courtesy of India Mahdavi. Ladurée Quai des Bergues in Geneva, 2016; photo graphy: Annik Wetter.

Union, the School of Visual Arts, and Parsons School of Design in New York, and then seven years at the namesake firm of fellow Hall of Fame member Christian Liaigre, with whom she worked on the Mercer hotel—was equally culturally eclectic, leaving her with an independent approach to design. Mahdavi had learned the rules—and that they could be broken. And breaking the rules is what she has been doing since she founded IMH in 1999 in Paris, where Mahdavi currently lives. Asked to pick the piece of furniture she’s most proud of, she chooses her Bishop stool, first designed in 2004 for APT, a Manhattan nightclub, now in the permanent collection of the Musée des Arts Décoratifs. “It can be a stool or a table, but it doesn’t respect any of those norms because it’s the height of neither,” she explains. “I called it Bishop because, like in the chess game, it takes the diagonal instead of a straight line.” Recent furniture launches include the rattan Cap Martin round sofa, an extension to a 2009 collection, and Bugs Bunny, a coffee table that, at first sight, appears to have a top of expertly crafted straw marquetry, which it does, but that’s also subtly inlaid with the famous cartoon rabbit. It’s currently on display at her showroom and studio, simply called India Mahdavi, on rue Las Cases. Her interiors embody a similar playful irreverence. In 2017, for the macaron-specialist Ladurée, she created a Los Angeles tearoom akin to a garden of delights, with pistachiocolored walls, icinglike lattice, and tables resembling meringues. Earlier this year, she designed a beachy backdrop of distorted stripes for DEC.19

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H A L L of FA M E

Top, from left: True Velvet, a 2017 fabric collection for Pierre Frey; photography: Philippe Garcia. Margarita & Mojito, glass-and-brass cocktail tables designed for Nilufar Gallery’s Chez Nina, a pop-up private club during Milan’s Salone Internazionale del Mobile 2018; photography: Colombe Clier. The 43-inch-diameter Bugs Bunny table, part of the 2019 Childhood Heroes collection, in straw marquetry; photography: courtesy of India Mahdavi. Center, from left: Flowers paint collection for Atelier Mériguet-Carrère, 2019; photography: Didier Delmas. Ladurée Beverly Hills, Los Angeles, 2017; photography: Sam Frost. Bottom: REDValentino–Sloane Street London, 2016; photography: courtesy of REDValentino.

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h a l l of fa m e Top, from left: Enameled ceramic Zoom vases and centerpiece from India Mahdavi Petits Objets; photography: courtesy of India Mahdavi. A guest room at Le Cloître hotel in Arles, France, 2011; photography: Matthieu Salvaing. Bottom, from left: The limited-edition Xmas Summer tableware collection, 2017, for Monoprix; photography: Natalie Weiss. Butterfly, part of the 2015 Cementiles collection for Bisazza; photo graphy: courtesy of India Mahdavi.

a Centre Pompidou exhibition at the International Design Parade in Toulon, France. She is conceiving Makoto, a Japanese restaurant in Miami for Stephen Starr, opening in 2020 and featuring flower-shape banquettes. “India’s work has humor, but it’s not 100 percent humor, which would make it kitsch. It has sophistication, but it’s not 100 percent sophistication, which would make it predictable,” Pucci adds. “It’s this perfect balance that makes her work original.” Everything in Mahdavi’s brimful portfolio is functional—she believes that purpose is fundamental to good design, beauty impossible without it—but also touches our lives on an emotional level. To encounter an in

“Mahdavi believes purpose is fundamental to good design, beauty impossible without it” terior, furniture piece, or item from petits objets, the name of Mahdavi’s home-accessories line, by her is to connect with something deeper than decoration. “There is a level of visual as well as physical comfort to my work, and a sensuality in the textures I use,” Mahdavi says. “But more than anything, there’s a familiarity, some thing that speaks of the landscape of people’s lives.” She’s right. Her rounded shapes and cartoon-color palette return us, almost subliminally, to childhood, and that leads to what is perhaps Mahdavi’s greatest strength: her ability to design spaces, furniture, and objects that bring us joy.

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Rick Joy text: raul barreneche

Top: The founder and principal of Studio Rick Joy. Photography: Stephen Yeakley. Bottom: The deck of a 2012 residence in Golden, New Mexico, with a custom fire bowl. Photography: Peter Ogilvie. Opposite top: A weathering-steel house in Tucson, 2006. Opposite bottom: New Jersey’s Princeton University Transit Hall and Market, 2018, in concrete and blackened steel. Photography: Jeff Goldberg/Esto.

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Don’t call him a desert architect. True, Rick Joy has lived in Tucson since enrolling as an architecture student at the University of Arizona in 1985. After working with Will Bruder Architects on the Phoenix Public Library, he founded Rick Joy Architects in 1993, and quickly made an international splash with a series of revelatory Arizona houses, all razor-sharp volumes crafted of rosy-hued compacted earth and rusty weathering steel harmoniously melding into the rugged landscapes of the Sonoran Desert. Then came the commission to design Amangiri, the luxury hotel on 600 acres in Utah’s remote Canyon Point, nestled against the spectacular rock for mations of the Grand Staircase-Escalante National Monument. But Joy is a New England Yankee, born and raised in DoverFoxcroft, a rural town in Maine, “in a small house next to a trailer park,” he begins. He doesn’t like being pigeonholed as an architect of the Southwest or a regionalist who reinterprets the area’s language of grain silos and adobe dwellings in a contemporary language. “People often want to label me as a desert modernist, but I don’t do isms,” Joy continues. “And I never use the term vernacular. Ever.” What the desert did do for Joy is teach him how to see and how to feel—and how to create emotive architecture that is experientially driven. “When you go to a place that’s so startlingly different and really live that place, it opens your eyes. It was all so new and fresh,” Joy recalls of relocating to Tucson, where he lives today with his wife, Claudia Kappl Joy, a lighting designer and founder of CLL. Concept Lighting Lab. He made the initial move west after studying music at the University of Maine and working as a drummer and carpenter, to enroll at the UA. His office, now called Studio Rick Joy, occupies the same Convent Studios complex, which he designed, in the city’s

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INTERIOR DESIGN INTERIOR DESIGN

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“There’s transcendent power in living in observance of nuance”

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Barrio Historico neighborhood as it has since 1997—and still embodies his distinctive architectural sensibility. Centered on a spare gravel-lined courtyard with a lone mesquite tree, the studio contrasts hard-edged walls of rammed earth and glass in a sensory play of changing light and shade, sound and wind. “I take my time with my mind,” he notes. “There’s transcendent power in living in observance of nuance, in being sensitive toward the world around us.” Call it slow architecture. “Atmosphere in a crafted space” is another way the architect likes to describe his work, which is as much about grace and calm as it is about being hands-on with exquisite detailing and construction. “For us, those atmospheric qualities and a relationship to nature work as interiors,” he explains. “I grew up on a little farm, without any wealth, so nature became a luxury for me. I was always outdoors, going to the beach or forest.” Place has been central to Joy’s vision: “architecture that lives well in its surroundings and is lived in well.” Lately, the places where he’s working are increasingly far removed from Tucson. Over the past decade, Joy has built residences in Idaho, Vermont, Turks and Caicos, and Mexico City. New projects are taking him to California, Colorado, and Spain’s Ibiza. The latter is where British developer Anton Bilton has invited him—along with fellow Hall of Fame members John Pawson and Matteo Thun—to design a hillside villa as part of the $400 million, 50-residence Sabina Estates.

Top: Amangiri, the cast-in-place concrete hotel in Canyon Point, Utah, done in 2009 with architects Marwan Al-Sayed and Wendell Burnette. Photography: Joe Fletcher. Bottom: The Douglas fir interior of a New England house, 2019. Photography: Jeff Goldberg/Esto. Opposite: The house’s white-granite and slate exterior. Photography: Jeff Goldberg/Esto.

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h a l l of fa m e Left, from top: A Western red cedar–shingled residential and barn complex in Woodstock, Vermont, 2008; photography: Jean-Luc Laloux. Its spruce-lined great room; photography: Undine Prohl. Right, from top: Blackened plate steel and board-formed concrete in a Mexico City house, 2019. Its Polanco neighborhood. Photography: Joe Fletcher.

It’s further evidence that Joy’s clients have become grander over the years—big names in entertainment, media, and tech that would be boldface if they weren’t anonymous. He’s also taught graduate-level architecture at MIT, Rice, and Harvard. His second monograph, Studio Joy Works, was published last year by Princeton Architectural Press (which printed Rick Joy: Desert Works in 2002, the same year he received an American Academy of Arts and Letters Architecture Award). “I’m

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nonplussed by all this,” the understated Joy continues. In fact, he thinks his most prominent project is a modest New Jersey rail terminus, his first public commission. “It’s one of the strongest pieces I’ve ever done,” he says, marveling how he’s gone “from making small-scale earthen buildings in Tucson to a Princeton University train station with George Nakashima benches.” Having turned 60 last year, Joy has become reflective on his career, which has taken him far afield from his New England and desert roots. “I’m still loving my work,” he says, “so I plan to keep going.”

Left, from top: A New York town house, 2015; photography: Eric Laignel. Hotel Indigo Denver Downton, 2017; photography: courtesy of Hotel Indigo Denver Downtown. Right, from top: Reception at the Hard Rock. A house in Southampton, New York, 2016. Photography: Eric Laignel. Left, from top: A New York town house, 2015; photography: Eric Laignel. Hotel Indigo Denver Downton, 2017; photography: courtesy of Hotel Indigo Denver Downtown. Right, from top: Reception at the Hard Rock. A house in

Left, from top: A concrete house, 2016, in Providenciales, Turks and Caicos Islands. Amangiri’s concrete-surrounded cold-plunge pool with 14-foot ceiling. Photography: Joe Fletcher. Right, from top: A 2013 house in Sun Valley, Idaho; photography: Joe Fletcher. The 1997 rammed-earth buildings in Tucson composing Studio Rick Joy; photography: Bill Timmerman.

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LTL Architects Paul Lewis, Marc Tsurumaki, David J. Lewis

The defining moment, professionally and philosophically, for David J. Lewis, his identical twin, Paul, and Marc Tsurumaki came in 1997. The three, in their early 30’s at the time, were living in New York City, working day jobs for Peter Guggenheimer Architects (David), Diller + Scofidio (Paul), and Joel Sanders Architect (Marc), as well as teaching at Cornell University, the Cooper Union, and Parsons School of Design, respectively. But in their spare time—“between midnight and 4AM,” Tsurumaki recalls— they were collaborating on speculative projects. Then came a big break. The year before, Paul Lewis and Tsurumaki had designed a pair of exhibitions pro bono for the Storefront for Art and Architecture in downtown Manhattan. Storefront’s founder, Kyong Park, returned the favor by offering the two architects, now joined by David Lewis, to exhibit their work at the gallery while it was empty over the summer. “Of course we said yes, but we had nearly nothing to show. So we spent four months generating 10 projects—an illusory body of work,” Tsurumaki continues. He and the two brothers then produced it in the context of an academic argument, which they further refined and committed to print.

text: marc kristal

“It’s what galvanized LTL Architects, which hadn’t existed yet in any real form,” David Lewis adds. “And it was also the inception of our process.” The foundation of the story of Lewis.Tsurumaki. Lewis, as the firm was originally known, exemplifies what has, for 22 years, been the firm’s driving philosophy: The problem Top: Upson Hall, a 2017 engineering building at Cornell University in Ithaca, New York. Photography: Michael Moran. Bottom, from left: The bamboo skewer ceiling at Tides restaurant in New York, 2005; photography: Michael Moran. The principals of LTL Architects; photography: Daniel Terna.

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Opposite: Ceiling coffers of CNC-mitered recycled-content acoustical felt at the Joseph D. Jamail Lecture Hall at the Columbia Journalism School in New York, 2017. Photography: Michael Moran.

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is the generator of the solution. Yet if LTL derives its ideas from a project’s constraints, their work is equally characterized by, Tsurumaki says, “a combination of pragmatism and invention”: a journey from the rational to “the imaginative, the extraordinary, and, in some cases, the surreal.” Indeed, the architects frequently resolve problems by exposing them, as with Poster House, New York’s first museum devoted to poster art. To maintain the openness of the existing architecture while creating climate-controlled exhibition spaces, LTL nested the galleries within the larger context like, Paul Lewis says, “a ship in a bottle,” forming a dynamic interchange between two conflicting conditions. The outcome—perhaps surprising for this relentlessly brainy trio, who met while Paul Lewis and Tsurumaki were earning their master’s in architecture at Princeton University (David was at Cornell for a master’s in history, then received another in architecture from Princeton)—is often purely joyful. The design for the

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Helen R. Walton Children’s Enrichment Center, an early-childhood facility in Bentonville, Arkansas, “looks completely irrational,” David Lewis says, “but is the logical play-out of a set of clear expectations,” including single-story construction and direct access to outdoor areas from each of its 21 classrooms. Following the rules produced, Paul Lewis notes, “this unanticipated geometric dynamism is at the heart of the building—the play of the rational pushed to the point of delight.” The firm works in every architectural genre—hospitality, residential, cultural, and, their primary focus, education, including recent buildings for Cornell, Columbia, and New York Universities—applying the same pragmatic-to-magical methodology. Yet while all projects receive equal attention from all three principals, unlike many multi-partner firms, in which the work is divvied up, they admit to a preference for projects, David Lewis

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Opposite top, from left: New York University’s Department of Social and Cultural Analysis, 2009; photography: Michael Moran. “4 Projects: 4 Scales,” a 2011 exhibition of LTL work in Los Angeles; photography: courtesy of LTL Architects. Opposite bottom, from left: The custom-milled bamboo-andplywood wall at the Sullivan Family Student Center at the University of Wyoming in Laramie, 2011. Bamboo millwork at the Department of Social and Cultural Analysis. Photography: Michael Moran. Top, from left: Bamboo banquettes at Tides. Over 3 miles of industrial-felt and stained-plywood strips at New York’s Fluff Bakery, 2004. Bottom: The nearby Poster House, a 14,500-square-foot museum completed this year. Photography: Michael Moran.

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“LTL’s philosophy: The problem is the generator of the solution” Top: Arthouse at the Jones Center in Austin, Texas, 2011. Bottom: A project from the same year, the cedar-screened administrative center for Claremont University Consor tium in California. Photo graphy: Michael Moran.

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says, “that engage a collective. Architecture has the potential to foster community in direct terms, to have a positive impact on the largest number of people.” Adds Tsurumaki: “The broader the public is, the more rewarding the project can be.” Given the firm’s iconoclasm, it’s unsurprising that, when asked to name its most important projects, the answer includes one that was never meant to be built—a design for New York Harbor that responds to the effects of climate change, created for “Rising Currents,” a 2010 exhibition at the Museum of Modern Art—and Manual of Section, a 2016 book devoted to understanding buildings via their section drawings. Also on the list are micro-budget Manhattan restaurants from the early 2000’s, such as Tides, which, at 420 square feet, demonstrated LTL’s ability to overcome space constraints via unorthodox materiality, in this case,

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Left, from top: The traveling “Manual of Section Exhibition,” at its start at the Ohio State University in Columbus, 2016–2018; photography: Phillip Arnold. The exhibition book published by Princeton Architectural Press; photography: courtesy of LTL Architects. Ohio State students; photography: Philip Arnold. Right, from top: Bornhuetter Hall dormitory at the College of Wooster in Ohio, 2004; photography: Rudolph Janu. Arthouse’s laminated-glass blocks and masonry facade; photography: Michael Moran.

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a ceilingscape of thousands of bamboo skewers, and the Contemporary Austin, a nearly 24,000-square-foot Texas museum resulting from adaptively reusing an old building. “We incorporated the preexisting historic architecture and also strategically reinvented it,” Tsurumaki explains. “It expresses our problem-into-solution sensibility.” For a small office, which varies in size from 12 to 20 employees, LTL has proved remarkably prolific: producing 130 projects, with 11 more on the boards, while developing a reputation for meticulous visual representation, and for demonstrating the viability of their ideas by custom-crafting prototypes and material studies. “The studio is a true collaboration, working together on the design aspect of every project,” Paul Lewis says. “We often talk about it in terms of paradox,” Tsurumaki adds. “We explore the contradictory conditions in each project and allow them to engage with one another.” The experience—and the work—that emerges is all the more rich.

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What a Viu

Welcome to the bathroom of tomorrow. The idea: Soft, organic inner forms meet geometric, precise outer contours. A fusion of different materials â&#x20AC;&#x201C;ceramics, wood, metal, glass. The purpose: Perfection from every angle, technology for maximum comfort. The result: Viu. Design by sieger design, realized by Duravit. What a Viu! Boston Frank Webb Home 617-933-0666, Chicago Studio 41 773-395-2900, Dallas Expressions Home Gallery 972-432-4972, Los Angeles Snyder Diamond 310-450-1000, Miami Decoratorâ&#x20AC;&#x2122;s Plumbing 305-576-0022, New York Grande Central Showrooms of NY 212-588-1997, San Francisco Excel Plumbing Supply 415-863-8889, Seattle Keller Supply 206-270-4724. www.duravit.us

Decades after opening the Savannah College of Art & Design, Paula Wallace is still as excited to talk about it as she was on the very first day. She’s not only the driving force behind SCAD, now celebrating its 40th anniversary, but also the school’s biggest and most articulate fan, chief spokesperson and international ambassador for one of the most prominent creative institutions in the U.S.—home to the numberone interior design program in the country. Officially, she has served as SCAD’s president since 2000, having previously held the positions of academic dean and provost. Unofficially, she is a celebrity in her own right. Running a school with 15,000 students at four locations on three continents, plus a trio of teaching museums and dozens of auxiliary programs, is no easy task. How does she do it? “Well,” she answers, “I do have a lot of energy.” Along with more than her fair share of charisma, all packed into a petite frame. She credits her love of education to her childhood piano teacher, a role model who gave 12-year-old Paula her first job in her hometown, Atlanta. “She taught the older children in the neighborhood, and I taught the younger ones,” Wallace recalls. She went on to earn a BA from Furman University and master’s and education degrees from Georgia State University, then taught public school.

Paula Wallace text: judith gura

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Left, from top: The Trustees Theater marquee at the Savannah College of Art & Design in Georgia. The school’s founder and president. Right, from top: The 2018 commencement ceremony at the Savannah Civic Center. In-process artwork from this year’s SCAD Sidewalk Arts Festival in the city’s Forsyth Park. Photography: courtesy of SCAD.

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Left, from top: The 82,000-square-foot expansion of the SCAD Museum of Art by Sottile & Sottile and Lord Aeck & Sargent, in association with Dawson Architects, 2012; photography: courtesy of SCAD. Environnement Chromointerférent, an installation at the museum by late Venezuelan artist Carlos Cruz-Diez, the 2017 SCAD deFINE ART honoree; photography: courtesy of Carlos Cruz-Diez, Articruz, and the Cruz-Diez Art Foundation. Right: A Pierre Cardin 2009 dress from “Pierre Cardin: Pursuit of the Future,” a 2018 ex hibition at the SCAD FASH Museum of Fashion + Film in Atlanta; photography: courtesy of SCAD. Opposite top: Named after Paula Wallace’s parents, Poetter Hall, an 1892 former armory by architect William Gibbons Preston and the first building the SCAD Savannah campus acquired, in 1979. Opposite bottom: Artworks by alumni Kent Knowles, Amy Lind, Troy Wandzel, and Greg Eltringham in Ruskin Hall, where admissions is located. Photography: courtesy of SCAD.

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After a while, Wallace began thinking about a new kind of arts-focused higher education, drawing from her own teaching experience and what she would have wanted as a student. “It was a little audacious, I guess,” she admits. To get the project under way, she sold her house and her treasured yellow Volkswagen. Neverthe less, on a teacher’s salary, she could not implement her plan alone, so her parents, May and Paul Poetter, contributed their retirement savings. Savannah, Georgia’s oldest city, seemed the right place, with its gracious plan of open squares and trove of buildings from the 18th and 19th centuries. Location chosen, actually starting the school was largely a doit-yourself project for Wallace. She learned as she went along, creating a nonprofit and bylaws, securing federal recognition and regional accreditation, recruiting trustees, and buying an 1892 armory to house classrooms. “We mailed a poster and catalog to every high school in the U.S., and people just started applying,” she says. In 1979, the students arrived, a first class of 71. The rest is a history of nonstop growth. s44

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â&#x20AC;&#x153;Wallace's impact on Savannah has been called as significant as that of city founder James Oglethorpe"

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Since becoming president, Wallace has added locations in Lacoste, France, Atlanta, and Hong Kong, where SCAD won a competition to transform a British magistrate’s headquarters. “We like to rescue derelict buildings,” she offers. “I’m always up for a challenge.”

She has increased the academic scope as well. SCAD currently offers more than 100 programs across more than 40 disciplines. (Though interior design, one of the eight original majors, remains close to her heart.) SCADpro, a program Wallace came up with, invites students and faculty to collaborate with the likes of Google, Microsoft, and Coca-Cola to solve their toughest design challenges. She calls the experience a “10-week job interview” for the students—often resulting in long-term employment offers. Special events such as arts and film festivals, which she’s organized on and around SCAD campuses, have helped revitalize nearby communities in addition to getting students involved with their neighbors and garnering an impressive list of awards, both to the college and to herself. Her impact on Savannah has been called as significant as that of the city's founder, James Oglethorpe.

Top, from left: From the exhibition “L’esprit de SCAD” at SCAD Lacoste in France, Wildcard dress by Darren Apolonio, a 2019 BFA fashion graduate from SCAD. SCAD Lacoste’s La Maison Basse, a 16th-century farmhouse turned classroom building. Center, from left: The main building by Arquitectonica at the SCAD Atlanta campus. The nearby Atlanta Beltline, where SCAD students and alumni stage performances and installations. Bottom, from left: An installation at SCAD Hong Kong with tassels by Trish Andersen and painting by Angela Burson, both alumni. SCAD Hong Kong’s digital-media building, a renovation of the historic North Kowloon Magistracy Building done with Leo A Daly. Photography: courtesy of SCAD.

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Family, starting with her parents, is the support system that makes everything possible. Her husband, Glenn Wallace, is the school’s chief operating officer. As for the families of alumni, now numbering more than 40,000, many send their children to SCAD. Of all her activities, what is her favorite? “I like to read, write, play piano. But most of all, I like being around the students.” Though she enjoys travel, frequent visits to SCAD campuses don’t leave much time for other destinations. Would Wallace change things? Not a chance. Left, from top: Wallace at Hamilton Hall, which houses the Savannah campus's per forming arts program. A 2019 concept project by graduate advertising student Vy Phan. Photography: courtesy of SCAD. Right, from top: The 2015 SCAD Savannah Film Festival. The Shed, a new multidisciplinary building on the Savannah campus by SCAD Design Group containing robotic, prototyping, computer programming, and VR-AR labs. “Now, Soon, Then, Tomorrow,” a 2018 exhibition by Spanish painter Guillermo Mora at the SCAD Museum of Art. Photography: courtesy of SCAD.

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When it comes to designing with fabric, not only do you want to feel good about the way it looks and performs, but you also want to feel good about the materials and processes that go into making those fabrics. Knowing that a textile manufacturer is actively taking measures to facilitate changes that lead to operating more sustainably is even better. This year, Sunbrella debuts a new immersive design experience at Interior Designâ&#x20AC;&#x2122;s Hall of Fame. Inspired by the ingenuity and innovation this major design event represents, Sunbrella, with help from the talented design and architect team of TsAO & McKOWN Architects, will transform the Great Hall at River Pavilion in the Javits Center to give onlookers an indepth experience with the journey a fiber takes to become a Sunbrella performance fabric. This behind-the-scenes look showcases the rigorous focus on the quality and sustainable manufacturing that Sunbrella is known for. As the textile industry overall moves into integrating more sustainable practices, Sunbrella strives to embrace an unwavering commitment to environmental stewardship in every fabric it makes.

FROM FIBER TO FABRIC Vertical integration is a way to ensure a company has greater control over multiple stages of the production process, such as creating yarn from fibers and weaving the final fabric. Having greater control over fabric production allows Sunbrella to not only drive optimal product quality consistently, but also ensure sustainable manufacturing processes are used in more steps of the fabric production cycle. Sunbrella adds an extra degree of control as a performance fabric manufacturer, making its own yarns after sourcing the highest quality proprietary fibers.

EXPERTS MAKING A DIFFERENCE Sunbrella prides itself on a unique manufacturing processes that drives performance and sustainability. Skilled technical experts and a trained sustainability team regularly track, monitor and measure the overall efficiency of manufacturing facilities. Additionally, Sunbrella works closely with manufacturers to develop and source the highest quality proprietary raw materials. Being vertically integrated allows Sunbrella and its facilities to operate at high-level quality, and these teams are at the core of making that possible every day.

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Fabrics that don’t meet high performance standards have predictably shorter life spans, and textile waste is inevitable for manufacturing facilities. Sunbrella is dedicated to quality fabrics, ensuring that you are getting a product that lasts longer and needs to be replaced less often, ultimately creating less waste. In any environment, Sunbrella products hold their color and strength, outlasting traditional fabrics. Here are other ways Sunbrella extends the fabric life span.

Sunbrella upholstery fabrics are 100% solution-dyed. Unlike conventional coloring processes, solution-dyeing reduces wastewater. Additionally, Sunbrella owns and operates solar arrays at the plants in Anderson, South Carolina and in Norlina, North Carolina. They collectively generate 1.5 megawatts of energy — capable of producing enough energy to power over 150 homes. Sunbrella and Sunbrella Contract fabrics hold third-party certifications to assure the trade and consumers the quality of the product and the process. Sunbrella upholstery fabrics have been verified in an independent laboratory and tested for harmful substances according to STANDARD 100 by OEKO-TEX®, earning a Class II level. Sunbrella Contract fabrics have been independently certified by UL Environment for Facts Silver certification. These fabrics meet the NSF/ANSI 336 standard, a multi-attribute sustainability standard for contract fabrics. Additionally, to demonstrate the long-term commitment that Sunbrella has made to provide exceptional products while recognizing environmental responsibilities, the company meets the standards for ISO 9001:2015 Quality Management and ISO 14001:2015 Environmental Management certifications. ISO 9001:2015 helps ensure that customers get consistent, good quality products and services, while ISO 14001:2015 focuses on environmental systems to manage responsibilities, making certain that environmental impact is being measured and reduced.

Sunbrella Renaissance Sunbrella Renaissance yarns combine up to 50% of postindustrial recycled Sunbrella fiber. Fabric waste is segmented into color groups, reduced back to its fiber state and then mixed with Sunbrella virgin fiber before making its way back through the fabric manufacturing process. The fiber blend helps ensure that the product meets stringent Sunbrella performance standards. Recycle My Sunbrella Recycle My Sunbrella is a take-back program providing a unique way for customers and consumers to send their Sunbrella fabrics back to be recycled. The program provides an alternative to disposal for fabric scraps, awning covers, boat covers and upholstery fabric.

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“Freeform” by Turf

Regis Lounge Chair by Beaufurn

Take your design in the direction you want with Freeform. Made from sound absorbing PET felt, this ceiling baffle system allows you to customize its curves, delivering enhanced acoustics and a visual rhythm that is uniquely formed to your space. t. 844.887.3664 turf.design

With a sculpted silhouette and graceful curves, the Regis lounge chair is reminiscent of mid-century designs yet utterly modern. The solid wood, swivel base provides a smooth 360º rotation. Regis will enhance hotel lobbies, reception areas, country clubs and university libraries. t. 888.766.7706 e. info@beaufurn.com beaufurn.com

Edition Modern

Engravings by Móz Designs

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

Explore a new world of dimension and texture with Móz Designs newly launched Engravings offerings. Surface-engraved metals add pattern, geometry and depth to a number of applications. t. 510.632.0853 mozdesigns.com

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Uline

Iconic Drain

No bunny stocks more box sizes – we offer over 1,600! And with over 36,000 products also in stock, you'll love our variety. Order by 6 PM for same day shipping. The best service, products and selection – that's how we do business. 800.295.5510 uline.com

Beverly Hills Designer Christopher Grubb brings his distinctive flair to the awardwinning StyleDrain series, the world’s first truly decorative drain. Aptly named “Mulholland,” the drain was inspired by the most iconic streets of Los Angeles. Handcrafted in Huntington Beach, CA, and available in 28 artisan finishes. californiafaucets.com

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Fireclay Tile's new non-slip Metropolitan Collection meets the requirements for flooring applications and wet environments. All tiles are hand-painted to order on recycled clay in California. t. 800.773.2226 fireclaytile.com

The Silk Eclipse wall sconce. The articulating disc hovers above the domed base, casting in high relief tactile elements of fabric, creating a penumbra of texture and color. UL listed, and made in New York State. t. 888.766.7706 donovanlighting.com

Ultrafabrics

QM Drain

Committed to reducing dependency on finite resources, Ultraleather® | Volar Bio is Ultrafabrics first biobased collection! Proudly touting a 29% Bio Preferred Program Label, Volar Bio was created with both functionality and sustainability in mind. t. 877.309.6648 ultrafabricsinc.com

Supreme revolutionizes the installation of linear drains when the pipe is off-center. An independent base eliminates the need to relocate existing pipes. Supreme appears centered regardless of existing drainpipe location. Available in various lengths and finishes. Modern, impeccable, supreme. t. 954.773.9450 e. info@qm-us.com qmdrain.com DEC/JAN.20 INTERIOR DESIGN

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designannex Newport Brass A customizable split-finish design option transforms kitchen faucets from utilitarian fixtures to statement pieces. The Adams faucet in black and brass is just one combination of the 27 finishes available to mix and match across the entire Newport Brass collection. t. 949.417.5207 newportbrass.com

PURE FREEFORM Sidestep the banal. Contextualize your project with Atmos, a fully customizable collection of aluminum surfaces for walls, ceilings, millwork, and various other applications. VOC free, Red List free, AAMA 2605 Compliant, 100% recyclable and participates in mindfulMATERIALS. t. 612.208.8347 purefreeform.com

Newton Tub Chair. Stylish yet compact, The Newton Tub Chair features a tight upholstered seat and back with durable oak cross shaped legs making it a stunning addition to any modern or contemporary interior. t. 212.371.7107 bespokebylg.com

Whiting & Davis Metal Mesh Fabrics Manufactured in USA Since 1876 Whiting & Davis metal mesh can be used in a variety of design applications to create an atmosphere ranging from luxurious opulence to industrial chic. Shimmering, fluid and dramatic mesh creates a simple, yet lustrous pattern of texture unlike any other material. Feel the difference. t. 800.876.MESH wdmesh.com

Interior Design Subscriptions Subscribe to Interior Design today and receive complimentary on-the-go digital access. interiordesign.net

Infinity Drain Architectural drains are an integral part of todayâ&#x20AC;&#x2122;s bathroom design process. Infinity Drain offers the broadest selection of decorative choices and installation options including its latest Matte Black finish shown above in a linear drain system. Proudly fabricated in the USA. t. 516.767.6786 infinitydrain.com

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THINKLAB: WHERE DESIGN THINKING, RESEARCH, AND STRATEGY MEET

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ateliers jean nouvel and l’observatoire international National Museum of Qatar, Doha ATELIERS JEAN NOUVEL: PHILIPPE CHARPIOT; KIRSI MARJAMAKIMAS; JULIE PARMENTIER; GIULIA FELICE; LUCIA GIUDICE; FRANÇOIS-XAVIER FOILLARD; ALVARO LOPEZ; GERALDINE LEYDIER; VALLE PINERO; FRANCISCO SILVA; CLAIRE BUFFLIER; DANIELA FORTUNA; GEORGES GROPPAS; MAXIMILIEN MONTANARO; GHITA BERRADIA; MICHEL CALZADA; BERNARD DUPRAT; NARJIS LEMRINI; AROA LUJAN; JOSE MONTEIRO; MARIAN MORAVEK; SAMUEL NAGEOTTE; JULIANA PARK; EDOUARD PERVES; PAUL PIRES DA FONTE; MATTHIEU PUYAUBREAU; MAGDALENA SARTORI; ANNA VOELLER; MARILENA CADAU; ADRIEN CHAUVEAU; VICTORIA D’ALISA; YAÊLLE DEVAUX; HAKAN ALDOGAN; MAJA KWASNIEWSKA; BENOIT PAILLOUX; PABLO ALVARENGA; VALENTIN BERNARD; YANN HECKLER; ANA TABORDA; KIYOMI SUZUKI; LAURA COLLINS; KHADIJA DJELLOULI; MIGUEL REYES; ANTHONY THEVENON; EDMONDO OCCHIPINTI; SUSAN CONSTANTINE; TOSHIHIRO KUBOTA; AURELIEN COULANGES; RENAUD PIERARD; SABRINA LETOURNEUR; FLORIANE ABELLO; JENNIFER KANDEL; SOPHIE LAROMIGUIERE; TANGUY NGUYEN; DANIELE PASIN; ANITA PEBOECK; JIM RHONE; ANTOINE WENDLING; PIERRE EDELMAN; MICHEL DESVIGNE; ANA MARTIBARON; ERIC ANTON; KEELY COLCLEUGH;

In the past decade, this city has become a locus of envelope-pushing architecture, with structures by the likes of OMA, Zaha Hadid, and Interior Design Hall of Fame member I.M. Pei rising up where desert meets downtown. One of the latest additions to the city’s sci-fi skyline is the National Museum of Qatar, a 430,000-square-foot water front destination by Jean Nouvel. The crystalline mineral formation known as the desert rose inspired Nouvel’s design, an explosive composition of sand-toned glass fiber–reinforced concrete disks. The angular intersections of these cantilevered forms create a play of sunshine and shadow on the facade, further annunciated by L’Observatoire’s lighting scheme. Principal Hervé Descottes set aglow the disks in a manner intended to make the structure seem both “alive” and “myste rious,” he explains. “Following artistic direction from Jean, we approached the illumination as a symbol for spatial, historical, and cultural connection.” Indeed, light not only washes the complex curves but also seems to radiate from the building’s core, projecting out from the interstitial apertures like “an eternal energy,” underscoring the building’s physical qualities—and status as an emblem of global connectivity. —Jen Renzi

MIZUHO KISHI; SEBASTIEN RAGEUL; MARIE MAILLARD; EUGÉNIE ROBERT. L’OBSERVATOIRE INTERNATIONAL: CHRISTOPHER MARTA; MARGHERITA BILATO; SOLENN BORCHERS; NICOLAS DUFILS; GIANNI FRANCESCHI; ANNA MUSLIMOVA; MATHILDE ROUILLER; FRANCESCO SECONE; LEAH XANDORA.

IWAN BAAN

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Design beyond

Beyond design

June 8 — 10, 2020 theMART, Chicago The world’s leading platform for commercial design neocon.com

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

A BRAND OF