Canadian Interiors January/February 2014 by IQ Business Media

January/February 2014

An architect’s place is in the home

years

Projects by Henri Cleinge, Reza Aliabadi, Heather Dubbeldam, Tim Wickens & Jean-Maxime Labrecque Plus: Cool new stuff for the bathroom

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January/February 2014

Official publication of the Interior Designers of Canada

16 COVER — 23 A view of the great room in Montreal architect Henri Cleinge’s home/office. Photo by Marc Cramer

CONTENTS FEATURES

Architects in the House SEEING THE LIGHT — 23 Montreal architect Henri Cleinge’s own home/office fosters a complex and evocative interplay between sunlight and concrete. By Rhys Phillips

DEPARTMENTS GO WITH THE FLOW— 29 Through Heather Dubbeldam’s Through House, lightly. By Leslie C. Smith PIE IN THE SKY — 34 Reza Aliabadi’s design for a Toronto condo he calls Blue Pie makes the most of a wedge. By Leslie C. Smith EVERY MOMENT COUNTS — 36 Not an inch of space is wasted in a master suite – fashioned from an attic loft of a house in Toronto’s Summerhill neighbourhood – by Tim Wickens. By Leslie C. Smith TRANSFORMER — 38 Montreal architect Jean-Maxime Labrecque has a way with the monolith. By Austin Macdonald

INSIDE — 10 WHAT’S UP — 12 IN THREES — 14 Up, up and away Three fab feature stairs. By Michael Totzke THE GOODS — 16 Splash works Best new bathroom products. By Michael Totzke WHO’S WHO — 40 THAT WAS THEN — 42 The seat goes on Sofas in style 50, 40, 30, 20 and 10 years ago. By Michael Totzke

Following page 42

JANUARY/FEBRUARY 2014 CANADIAN INTERIORS 7

January/February 2014 VOL.51 NO.1

Publisher

17 ANNOUNCING THE

17th annual Best of Canada Design Competition

Be part of the country’s only design competition to focus on interior design projects and products without regard to size, budget or location. For information and entry form, visit canadianinteriors.com

INTERIORS

Martin Spreer Editor

Michael Totzke Deputy Editor

Peter Sobchak Associate Editors

David Lasker, Rhys Phillips, Leslie C. Smith Contributing Writer

Austin Macdonald Art Director

Lisa Zambri Advertising Sales

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Liz Callaghan Production

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Tom Arkell Vice President of Canadian Publishing

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Bruce Creighton Head Office

80 Valleybrook Drive Toronto, ON M3B 2S9 Telephone 416-442-5600 Facsimile 416-510-5140 Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes six issues, plus a source guide, per year. Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher. Subscription rates Canada $38.95 per year; plastic wrapped $41.95 per year (plus taxes) U.S.A. $71.95 US per year, Overseas $98.95 US per year. Back issues Back copies are available for $10 for delivery in Canada, $15 US for delivery in U.S.A. and $20 overseas. Please send payment to Canadian Interiors, 80 Valley brook Drive, Toronto, ON M3B 2S9 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com Newsstands For information on Canadian Interiors on newsstands in Canada, call 905-619-6565 Canadian Interiors is indexed in the Canadian Magazine Index by Micromedia ProQuest Company, Toronto (www.micromedia.com) and National Archive Publishing Company, Ann Arbor, Michigan (www.napubco.com).

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Inside

House party If you checked out the special November/December issue, you’ll know that 2014 is Canadian Interiors’ 50th-anniversary year (the first issue of CI is dated April 1964). To mark the occasion, I’ve rechristened our back page (hitherto known as Last Word) That Was Then, in order – throughout the year – to take a fond look back at something in our history. For this issue, I’ve gathered together five sofas, one each from issues in 1964, ’74, ’84, ’94 and ’04, to see how the notion of the perfect sofa has changed (”The seat goes on,” page 42). By the way, if you have something or someone you’d like me to cover on this page, drop me a line. If That Was Then pays tribute to something old, In Threes – a brand-new department also debuting this issue – is devoted to something new and notable: three versions of an interior trend I’ve come across that may or may not be connected to the issue’s theme. For instance, in this our annual Houses issue, I’m featuring three feature stairs from recent Toronto projects that make for memorable focal points (”Up, up and away,” page 14). The bulk of the issue is devoted to five residential projects, from large to small, undertaken by five gifted architects. Montreal-based Henri Cleinge fashions for himself a modest L-shaped home/office with a monastic quality, bringing out the rough beauty in concrete (“Seeing the light,” page 23). Writes Rhys Phillips, “It expresses both an architect’s approach to ‘making’ and a clear preference for space that stimulates calmness and personal reflection.” Toronto-based Heather Dubbeldam updates a former worker’s cottage and designated heritage home (“Go with the flow,” page 29). Writes Leslie C. Smith, “No boundaries block the energy that flows effortlessly through the front vestibule, kitchen/dining area and living room, stretching out past floor-to-ceiling windows into the back deck and garden beyond.” In Toronto, Reza Aliabadi outfits a condo’s wedge-shaped living/dining area (“Pie in the sky,” page 34), while Tim Wickens fashions a master-bedroom suite in a house’s attic loft (“Every moment counts,” page 36). Finally, Montreal-based Jean-Maxime Labrecque refines his Variable Hidden-Function Monolith, a furniture series of three standalone cuboids that morph into a brushed-aluminum living room, a smoked-glass dining room, and a painted-plywood workstation (“Transformer,” page 38). Rounding out the issue is my roundup of cool – or should that be hot? – bathroom products (“Splash works,” page 16). c I Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

JAN/FEB 2014 3 awards for P3Architecture Every two years, the Design Council of Saskatchewan presents the Premier’s Design Awards, which recognizes great design work done in the province. In 2013, P3Architecture Partnership dominated the proceedings, taking home three awards. The Regina firm was awarded the Premier’s Award of Excellence for Interior Design for the Saskatchewan Hockey Hall of Fame, located at the I-Plex in Swift Current. The I-Plex, another P3A project and home of the WHL Broncos, was renovated to include a dramatic museum space showcasing the history and development of hockey in Saskatchewan. The hockey theme is reflected in the design from the unique hockey-stick chandelier to the ice-like floor finish and use of dasher boards throughout. Says Sarah Turnbull, the project’s lead interior designer, “The inspiration for the space was an image of kids playing hockey on a pond. What could be more prairie than that?” Arcola Community School - located in the southeastern SK town - was recognized with both the Award of Merit for Architecture and the Student Choice Award. (The project was also selected for the People’s Choice Award at the CEFPI Pacific Northwest Conference this past June.) The building is an example of a school

designed to support 21stcentury learning environments while reflecting the unique needs of the local community. It is designed to LEED Silver standards and is a benchmark for educational design in Saskatchewan. Says project architect Vanessa Keilback, “The importance of place to the community was very apparent during the extensive consultation process, which resulted in a design unique to needs of the students and parents.” At Arcola, spaces have been designed to be flexible – so that the way education is delivered can be adapted to suit future trends, extending the useful life of the school,

12 CANADIAN INTERIORS January/February 2014

and its effectiveness as a teaching tool. The overall theme of the school uses the geography of Saskatchewan to organize spaces and assist with wayfinding; and allows the school to be used as a 3-D textbook, to support the delivery of the curriculum. Rob Beug, architect and partner at P3Architecture Partnership, notes that both of the award-winners were delivered on budget, which is “the positive result of close collaboration with our clients.”

Top The design of the Saskatchewan Hockey Hall of Fame, located in Swift Current, was inspired by the game itself, from the hockey-stick chandelier to the ice-like floor finish. Above left and right Arcola Community School was designed to support 21st-century learning environments while reflecting the needs of the local community.

Walking on water From top Coastal Shift, Anchor Holding, Over Oceans.

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In Threes

Up, up and away

Three fab feature stairs. —By Michael Totzke

Clockwise from top left Sculptural stairs by Munge Leunge; open-tread stairs by David Anand Peterson; skylit rift-cut oak stairs by AKP (Atelier Kastelic Buffey).

14 CANADIAN INTERIORS January/February 2014

Nothing sets a residence apart quite like a one-of-a-kind staircase, as evident by three examples from three recent Toronto projects. For the downtown condo of Dr. Kenneth Montague – part dentist, part art curator – architect David Anand Peterson created a stair designed to direct movement upward and reveal a library space beyond. “The stringer is painted steel, while the open treads are made of walnut,” says Peterson. “Dark-stained walnut is used on the walking surface and bleached walnut on the underside. The lighter-toned-wood underside becomes increasingly visible as your eye travels up the stair: a subtle effect that gives less visual weight. The bleached walnut appears again in the cabinetry at the top of the stair.” In a private penthouse on the Esplanade, Munge Leung fashioned a unique sculptural stair that allows for unobstructed panoramic views of Lake Ontario and the surrounding downtown areas. Say the architects, “The staircase gently curves around a dividing wall, which provides separation and privacy for the upper floor. With spectacular south-facing windows, the open-tread design of the staircase allows for natural light to filter through. It also functions as a divider between the main-floor living and the kitchen/dining area.” For a house in the South Hill neighbourhood, AKP (Atelier Kastelic Buffey) created a handsome stair running from the basement to the second floor, with a large skylight above to wash it in natural light. “We used solid rift-cut oak treads and risers to match the flooring of the new home,” says principal Robert Kastelic. “The vertical rift-cut guard panels were constructed to give a seamless monolithic appearance. The landing is pulled off the walls to give the impression that it is suspended in space by using a deep reveal against the walls.” c I

Photos (clockwise from top left): Evan Dion, Ben Rahn/A-Frame Studio, James Brittain

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The Goods

Splash works Best new bathroom products. â&#x20AC;&#x201D;By Michael Totzke

OVER THE MOON Graff is well known for pushing the envelope with extraordinary design in basin and shower faucets. Its latest triumph: the new Luna collection of sculptural and sensuous fixtures, encompassing vessel filler, roman tub filler and thermostatic shower forms. Available in polished chrome or Steelnox satin nickel. graff-faucets.com

16 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

The Goods

1—WELL TAILORED The aptly named Suit collection of furnishings was designed by Matteo Nunziati for Teuco. Featuring light yet well-defined silhouettes, Suit includes storage units, washbasins, mirrors and shower trays. Shown: twin-size washbasin, hickory walnut cabinet and matching mirror. teuco.com 2—SHAPE-SHIFTER Karim Rashid’s Amedeo pedestal washbasin for Cielo comes in two versions: oval and round. The freestanding pedestal is the star of the collection, with a tapering, harmonious form. Available in gloss white, gloss black, stone and anthracite, and in an exclusive finish designed by Rashid. cermicacielo.com

3—A GREAT BIG HUG Patrick Messier designed the BE Collection soaking tub for Canadian manufacturer Wetstyle. It can now be combined with a floating surround wood shelf, available in a variety of finishes. wetstyle.ca 4—VANITY FAIR The latest bath furniture from Canadian manufacturer Firma is Infra C, a floating vanity with solid-surface top, which includes a personal drawer; vertical units and adjustable glass shelves offer additional storage. firmabathfurniture.com

5—IN SUSPENSE A collection of suspended tops for the bathroom – wittily named Flyer – embodies Boffi’s characteristic minimalism. Flyer units are available in several finishes, including wood, Corian and Cristalplant; they can stand alone or be equipped with suspended drawer units. boffi.com

H 18 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

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The Goods

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1—DOWN WITH THE DRAIN For its new washbasins in the Kartell by Laufen collection, water drains out via a linear channel at the back, concealed by the cantilevering design of the basin ledge. The hidden drain outlet with a hidden overflow makes it possible to stop the water in the basin using a stopper assembly without worrying about the water overflowing. laufen.com 2—IN THE BLACK Icera, the California-based manufacturer of high-efficiency toilets, introduces a line of striking high-gloss black toilets. Available on most of its premium models by the end of the year. icerausa.com

3—UNDERSTATED Barcelona-based Cosmic presents a new washbasin collection called Fancy. It includes three ranges: corner and mini basins, available with an integrated cabinet; wall-mounted basins, with a semi-dry area; and a countertop model. icosmic.com 4—LIFE’S A BEACH Mimo by Laufen – inspired by Miani’s blend of Art Deco, rock ’n’ roll and Cuban spice – encompasses modestly sized sinks, toilets, vanities and a bathtub. Available in highcontrast black and white, or pink and white. laufen.com

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20 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

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ing

Architects in the House

Seeing the light Montreal architect Henri Cleinge’s own home/office fosters a complex and evocative interplay between sunlight and concrete.

salers

—By Rhys Philips

Photography by Marc Cramer

January/February 2014 CANADIAN INTERIORS 23

North, south, east, west The great room is topped with a skylight that washes the double-height concrete wall on the east side with sunlight. On the south end, a bookcase is bracketed by entrances to the front bedroom and entrance halls. The opposite end is completely open to the kitchen, save for a â&#x20AC;&#x153;slotâ&#x20AC;? for stairs to the second-floor bedroom. On the west wall, generous windows entice the garden into the house.

24 CANADIAN INTERIORS January/February 2014

It was, of course, the frequently doctrinaire modernist Le Corbusier who declared, “Concrete is the marble of the 20th century.” One could be forgiven for being somewhat jaundiced about his conclusion, faced as we are daily by the many dreary concrete curtain-wall buildings that plague our cities. The best concrete Brutalist buildings of the postwar period, such as those of Paul Rudolph, remain largely the darlings of architecture historians and aficionados. Where the Swiss architect got it right, however, is that both marble and concrete fail when poorly used, frequently becoming kitsch in the case of marble and light-sucking banality for the latter. But Arthur Erickson’s use of concrete as structure and minimum surface in his Eppich House (also UBC’s Museum of Anthropology) and Ron Thom’s exquisite mix of rubble stone and concrete at Trent University, for example, demonstrate how evocative the material can be when used with skill. In the provocatively titled essay “The hidden beauty of the sewer rat” (for the Stylepark website), architecture theorist Nora Sobich points out more recent innovative uses of concrete that largely slip below public consciousness of how the material can function. Herzog & de Meuron’s printed concrete wall of the Eberswalde Library “looks like modern graffiti art,” she writes, while the new Kuntsmuseum Liechtenstein has a black polished concrete facade “sanded and polished so smoothly that it acts like a mirror.” By mixing concrete with optical glass fibres, it is even possible to use concrete both decoratively and structurally to produce semi-transparent walls. But an avant-garde manipulation of the properties of this ancient if publicly disliked material is not Montreal architect Henri Cleinge’s preferred approach. In a seamlessly integrated home and separate office for his family and his successful residential architecture practice, respectively, basic concrete is employed as structure and finish both inside and out. Located in a part of north Montreal’s Little Italy neigbourhood that mixes light industry and urban residential, the modest L-shaped complex is a series of rigorously minimalist concrete and Corten steel boxes, each measuring 19 by 19 feet, doubled across the street-facing elevation January/February 2014 CANADIAN INTERIORS 25

The sum of its parts There is an almost monastic quality to the houseâ&#x20AC;&#x2122;s spaces, more defined by their simplicity of form, materials and details than by the marked presence of humble raw concrete. The counterpoint use of naturally stained cedar on all the ceilings, walnut for the kitchen island, cabinets and wall screening the stairs, as well as pine window frames and maple stairs, adds richness and softer textures.

26 CANADIAN INTERIORS January/February 2014

and stretching back threefold toward a rear lane. In response to Montreal’s skewed street grid, which means the house faces southeast, the Carleton University–trained architect has placed the rear-extending house wing tight against the existing building on the east property line. This allows for a generous southwest-facing garden enclosed along the side and the rear lanes by a richly textured Corten fence. The importance of this placement for the home’s interior is the amount of light that floods into the two rear volumes – incredible light, says Cleinge, given its “tungsten quality” or remarkably bluish tones in the city’s inevitable snowy winter. The manipulation of light to enhance the singular qualities of basic concrete, he explains as we tour the house, reflects the tradition of Louis Kahn’s work, an approach still present in the work of various Swiss and Japanese architects. Unlike many modernists, Cleigne and the architects he admires view it not as manufactured but as a “natural material that captures the idea of making, of being a liquid stone…that embodies a rough materiality linked to a process.” At the same time, raw concrete walls embellished with polished concrete floors and light can engage in a complex and evocative interplay. The way the light reflects off the hard but textured concrete, how it bounces off the polished floor reflecting the colours and shadows of the trees and the clouds, Cleigne continues, makes the space rich and dynamic. (There is also design bravado in working with a material that offers few second chances once poured!) Entry to the house component is defined by a deep entrance through a first storey set off from the otherwise grey concrete facade by the rich, evolving patina of Corten cladding. A large window signals a front bedroom and bathroom suite. Like the entrance to a Wright house, a compressed hall leads to the centre block, a voluminous 20-foot-high great room producing a powerful explosion of light and space, topped with a linear skylight that washes the monolithic, double-height concrete wall on the east side with sunlight. Cleigne’s treatment of the other three interior walls, on the other hand, sets up a

fascinating if almost precarious sense of structural imbalance with first-storey voids spanned by the seemingly monumental weight of blank concrete walls. On the south end, the first-storey wall is a bookcase bracketed by the entrances to the front bedroom and entrance halls. The opposite end is completely open into the kitchen, save for a “slot” for the stairs leading to the second-storey bedroom. On the west wall, a first-storey wall of glass windows entices the garden into the house, while the unbroken wall above, here painted white, serves as a gallery space for a fine collection of 20th-century modernist paintings Cleigne inherited from his father. There is an almost monastic quality to the house’s spaces, more defined by their simplicity of form, materials and details than by the marked presence of humble raw concrete. In addition to the beguiling play of light, the counterpoint use of naturally stained cedar on all the ceilings, walnut for the kitchen island, cabinets and wall screening the stairs, as well as pine window frames and maple stairs, adds richness and softer textures. Black granite tops the island. The kitchen is also opened up to the garden with massive window/door combinations on two sides. Of note, the house’s first floor has been kept low to the ground to enhance the sense of connection to the exterior landscape. The same minimalist quality is sustained in private spaces, including the master bedroom although again a generous window treatment allows the city skyline to provide animation. Cleigne’s residence/office is not designed for a broad audience; rather it expresses both an architect’s approach to “making” and a clear preference for space that stimulates calmness and personal reflection. c I

January/February 2014 CANADIAN INTERIORS 27

Architects in the House

Go with the flow

Through Heather Dubbeldam’s Through House, lightly. —By Leslie C. Smith Photography by Bob Gundu

JANUARY/FEBRUARY 2014 CANADIAN INTERIORS 29

The two-storey Through House sits tucked into a tiny pocket of midtown Toronto gentility. It is both 127 years old and brand spanking new. A former worker’s cottage and designated heritage home, its red-brick facade and drop-gable roof remain perfectly in period. Step past the discreet white-oak front door, however, and all trace of time is erased. Gone are the room partitions that once made this 1,450-square-foot building dark and cramped; in their place lies a wide-open space, painted a soft pearl white and filled with natural light. No boundaries block the energy that flows effortlessly through the front vestibule, kitchen/dining area and living room, stretching out past floor-to-ceiling windows into the back deck and garden beyond. “That’s why we nicknamed it the Through House,” says architect/designer Heather Dubbeldam of Dubbeldam Architecture + Design. “The materials carry through the house and seamlessly on to the outside, enlarging the living area and making the whole thing look larger.” Integral to this design are strong horizontals, from the conjoined kitchen island/sapele-wood dining table and long, limestone sink counter to the linear pattern in the heated porcelain-tile floor. These push through the transparent back wall, where they morph into a barbecue counter, an outdoor dining table, a tile terrace. The horizontal insistence draws the eye inexorably towards the farthest point, and that effect is compounded by Dubbeldam’s use of overlapped, slightly tapering and descending levels in the flat surfaces, which creates a subtle forced perspective. The continuation of indoor/outdoor features plus the use of glass walls and sliders in the living room means that the small backyard becomes part of the home, extending the living space. “The tiled terrace is set flush with the home’s flooring, so you can just walk through,” says Dubbeldam. “Outside, we strategically scattered planters sunk into the wooden deck to create different zones, like rooms within a larger space. The owner’s love of entertaining led us to create a flow between areas, for hosting and socializing.” Even without such activity, though, the outdoor view would remain charming throughout all four seasons. Owner Yash Patel, a 46-year-old healthcare professional, made few demands of the designer. Single, hard working, aesthetically inclined, he simply 30 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

Above Strong linears in the kitchen carry through the home’s back glass wall to morph into outdoor entertainment areas. Below Wide glass sliders and a continuation of the inside tiling through to the back terrace turn the living room into a part of the great outdoors.

A little magic Colourful ceremonial tribal masks – which allude to the homeowner’s African heritage – add an offbeat balance to the clean lines of the dining area.

JANUARY/FEBRUARY 2014 CANADIAN INTERIORS 31

wanted a home where he could chill out, cook and entertain his friends. Uganda-born and Winnipeg-raised, Patel’s dual roots are alluded to in the choice of artwork: wooden figures from local African-import store Kiondo that warm the main-floor vestibule and colourful ceremonial masks that enliven the kitchen’s dramatic sapele-wood display niche. Equally colourful is the Richard Johnson painting of multi-hued ice-fishing huts that hangs over the living room’s neo-sectional sofa. For sheer drama, however, nothing can top the space’s freestanding fireplace that juts out, square-jawed, defining the break between dining and living areas. Set into a white marble surround, a stainless-steel trough no more than 13 inches long and one inch wide contains a thin jet of gas-fed flame. Encompassing the whole from floor to ceiling is what looks like stacked fieldstone but, on closer inspection, reveals itself as thick wads of industrial felt. This unique creation by Felt Studio’s Kathryn Walter represents a soft, tactile intrusion into its harder-edged surroundings. The remainder of the house shows more thorough than through. Every detail has been carefully, often custom, crafted. The L-shaped steel bracket of the central load-bearing column, for instance, subtly repeats in the single leg of the “floating” dining table and again, in the pillar holding up the outdoor trellis. The strong horizontal lines downstairs are echoed in the lengthwise hardwood flooring and long, narrow shelving of the upstairs master bedroom; the stepped-down guest room at the end of the hallway mirrors the dropped ceiling of the living room over which it sits. Then there’s the light. Natural light flooding in from the ground level floor-toceiling windows and filtering through the ingenious translucent sliding screen that acts as a front-window shade. Light streaming down from the upstairs central skylight, past the semi-opaque glass that forms the back walls of second floor’s guest and master bathrooms, spilling down an open staircase balustraded with azuretinted acrylic panels. One can’t help but wonder what the original owners of this heritage home would have made of their reimagined house, now filled with light and air, with an easy, gracious flow from indoors to out. And one can’t help but be a little envious of its new owner, as he sits in his kitchen, sipping a glass of wine and thoroughly enjoying the view. c I 32 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

Above The industrial-felt fireplace, designed by Kathryn Walter of Toronto’s Felt Studio, provides the living room with a softly touchable – not to mention dramatic – focal point. Below Sleek and uncluttered, the master bedroom maintains the home’s modernist tones, as well as its visual elongation.

Architects in the House

34 CANADIAN INTERIORS January/February 2014

Photography by BorXu Design Building

Pie in the sky Reza Aliabadi’s design for a Toronto condo he calls Blue Pie makes the most of a wedge. —By Leslie C. Smith

Glacial white bergs float over frigid blue water, the azure behind brilliantly lit by ozone-free sunlight. The photograph is small, only 150 square inches, but it proved big enough to inspire the design of the compact 450-square-foot living space that surrounds it. Dr. Amir Khakshaee owes his unique home in North Toronto’s Arc condominium to his old high-school chum, Reza Aliabadi, principal of Toronto architecture firm Atelier Rzlbd. It was Aliabadi, after all, who originally shot the photo during an Arctic sailing expedition out of Canada’s Pond Inlet, the world’s most northerly community. Khakshaee not only purchased the picture at Aliabadi’s subsequent art-gallery showing, he also bought the 650-square-foot unit directly above the architect/designer’s own home, and as well commissioned him to completely outfit the place’s wedge-shaped living/ dining area, requesting he take his visual cues from the Arctic seascape. “Because of Amir’s super-stressful job,” Aliabadi says, “he wanted a place that was calming.” And so the designer selected a palette of blue and white, washed with abundant natural light from the condo’s 31-foot-long curved glass wall that faces south, overlooking a wide balcony and a superb, birds-eye view of the city. The job’s timing and budget were typically tight. Aliabadi and his team were responsible not only for the design and build but for purchasing everything from occasional tables to vases and throw pillows. Within a matter of weeks last summer, Khakshaee was able to move into his new home, dubbed Blue Pie, bringing with him nothing more than his clothing and laptop. Before that happened, however, Aliabadi had to “purge the place,” ripping out the hardwood flooring to expose the rough concrete underneath, then painting this a deep, contemplative blue. Curtains, countertops and a bulky granite island were all excised, replaced by inconspicuous white roller blinds, white-coated counters, and a white dining table that cantilevers out from a supporting pillar. The one full-length wall in the place had to contain all of the client’s lifestyle requirements: a workstation,

bookshelves, bench seating and a vertical wine cradle. Aliabadi accomplished this by attaching an integrated millwork unit, also in white, to a supporting series of sandwich panels. Reveals between the bottom edge of both the dining table and wall unit make these two pieces appear to be floating above the surface of the blue floor. The effect is further enhanced by recessed lighting under the central bench. Overhead lights that cluttered up the ceiling were removed, supplanted by a linear line of five strategically placed spots strung from one side of the room to the other. (Says Aliabadi, “I thought if all the furniture looked like it was floating off the floor, why not lights floating down from the ceiling?”) In the centre of the living room, a blue basket seat also hangs from the ceiling, inviting visitors to sample the view, inside and out, via suspended animation. This little slice of Blue Pie heaven does give one the sensation of drifting along, unencumbered by the day’s distractions. But what was it in the first place that attracted both Aliabadi and Khakshaee, two Middle Easterners, to the cold remoteness of the Canadian north? “In the centre of Iran,” Aliabadi explains, “there is a large desert named Kavir. There is nothing there, nothing to distract you, kind of a beige version of the North Pole. Perhaps this is why we are so drawn to empty spaces.” c I

Blue is the coolest colour On the lower shelf of the integrated millwork unit rests a photo (clearly seen in three of the four photos) taken by Aliabadi during an Arctic sailing expedition - the inspiration for the architect's frigid blue and glacial white design.

January/February 2014 CANADIAN INTERIORS 35

Architects in the House

Every moment counts Not an inch of space is wasted in a master suite – fashioned from an attic loft of a house in Toronto’s Summerhill neighbourhood – by Tim Wickens. —By Leslie C. Smith

“It’s probably the smallest space I’ve ever worked with,” says Tim Wickens. As such, the recently completed 160-square-foot master-bedroom suite set in the attic loft of a house in Toronto’s Summerhill neighbourhood presented a “pleasantly challenging puzzle” for the local architect. Homeowners Stephanie and Todd Mackie liked the work he’d done on a friend’s place and subsequently contacted him about their own third-floor conversion. They had only two requirements: that 36 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

their queen-sized bed face the outside treetop view and that an en suite bathroom be somehow shoehorned into the restricted quarters. Acquiring more room by pushing through the roof of the 1880s-era heritage structure wasn’t an option. So instead, Wickens installed a three-foot-wide bathroom under the ceiling’s front slope, cannibalizing an extra foot of depth from the second-floor bedroom below. A central pier clad in Calcutta marble conceals the

plumbing stack and divides the shower area from the powder room, yet the whole is still tied together by a tiled bench that runs the length of the outer wall. This compact-but-seemingly-spacious en suite sits behind floor-to-ceiling frosted glass that acts as both a privatizing wall and the bed’s headboard. At night, light from the bathroom’s incandescent floor spots rises up to create an intriguing backlit glow. Mosaic tiling carries through from the bathroom ceiling to the bedroom bulkPhotography by Bob Gundu

Everything in its place The compact en suite bathroom (“the smallest space I’ve ever worked with,” says Wickens), sits behind floor-to-ceiling frosted glass that acts as both a privatizing wall and the bed’s headboard. Built-in cabinetry provides necessary storage, as does the bed’s ingenious custom frame: it contains nighttime reading material, overhead light switches, and cell and laptop charging systems, as well as hideaway laundry hampers.

head, subtly connecting the two spaces. The bed itself, thanks to a cunning reveal, appears to float atop the room’s bleached white-oak flooring. It looks out, as specified, over a southerly view of roof deck and trees through an opposing wall of glass with an access doorway. To either side, built-in cabinetry lacquered the same white as the walls provides necessary clothing storage. But the problem of where to put the rest of one’s stuff when dual glass bathroom doors preclude

bedside tables took a little more ingenuity. It was Stephanie Mackie who came up with the original suggestion of concealing laundry hampers in twin roll-out drawers in the bed frame. Wickens parlayed this concept, also installing handy overhead reading light switches, phone and computer charging stations and book shelving into the frame. As a finishing touch, he turned the “wasted space” of the L-shaped stairway opening into an attractive and practical

structure of glass balustrade and built-in “floating box” vanity. Client Stephanie Mackie calls Wicken’s work “thoughtful in its use of space, with every detail, every line perfectly placed.” The new master suite, cleverly conceived, replete with light and glass, makes for an ideal retreat, and appears as far removed from the attic it once was as creativity could take it. c I

JANUARY/FEBRUARY 2014 CANADIAN INTERIORS 37

Presto chango Labrecqueâ&#x20AC;&#x2122;s Variable Hidden-Function Monolith is a furniture series of three standalone, nearly seamless rectangular cuboids (eight feet long, 32 inches wide, and 32 inches high) that morph into a brushed-aluminum living room (top and centre), a smoked-glass dining room (bottom left and right), and a painted-plywood workstation (opposite left and right).

38 CANADIAN INTERIORS January/February 2014

Architects in the House

which invariably amounts to a botched vanishing act. He cites Kasimir Malevichs’ White on White, a 1918 abstract oil painting, as the most important work of the 20th century and most emblematic of his self-effacing, architectural philosophy that uses monoliths as the building blocks. “Using monoliths is quite common among architects, but I want to make it systematic in all my work,” says Labreque. Sculpture Habitable, his 2011 composition of 11 monoliths, generated a flurry of interest. Then at New York’s Wanted Design in early 2013, he introduced Variable HiddenFunction Monolith, a furniture series of three standalone, nearly seamless rectangular cuboids (eight feet long, 32 inches wide, and 32 inches high) that transform into a brushed-aluminum living room; a smokedglass dining room; and a painted-plywood workstation. Says Labrecque, “If I could only work with functional monoliths like these for the rest of my days – but even more thought-out and radical – I would be so happy.” For these prototypes, now in their third generation, the devil was in the details, specifically, working with a highly skilled supplier for each type of material, creating the perfect joints that sub-divide the

Transformer

Montreal architect Jean-Maxime Labrecque has a way with the monolith. —By Austin Macdonald

Like an ascetic monk, Jean-Maxime Labrecque, the principal of Montreal-based INPHO Architecture Physique et d’Information, speaks in hushed, solemn tones about his architecture. His firm’s oblique, sculptural minimalism – reminiscent of Donald Judd but actually inspired by Soviet Constructivism – represents a zealous quest for a transcendent absolute,

Photography by Frédéric Bouchard

monoliths into their separate functional modules: “I called the first ones 12 Lines, because that’s what’s initially visible to the naked eye.” The tops and sides of the plywood workstation’s outer surfaces have 45-degree cuts, making the monolith’s joints almost invisible, resulting in the most perfect and uninterrupted form of the three. “A conventional counter and cabinet have three breaks instead of one,” he offers by comparison. “Each detail you add tends to multiply the number of lines in an object.” By his own admission, Labrecque’s first prototypes were more akin to museum pieces, all the joints glued or welded, and ill suited to fit through standard doorways. For their latest iteration, the monoliths feature fixtures, adjustable feet and other hardware so they can could be more easily adjusted, disassembled and transported. A lead from Wanted Design may result in Labrecque’s first sale. “A decorator’s interested in the dining room, but with only six chairs instead of eight,” he says, furrowing his brow momentarily at the rigours of the open market, “I chose eight feet, simply for its elegance, but if I want to share my work I will have relax my principals some.” For Labrecque, his self-immolation is a Tao of self-discovery: “Architecture must be an act of modesty, reducing itself to a minimum, leaving as much as possible to a space’s light, volume and occupants. Undistracted by superfluous objects, dress or ornament, people must face their own selves.” c I

January/February 2014 CANADIAN INTERIORS 39

Who’s Who

Winter whirl 4

—Text and photos by David Lasker

IDC LEADERS BREAKFAST A ballroom’s worth of design-community members gathered at the Four Seasons Toronto for the seventh annual Leaders Breakfast, presented by Interior Designers of Canada and the International Interior Design Association. If IIDEX Canada VP Tracy Bowie always seems to be smiling, she had good cause on this December morning as she was presented with the 2013 Leadership Award of Excellence. The award recognizes outstanding contributions to the interior-design industry. Terry O’Reilly, advertising guru and host of CBC Radio’s Under the Influence, delivered the keynote address. Trevor Kruse, principal of Hudson Kruse Design, introduced Bowie with a glowing, reminiscence-filled tribute, saying she is “the one person in the profession that everybody knows. To date, Tracy has been responsible for generating over $5-million in revenue for ARIDO and IDC.” Then came the ritual presentation of the Eames Splint to Bowie by Herman Miller A+D reps Vinnie Krieger and Sabrina Ash. By now, the splint’s appearance at this moment of the Leaders Breakfast proceedings has assumed the status of a totem, a sacred object with 40 CANADIAN INTERIORS January/February 2014

spiritual significance for its clan, comparable to piping in the haggis on a silver platter at a Robbie Burns dinner. In 1942, Charles and Ray Eames created a plywood leg splint for the U.S. Navy. Sculptural, functional and economical, the splint has an organic, streamlined look; it foreshadows the aesthetic of their subsequent prolific output of molded plywood and fiberglass seating products for Herman Miller, and indeed epitomizes what style mavens recognize now as mid-century-modern retro. 1—Honoree Tracy Bowie and her introducer, interior designer Trevor Kruse, principal of Hudson Kruse Design. 2—Terry O’Reilly, advertising guru and CBC Radio host, delivers the keynote address. 3—IDC’s Candis Green, internal communications co-ordinator, and Julia Salerno, communications manager, flank Matthew Searle, president of his eponymous design-industry consultancy and former IIDEX marketing director, and Canadian Interiors editor Michael Totzke. 4—Herman Miller A+D reps Vinnie Krieger and Sabrina Ash. 5—Bowie & peers: Interior Designers of Canada CEO Susan Wiggins and President Ada Bonini; and Julio Braga, principal of IA and president-elect IIDA. 6—Matthew Searle (see above); photographer Douglas Hall; Lorna Kelly, former chairman, Ryerson School of Interior Design; and former Canadian Interiors editor Lorraine Tierney, wife of Hall. 7—Arlene Gould, strategic director, Design Industry

Advisory Committee; Christine Neufeld, C Salt Strategies; Laura Barski, marketing director, Allseating; and Mark Harris, media-relations manager, Teknion. 8—Chris Gagnier and Wayne Thomson of lighting consultants Studio 1112; with Andy Stilin, business development manager, and Eric Brodie, marketing supervisor, 3M Canada architectural markets. 9—Bowie & family: brother Tim Craine, retired teacher; sister-in-law Kathy Craine, director, major gifts and special campaigns, Rouge Valley Health System Foundation; son Devin, Humber College post-grad copywriting student; husband Guy, president, Keypoint Technologies; and son Timothy, Boart Longyear Global Drilling Services.

6 2

7 3

FORTUNY AT TÉLIO

Mariano Fortuny, the Spanish fashion designer who opened his couture house in 1906, was a true polymath. He was also an inventor (with 20 patents to his name), painter, photographer, sculptor and architect; as a lighting designer, he created a cyclorama dome for Milan’s La Scala opera house. To launch its latest Fortuny textile collection, Télio & Cie, in Designers Walk, held a reception attended from Fortuny world headquarters in Venice (which boasts a Fortuny museum).

1—Télio owner Raymond Telio; Marjolaine Piccio, sales manager at Venice-based Fortuny; Télio showroom manager Francis Leonard; a rare, c. 1908 silk Fortuny sleeveless skirted suit; and Fortuny owner Maury Riad. 2—Powell and Bonnell partners David Powell and Fenwick Bonnell bookmark DCA Design’s Matthew Newton, junior designer, and Dee Chenier, founder and principal. 3—Design writer Mechtild Hoppenrath; Ryerson University interior-design professor Annick Mitchell; Ayoub Zadeh, account manager, Powell and Bonnell; and designer Lois Macaulay. 4—Philip Mitchell Design members Jacqueline Bernat, Kristi Lee Corry and Megan Howlett.

January/February 2014 CANADIAN INTERIORS 41

That Was Then

1—1964: Knoll 2—1974: Noxon 3—1984: Snyder Furniture 4—1994: Matthew Hoey 5—2004: Christopher Pillet 4

The seat goes on Sofas in style 50, 40, 30, 20 and 10 years ago. —By Michael Totzke 5

42 CANADIAN INTERIORS JANUARY/FEBRUARY 2014

“Everything comes and goes / Marked by lovers and styles of clothes” are the opening lines of “Down to You,” a song from Joni Mitchell’s 1974 Court and Spark album. After spending the last half-year going through issues in preparation for our 50th-anniversary issue (November/December 2013) and year (2014), I would add styles of furniture and furnishings to the list. Recently, I set a task out for myself: to find a representative sofa from the pages of CI for the years 1964, 1974, 1984, 1994 and 2004. And here they are. From Knoll in 1964, a straightforward sofa with a frame of teak. From Noxon in 1974, “two basic cubes, two basic curves, a lot of variations and almost infinite combinations.” From 1984, from Snyder Furniture, the ribbed and rounded 2000 Series. From 1994, Matthew Hoey’s non-stop-curving chaise longue (shown at ICFF in New York). And from 2004, a sleek three-seat sofa from Christopher Pillet’s People collection for Artelano. The sofa has gone from long and lean to boxy to curvaceous to quirky and asymmetrical, then back to long and lean again. Everything comes and goes. c I

dimensions V O L .1 /2014

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contents/ sommaire

dimensions magazine VOL. 1 /2014

pg.

idc board of management 2013/14 conseil d’administration 2013/14 Ada Bonini, President/ Chef de la direction BC Denis Chouinard, 1st VP/Premier vice-président QC Aandra Currie Shearer, 2nd VP/Deuxième vice-présidente BC David Gibbons, Past President/Président sortant ON Clinton Hummel, Director/Treasurer/Directeur/Trésorier ON Ellyn Berg, Director/Directrice SK Anne-Marie Legault, Director/Directrice QC Lori Arnold, Director/Directrice NS Denise Ashmore, Director/Directrice BC Kimberley Murphy, Director/Directrice NB Karla Korman, Director/Directrice MB Michele Roach, Director/Directrice AB Peter Heys, Director at Large/Administrateur général ON Kara MacGregor, Director at Large/Administratrice générale NS Sarah Parker Charles, Director, Provisional/Directrice, provisoire NL Susanne Koltai, Director, Education/Directrice, éducation QC Meryl Dyson, Director, Industry/Directrice, industrie BC Nicole Cormier, Director, Intern/Provisional/Directrice, stagiaire/provisoire NB Trevor Kruse, IIDEX Liaison/Liaison avec IIDEX ON Donna Assaly, Chair, Board of Governors/Présidente du conseil des gouverneurs AB Susan Wiggins, Chief Executive Officer/Chef de la direction ON

features/ dossiers

departments/ département

8. what kind of boss are you? quel genre de patron êtes-vous? Are you a deal-maker or great dictator? See why some bosses fail to keep employees engaged and others have staff happily following them. Êtes-vous un négociateur ou un grand dictateur? Voyez pourquoi certains patrons n’arrivent pas à retenir leurs employés et d’autres ont des employés heureux de les suivre.

4/5 on a professional note… sur une note professionnelle… 6/7 in conversation with… en conversation avec… 14/15 on your behalf… en votre nom… 16 industry members/ membres d’industrie

11. body talk le langage du corps The dialogue our bodies reveal through nonverbal cues speak the truth about our emotional state. Learn how to interpret the silent language of body movements, facial expressions and gestures. Le dialogue que révèle notre corps à travers le langage non-verbal dit la vérité sur notre état émotionnel. Apprenez à interpréter le langage silencieux des mouvements corporels, des comportements du visage et des gestes. dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Chef de la direction, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly (AB) Lise Boucher (MB) David Chu (SK) Ron Hughes (ON) Johane Lefrançois-Deignan (ON) Carolyn Maguire (NS) Susan Steeves (BC) canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Ellie Robinson erobinson@bizinfogroup.ca French Translation/Traduction française : Pierre-Éric Villeneuve

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Maya Vnukovsky Administrative Assistant Tony Sienes Manager, Accounting Meghan Smith Director, Business Development Sue Gravelle Director, Professional Development Barbora Krsiakova Member Services Coordinator Debora Abreu Manager, Marketing Gustavo Espinola Marketing Coordinator/Coordonnateur du marketing Julia Salerno Manager, Communications Candis Green Communications Coordinator/Coordonnatrice des communications

Interior Designers Of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 f 416.921.3660 tf 877.443.4425 dimensions@idcanada.org www.idcanada.org

dimensions 03

on a professional note… sur une note professionnelle…

The United Nations has declared 2014 the International Year of Family Farming and Crystallography. The winter Olympics were held in Russia. And, the FIFA World Cup will be held in Brazil. According to the Chinese Calendar, 2014 is the year of the horse. If you are a horse, check it out – you are in for a good year! How is IDC feeling at the top of 2014? The answer is energized, committed, driven and lucky. We are energized by a number of new programs that we will launch in 2014. The first one, which you will read about in On Your Behalf…, is FIRM + Co. – a new subscription program for interior design business owners, principals, partners and department managers. The impetus behind the program is two-fold. First, as the advocacy body for the profession across Canada, we are launching a new online referral website, findinteriordesigner.org, to help members of the public looking to hire an interior design professional connect with you. Second, we want to help you succeed in business. Acknowledging that more than 70 percent of our members are small business owners, we have packaged an entire suite of business support services to help your business grow. The Board and staff have spent all of 2013 developing this new program and we are very excited to roll it out this month. It’s big and worth checking out. Also launching this year is a new young leaders program for our Intern members and a new quarterly newsletter for members of the public to educate them about the work you do every day. We are committed to change in a few program areas, namely, communications and professional development. The Board has spent a significant amount of time at our fall meeting discussing different ways to improve these core areas of our business. Watch for less communications - sounds like a bad thing, but we know it is what you want, so we will find a way to make it work – and watch for more half and full day professional development programming, based on the results of a 2013

Ada Bonini, President/Présidente Susan Wiggins, Chief Executive Officer/Chef de la direction

Les Nations Unies ont déclaré 2014 l’Année internationale de l’agriculture familiale et de la cristallographie. Les Olympiques d’hiver auront lieu en Russie. On y va Canada! La Coupe du monde de la FIFA aura lieu au Brésil. Le calendrier chinois prédit que ce sera l’année du cheval, selon l’horoscope chinois. Alors si vous êtes un cheval, surveillez cela de près, vous devriez avoir une excellente année! Et comment les DIC se sentent-ils au début de l’année 2014? La réponse est énergisés, engagés, stimulés et chanceux. Nous sommes énergisés par la gamme de nouveaux programmes que nous lancerons durant l’année 2014. Le premier programme que vous découvrirez plus longuement dans l’article En votre nom…, est FIRM + Co., un programme d’adhésion pour les propriétaires de firmes de design d’intérieur, les associés, les partenaires et les gestionnaires de département de design. La motivation inhérente à ce programme comporte deux facettes. En premier lieu, il y a l’entité de promotion de la profession à travers le pays. Nous lançons un nouveau site Internet de références en ligne, au findinteriordesigner.org, qui aidera les membres du public qui souhaitent engager un designer d’intérieur professionnel à le repérer. Deuxièmement, nous voulons la réussite de votre entreprise. Puisque 70 % de nos membres sont des propriétaires de petites entreprises, nous avons élaboré un forfait composé de services de soutien pour aider votre entreprise à élargir ses horizons d’affaires. Le conseil d’administration et les employés ont passé l’année 2013 à développer des nouveaux programmes. Nous sommes très contents de pouvoir les rendre publics ce moisci. C’est un événement important à ne pas manquer. Cette année, nous lancerons aussi un programme pour les jeunes leaders, surtout pour nos membres stagiaires, en plus d’un bulletin trimestriel pour renseigner les

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member survey on how you prefer to participate in continuing education. We are driven to ensure your rights to practice, whether that is through regulation of the profession, improved building code language or red-tapefree access to building permits. We are driven to speak to the challenges faced by interior design practitioners throughout Canada and lobby the appropriate government authorities when required to seek change. With active files in Ontario, British Columbia, Alberta and Quebec, there is much work to be done. Finally, we are lucky. No, we didn’t win the lottery. We are lucky in that we have the most awesome staff who continually challenge themselves beyond expectations on your behalf. We are lucky in that we have committed board and committee members who are so willing to devote their time to ser ve the profession. Most of all, we are lucky that our profession – your profession – is one that has such an important positive impact on people’s lives. A profession that makes a difference in the way people work, live and play. At the top of 2014, we encourage you to layout your goals for the year just as we have. As you reflect, please consider how IDC can help. We want to share our enthusiasm, commitment and

“We want to share our enthusiasm, commitment, drive and luck with you. If we work together, we can accomplish our goals for the new year.” membres du public sur le travail que vous faites tous les jours. Nous sommes engagés à modifier certains programmes dans certains secteurs, incluant ceux des communications et du développement professionnel. À l’automne, le conseil a passé beaucoup de temps dans des réunions pour améliorer ces deux éléments importants de nos affaires. Attendez-vous à recevoir moins de communications, ça pourra paraître comme une chose terrible, mais nous savons que cela est ce que vous voulez, et nous ferons le nécessaire pour que cela fonctionne pour le mieux. Surveillez aussi la programmation de journées et de demi-journées de développement professionnel. Les résultats du sondage auprès des membres de 2013 nous informaient de vos préférences quant à la formation continue. Nous sommes stimulés par l’idée de défendre vos droits de pratique, que cela se fasse à travers la régulation de la profession, l’amélioration du langage du Code du bâtiment ou encore en rendant plus facile l’accessibilité aux divers permis. Nous sommes stimulés par les défis des praticiens du design d’intérieur au Canada et par l’idée de faire pression sur les autorités gouvernementales lorsque des changements

drive with you. If we work together, we will continue to be lucky together. And for that, we don’t need a lottery ticket. Have suggestions? Want to get involved? Our contact details can be found on the contents page. We look forward to hearing from you.

Follow IDC on twitter: @idcanadatweets

«Nous voulons partager notre enthousiasme, notre engagement, être stimulés et chanceux avec vous. Si nous travaillons ensemble, nous pouvons accomplir nos objectifs pour la prochaine année.» s’imposent. Il y a beaucoup de travail à accomplir, avec des dossiers sur la table dans les provinces de l’Ontario, de la Colombie-Britannique, de l’Alberta et du Québec. Finalement, nous sommes chanceux. Et non, nous n’avons pas remporté à la loterie. Nous sommes chanceux parce que nous avons les employés les plus extraordinaires, et qu’ils continuent de relever des défis au-delà de toutes attentes, en votre nom. Nous sommes chanceux parce que nous avons un conseil d’administration et des membres de comités qui sont prêts à donner du temps pour notre profession. Votre profession qui ne cesse d’avoir un impact positif sur la vie des gens et qui fait toute la différence dans le travail, la vie et les loisirs des gens. En ce début de 2014, nous vous encourageons à présenter vos objectifs de l’année comme nous l’avons fait. Pendant vos réflexions, considérez comment les DIC peuvent vous aider. Nous voulons partager votre enthousiasme et faire le voyage avec vous. Si nous travaillons ensemble, nous continuerons à être chanceux ensemble. Et pour accomplir ça, nul besoin d’un billet de loterie. Vous avez des suggestions et vous voulez vous impliquer? Vous trouverez nos coordonnées sur la page des personnes-ressources de ce magazine. Nous espérons avoir de vos nouvelles.

Suivez les DIC sur twitter : @idcanadatweets

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in conversation with… en conversation avec… Dimensions speaks to Retired member, Elizabeth Sellors. Dimensions échange avec le membre à la retraite, Elizabeth Sellors. By / Par Julia Salerno

How did you decide on a career in interior design? I graduated from the University of Manitoba, Faculty of Architecture, with a Bachelor of Interior Design in 1972. Partners Carol Jones and Sharon James Raycroft of JaJo Interiors hired me soon after graduation. Throughout my school years, my intention was to go into Fine Arts. But, when it came to the hard reality of making a career choice, I elected to take interior design because I felt it would afford me an opportunity to make a good living. Looking back, I have no doubt I made the right choice. I have had a very satisfying career as an interior designer. And, now that I am about to leave my career, I am going to satisfy my original intention by going back to the University of Manitoba to take Fine Arts. If years ago you were able to foresee the present, what might you have done differently in your career? I can honestly say that I would not have done anything differently. I have had the opportunity to work on a variety of projects from commercial offices, health care, institutional work, educational facilities, a television station, banks, animal shelters, veterinarian clinics and airport maintenance facilities. What are your hopes for the future of the profession? My hope for the future of interior design is that those entering the field will embrace a very different looking field of interior design from what I experienced. Many exciting changes are predicted for interior designers in the coming years, including exploring alternative delivery processes such as design build; mobile app computing and social media will become design tools; interactive spaces will be designed using touch screens and will have the ability to connect internal and external networks using digital imagery displays; evidence-based design along with measurable out-comes, will impact office design, hospitality and educational facilities to better understand

Name: Elizabeth Sellors What will I miss? Collaborating with colleagues and clients. What won’t I miss? Interior design is an undervalued profession

Nom : Elizabeth Sellors Ce qui me manquera? La collaboration avec les collègues et les clients. Ce qui ne me manquera pas? Le designer d’intérieur est une profession sous-estimée.

Comment vous êtes-vous décidée à poursuivre une carrière en design d’intérieur? J’ai obtenu mon diplôme de baccalauréat en design d’intérieur de la Faculty of Architecture, School of Interior Designer de l’Université du Manitoba en 1972. Les partenaires Carol Jones et Sharon James Raycroft, de la firme JaJo Interiors, m’ont engagée immédiatement après la graduation. Durant mes années d’études, mon intention était de faire les arts plastiques. Mais, lorsqu’est venu le temps de faire un choix de carrière, j’ai décidé le design d’intérieur parce que je croyais que cela me donnerait l’occasion de bien gagner ma vie. En examinant le passé, je suis persuadée que j’ai fait bon le choix. J’ai eu une très belle carrière comme designer d’intérieur. Et, maintenant que je suis sur le point de prendre ma retraite, je devrais satisfaire mes premières intentions et retourner à l’Université du Manitoba pour faire des études en arts plastiques. Si vous pouviez prédire le présent, qu’auriez-vous fait différemment dans votre carrière? Je peux vraiment dire que je n’aurais pas fait les choses différemment. J’ai eu la chance de travailler sur des projets variés : des bureaux commerciaux, ceux des milieux de la santé ou institutionnels, des bâtiments scolaires, une station de télévision, et des banques et des refuges pour animaux, des cliniques vétérinaires et des bâtiments destinés au maintien des aéroports. J’ai particulièrement apprécié travailler comme designer d’intérieur. Quelles sont vos espérances pour la profession? Mes espoirs pour le design d’intérieur du futur sont que les gens qui débutent dans le domaine aient la chance de découvrir un autre champ du design d’intérieur que celui

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how design affects spaces people occupy; and repurposing product and flexibility for modification purposes will to some extent replace recycling to ensure sustainability. What makes for a successful interior designer? A successful interior designer has to have a strong work ethic, be passionate about their work and be prepared to put whatever time and effort is required to produce a successful project result. An interior designer has to contribute to their professional provincial and national associations. The associations are what make the profession strong. A successful interior designer must have strong people skills, business skills, communication and writing skills, technical skills and seek out continuing learning opportunities throughout their career.

The young interior designer should first learn that they can never stop learning. From the beginning, they should learn to budget time efficiently; they should learn about the markets in which they need to do business; they should learn about contract administration, project management, specifications writing. As soon as it’s feasible to do so, they should join their provincial professional interior design association for the resources to guide them through their career. Volunteering within the association will provide networking experience and valuable insight to help them throughout their professional career. Continue the conversation: @idcanadatweets

What tips or advice can you offer emerging design professionals? Interior design is a rewarding career. Those who choose it as a career engage in it because they are passionate about it and want to ensure they provide clients with functional, aesthetic and safe spaces in which to live and work. Talented, ambitious young interior designers will be rewarded with a satisfying career if they are prepared to work hard.

“Interior design is a wonderful mix of art, function and practical solutions.”

que j’ai connu. Plusieurs changements stimulants sont prévus pour les designers d’intérieur dans les années à venir, incluant l’exploration des processus de livraison alternatifs comme la méthode conception-construction, les applications mobiles et les médias sociaux qui deviendront des outils de design. Il y aura aussi des espaces interactifs conçus avec des écrans qui auront la possibilité d’être reliés à des réseaux internes et externes, en utilisant des imageries numériques. En plus, le design basé sur des données probantes (et qu’on associe plus couramment au milieu des soins de la santé) avec des résultats mesurables aura un impact sur le design des bureaux, du milieu de la santé, de l’hôtellerie et des bâtiments scolaires. Ce design nous aidera à mieux comprendre son influence sur les résidents. Finalement, la réorientation des produits et la flexibilité pour des fins de modifications remplaceront dans une certaine mesure le recyclage pour assurer la durabilité, pour n’en nommer que quelques-uns. Qu’est-ce qui fait qu’un designer d’intérieur a réussi? Un designer d’intérieur qui a réussi doit avoir une éthique du travail assumée, être passionné par son tra-

«Le design d’intérieur est un merveilleux mélange d’art de fonctionnalisme et de solutions pratiques.»

vail et être prêt à consacrer le temps et les efforts nécessaires pour obtenir des résultats satisfaisants sur un projet. Pour réussir, un design d’intérieur doit contribuer à ses associations professionnelles à l’échelle provinciale et nationale. Les associations sont là pour fortifier la profession. Un design d’intérieur accompli doit avoir de l’entregent, des aptitudes en affaires, des aptitudes dans les communications orales, écrites et des aptitudes techniques, en plus de rechercher des occasions d’apprentissage tout au long de sa carrière. Quels conseils donneriez-vous aux professionnels débutants? Le design d’intérieur est une carrière gratifiante. Ceux qui choisissent cette carrière le font parce qu’ils sont passionnés et qu’ils veulent être certains de fournir aux clients les espaces fonctionnels, esthétiques et sécuritaires où ils veulent vivre et travailler. Les jeunes designers d’intérieur ambitieux et talentueux seront récompensés par une carrière satisfaisante s’ils sont prêts à travailler. Les jeunes designers d’intérieur doivent d’abord apprendre qu’ils ne doivent jamais cesser d’apprendre. Dès les débuts, ils doivent apprendre à gérer leur temps de manière efficace. Ils doivent apprendre tout ce qui concerne les marchés où ils doivent faire des affaires. Ils doivent apprendre l’administration des contrats, la gestion de projet, la rédaction des spécifications et, finalement, s’abonner à des revues de design. Dès qu’ils peuvent le faire, ils doivent se joindre à leur association provinciale de design d’intérieur professionnel pour y trouver des ressources qui les aideront dans leur carrière. Le fait de faire du bénévolat pour une association leur fournira une expérience de réseautage et des idées inestimables qui les aideront dans leur carrière professionnelle.

Pour continuer la conversation: @idcanadatweets

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what kind of boss are you? Quel genre de patron êtes-vous?

Staff retention and motivation rise and fall depending on a leader’s attitude. Les hauts et les bas de la rétention des employés et de la motivation dépendent de l’attitude du patron. By / Par Leslie C. Smith

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Running a business shouldn’t be that difficult for an interior designer. Controlling operations, juggling timelines and, most important, managing people – all these things mirror the ingredients that go into any design project.

as too authoritative, too disengaged, or merely incompetent, he says that being perceived as an ineffective leader comes at a high cost, not only in terms of replacement hires and time spent getting them up to speed but also in the loss of individual talent.” So what kind of a boss are you? With the help of Professor Comber; Ron Guest, co-founder and senior partner of Toronto-based online HR resource Two Grey Suits; and Michelle Biggar, principal and partner of Vancouver’s office of Mcfarlane Biggar Architects + Designers, we’ve isolated distinctive leadership traits, along with their pros and cons, into the following categories:

So why is it that some bosses still fall short of the mark, failing to keep employees fully engaged in their work, losing them to other firms time and again? Professor Scott Comber, PhD, of the Rowe School of Business at Halifax’s Dalhousie University, puts it succinctly: “Research supports the fact that most people quit their boss, not their job.” Whether an employee views you

The Great Dictator Often found in larger, more impersonal firms, this old-school, hierarchical head of the firm lays down the law and expects everyone to toe the given line. Decision-making comes from up high; underlings are told what to do, how and when to do it.

Gérer une entreprise ne devrait pas être difficile pour un designer d’intérieur. Le gestion des opérations et des horaires, et, plus important, la gestion des employés, toutes ces choses mineures sont des ingrédients qui font partie de tous les projets de design.

vous regarde comme autoritaire, trop désinvesti ou simplement incompétent, il précise : «Le fait d’avoir l’air d’un patron incompétent et inefficace a un prix élevé, non seulement en raison des remplaçants qu’il faut engager et du temps passé à les former, mais aussi en raison des pertes de talents individuels.» Alors quel type de patron êtesvous? Grâce aux commentaires du professeur Comber, de Ron Guest, co-fondateur et partenaire senior du service de resources humaines en ligne de la compagnie torontoise TwoGreySuits, et de Michelle Biggar, associée et partenaire chez Mcfarlane Biggar Architects + Designers à Vancouver, nous avons pu isoler quelques traits distinctifs de leadership en examinant le pour et le contre, selon les catégories suivantes:

Comment alors expliquer que certains patrons ne passent pas le test, qu’ils sont incapables de garder leurs employés stimulés par leur travail, jusqu’à les perdre sans cesse au profit d’autres firmes? Le professeur Scott Comber, PhD, de la Rowe School of Business de l’Université Dalhousie à Halifax, l’explique: «Les recherches prouvent que la plupart des individus quittent leur patron plus que leur travail.» Peu importe qu’un employé

Le grand dictateur On le trouve le plus souvent dans les grandes firmes plus impersonnelles. Ce directeur de firme aux valeurs anciennes et hiérarchiques indique les lois à suivre et il espère que chacun les suivra à la lettre. Les prises de décision viennent des rangs supérieurs et les subordonnés se font dire quoi faire, comment et quand le faire.

Pro: High efficiency, clear expectations, systemic checks and balances. Such a boss, says Michelle Biggar, can prove “inspirational – charismatic or very creative and intelligent. Like Steve Jobs, people may be happy to follow them.” Con: Employees can feel abused and disrespected, which leads to poor staff retention. The Deal-maker A “transactional” boss, says Scott Comber, works on a give-andtake basis: “You’re going to give me something and in exchange, I’m going to give you money, or allow you to go to a conference, or some other reward. It feels like a transaction. Business in general is transactional. But people aren’t necessarily all about transactions.”

Pro: Defined and time-honoured working tradition of expectation and reward. Con: Employees can end up feeling like Pavlov’s dogs.

Le pour : Une efficacité élevée, des attentes claires et des contrôles systématiques. Michelle Biggar remarque «qu’un patron du genre peut s’avérer inspirant, charismatique ou très créatif et intelligent. Comme Steve Jobs, les gens peuvent être contents de le suivre.» Le contre : Les employés peuvent se sentir exploités et non respectés, ce qui entraîne une faible rétention des employés. Le négociateur Scott Comber remarque: «Un patron «négociateur» travaille sur une base de concessions mutuelles. Vous me donnez quelque chose et en échange je vais vous donner de l’argent ou vous permettre d’aller à une conférence ou vous offrir une autre récompense. Ça a l’air d’une transaction. Mais les gens sont parfois autre chose que des transactions.». Le pour : Une tradition qui sait récompenser le temps et les horaires définis de travail. Le contre : Les employés peuvent finir par avoir l’impression qu’ils sont des chiens de Pavlov.

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The Optimizer Ron Guest typifies leadership on this level as “earning the respect of your employees, not assuming it because you are the boss.” This is achieved by giving helpful, constructive job performance feedback, and coaching employees to solve problems on their own. All the virtues apply: leading by example, attentive listening skills and setting out clear objectives. Key is getting to know your staff as individuals – understanding their own goals and what is meaningful to them, as well as following through in helping them achieve their version of personal success.

Pro: Staff feel that their input is valued, which breeds loyalty, motivation, increased creativity, and a higher retention rate. Con: Empowered people working in group situations may be less efficient in arriving at decisions; bosses can find it harder to discipline employees or push for quick results. The Micro-manager This type of boss knows what he or she wants and exactly how every job should be performed – to the point of overseeing, and usually correcting, every minute detail. The approach appears strictly

L’optimiseur Ron Guest cadre le leadership dans la perspective suivante: «Gagner le respect de vos employés parce que vous êtes le patron, sans jamais prendre ce respect pour un acquis.» Cela est possible en donnant des commentaires constructifs et aidants sur la performance au travail. Les employés apprennent qu’ils peuvent résoudre des problèmes par eux-mêmes. Toutes les vertus sont applicables : le fait de gouverner par l’exemple, avoir des aptitudes d’écoute et de définir des objectifs clairs. Central à cette démarche est le fait de connaître vos employés individuellement, de comprendre leurs objectifs et de voir qui est important pour eux. Il importe aussi de les soutenir en les aidant à réaliser leur vision de la réussite personnelle. Le pour : Les employés ont l’impression que leur opinion a une valeur, ce qui encourage la loyauté, la motivation, une augmentation de la créativité et favorise la rétention élevé des employés. Le contre : Des gens bien formés qui travaillent en groupe peuvent être moins efficaces quand vient le temps de prendre des décisions. Les patrons peuvent avoir de la difficulté à discipliner les employés ou à exiger des réponses rapides. Le microgestionnaire Ce genre de patron sait ce qu’il ou elle veut et sait exactement comment chaque corps d’emploi devrait performer, au point de revoir, et souvent de rectifier les moindres aspect du travail.

negative in nature. Says Comber: “They’re monitoring for mistakes, in everything from actual work to someone taking a longer lunch hour, instead of focusing in on what people do really well.” Pro: Since we tend to find whatever we go looking for, it is easy for such leaders to believe they’re doing a superb job staying on top of things. Con: The boss may have oodles of confidence and self-esteem, but the staff won’t; sooner or later, they’ll get fed up and leave. The Lackadaisical Delegator This boss’s laid-back attitude offers employees lots of room to make their own decisions – mainly because he or she seems incapable of picking up the reins proactively. When action must be taken, it generally happens at the last minute, resulting in panic and anger on all sides.

Con: Staff who require some external direction and motivation will quickly grow frustrated. Lack of respect for the leader can lead to a lack of cooperation and shoddy production from employees. No one would call the latter two categories successful leadership styles although, to be brutally honest, there are bosses like that out there. The majority of employers would likely tell you they are Optimizers. But in reality, Scott Comber points out, “transformational” leadership is often most effective when blended with a proportion of the traditional “transactional” style, and perhaps just a touch of the “inspirational,” for flavour. Carry on the conversation: @ronwguest @mcfarlanebiggar @scottatdal

Pro: A well-qualified and self-motivated staff might actually prefer such handsoff leadership.

Cette approche peut paraître implicitement négative. Scott Comber le précise : «Ces types de patron surveillent les erreurs dans toutes choses, allant du travail à proprement parler jusqu’à l’horaire des employés qui prennent des pauses trop longues pour se restaurer, au lieu de voir ce qu’ils accomplissent bien.» Le pour : Puisque nous avons tendance à trouver ce que l’on cherche, il est facile pour ces leaders de croire qu’ils font un travail exemplaire en veillant sur tout. Le contre: Le patron peut avoir une confiance et une estime de soi soutenues, mais les employés ne l’auront pas. Plus tôt que tard, ils se lasseront et quitteront leur emploi. L’insouciant L’attitude relaxe de ce patron offre aux employés beaucoup de place pour prendre leur propre décision, seulement parce qu’il ou elle semble incapable de prendre activement les rênes. Lorsque vient le temps d’agir, cela se passe en général à la dernière minute, ce qui occasionne la panique et la colère des deux côtés.

motivés préfèrent ce genre d’approche de leadership, plus détendue. Le contre : Les employés qui ont besoin des directives extérieures et de motivation deviendront rapidement frustrés. Un manque de respect pour le patron peut aussi occasionner un manque de coopération et une piètre performance des employés. Personne ne vous dira que les deux dernières catégories sont les styles de leadership associés au succès, même si, pour être honnête, il existe plusieurs patrons de ce genre. La majorité des employeurs aimeraient vous dire qu’ils sont des optimiseurs. Mais en réalité, Scott Comber précise que le leadership «transformationnel» est souvent le plus efficace lorsque mélangé en bonne proportion au style «transactionnel» plus traditionnel. Avec peut-être une petite touche «d’inspiration» pour en rehausser la saveur. Pour pousuivre la conversation: @ronwguest @mcfarlanebiggar @scottatdal

Le pour: Des employés qualifiés et

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body talk le langage du corps

Decoding non verbal communications Décoder les communications non-verbales By / Par Julia Salerno

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As the saying goes, actions speak louder than words. Body language can impact the way we conduct business and it can be used for everything from helping managers communicate better with their staff, to forging stronger relationships with clients. Non verbal communications strategies, tactics and techniques, can elevate productivity, professionalism and profitability – all without uttering a single word. Eliot Hoppe is a leading body language expert and Neuro Linguistic Certified Practitioner based out of Calgary. He conducts seminars and workshops focusing on understanding and predicting

Comme le dit l’adage, les gestes en disent souvent plus long que les mots. Le langage du corps peut influencer nos manières de faire des affaires. On peut s’en servir pour plusieurs choses, pour aider les gestionnaires à mieux communiquer avec leurs employés ou renforcer les relations avec les clients. Les stratégies de communication non-verbale, les tactiques et les techniques peuvent rehausser la productivité, le professionnalisme et la rentabilité, le tout sans même prononcer un mot. Eliot Hoppe est un expert leader et analyste du langage du corps et un praticien neuro-linguiste certifié basé à Calgary. Il donne des séminaires et des ateliers centrés sur la compréhension et la pré-

human behaviour through the hidden emotions we reveal through body movements, gestures, facial expressions, vocal tonality and language patterns. His teachings have been implemented by the FBI, CIA, Homeland Security and other government and law enforcement agencies. “Body language can reveal a lot about your behaviour, intent and emotional state at that given time,” says Hoppe, “It can either complement or contradict what is being said.” In fact, non verbal communication makes up between 60 to 75 percent of how your message gets delivered. But, non verbal communication goes far beyond just reading someone’s actions. “To effectively interpret non verbal cues, you need to consider external influences like culture, context and environment, and pattern and sequence,” says Hoppe. These are what he calls, the three keys to accurately decoding body language and they can change the way we interpret one another’s behaviour. “In some cultures, it’s disrespectful

to look an elder in the eye,” he says. “Japanese people tend to have low gaze rates at approximately 40 percent, in North America it’s around 70 percent and in Scandinavian and European countries, it can be as high as 90 percent,” says Hoppe. “When meeting someone for the first time, you have to keep in mind that their cultural differences may be the reason why they may not be meeting your eyes.” The context in which your message is delivered can also impact the way it’s interpreted. For example, “If the CEO of an organization needs to deliver the bad news that the company is downsizing and he or she delivers that message to you in a pub, how would you interpret that?” asks Hoppe. “The CEO’s message has been taken out of context, downplaying its severity.” The environment you’re in can also play a role in ones behaviour and should be taken into account when analyzing body language, for example, “when you put that same CEO in a boardroom he or she will act a certain way. When you

diction du comportement humain à travers les émotions cachées qui se révèlent dans les mouvements du corps, les gestes, les expressions faciales, la tonalité vocale et les patterns langagiers. Ses enseignements ont été implantés par le FBI, la CIA, la Homeland Security et autres gouvernements et les organisations chargées de l’application des lois. Hoppe précise : «Le langage du corps peut en révéler beaucoup sur votre comportement, votre intention ou état émotionnel à ce moment précis. Il peut contredire ou confirmer ce qui est dit. » En fait, la communication non-verbale constitue entre 60 et 75 % de la manière dont votre message est livré. Mais la communication non-verbale va aussi beaucoup plus loin que le fait de lire les actions d’une personne. Hoppe ajoute : «Pour interpréter le plus efficacement possible les signes non-verbaux, vous devez considérer les influences externes comme la culture, le contexte, l’environnement, le modèle et la séquence.» Ces facteurs constituent ce qu’il nomme les trois clés pour décoder avec précision le langage du corps. Ils peuvent changer la façon dont nous interprétons le comportement des uns et des autres. Il précise : «Dans certaines cultures, c’est irrespectueux de regarder une

personne âgée dans les yeux. Seulement 40 % des Japonais ont tendance à regarder les gens dans les yeux, comparé à 70 % en Amérique du Nord, et en Scandinavie et dans d’autres pays européen, cela peut atteindre les 90 %. Lorsque vous rencontrez une personne pour la première fois, vous devez vous souvenir que les différences culturelles peuvent être la raison pour laquelle cette personne n’ose pas vous regarder.» Le contexte dans lequel vous livrez un message peut aussi déterminer comment il sera interprété. Par exemple, Hoppe pose la question suivante : «Si le chef de la direction d’une organisation a besoin de communiquer la mauvaise nouvelle que la compagnie réduit ses effectifs et qu’il ou elle vous livre ce message dans un pub, comment allez-vous interpréter cela? Le message du chef de la direction échappe à son contexte, ce qui atténue sa sévérité.» L’environnement où vous êtes peut aussi jouer un rôle sur votre comportement et doit être considéré lorsqu’on analyse le langage du corps, par exemple, «lorsque le même chef de la direction est dans une salle de réunion, il ou elle agira d’une certaine manière. Il agira d’une toute autre manière si vous voyez ce même patron dans un aréna de sport.»

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put he/she in a sporting arena, they will behave very differently.” Hoppe’s final key to decoding body language is looking for patterns and sequences outside of an individuals regular behaviour, called ‘norming.’ And although much research goes into the science of body language, reading gestures is not an exact science. An individuals normal behaviour needs to be assessed to make proper determination of what their body is communicating. “In business, you may be having a pleasant conversation with someone; they are standing with their arms comfortably by their side when suddenly they move their arms to their chest in a crossed position. This could be a sign that they’re ready to end the conversation or that they don’t agree with what is being said.” In the case above, the sequence and pattern of what was considered to be their normal movements and demeanour changed, making it a safe assessment that they are disinterested in what is being said. Building rapport is important to developing a relationships. Our relationships are built on the bonds, trust and credibility we share, which can often take a long time to establish. Non verbally, you can establish rapport quickly. “You know you’re in rapport with someone when, for instance, your actions begin to mirror the other person,” says

Hoppe. “If you want to check to see if you’re in rapport, scratch your hand. If that person then touches their hand you are in rapport and considered to be leading. This would be a good time to ask for what you want.” Engaging in natural eye contact, gesturing with open hands palm up to emphasize a point, and posturing yourself so that your body is facing theirs are all techniques to help you establish rapport. In a business setting, our non verbal markers can be sending employers or potential clients the wrong message. “Avoid pointing gestures towards someone while they are speaking. The unconscious mind views this as a threat,” says Hoppe. “If you can’t break that habit, try turning your hand and pointing with your thumb, palm up with a loose wrist. This sends a less threatening message.” In sales, establishing trust is critical to building a loyal client base. “Studies have shown that people who touch their face are least trusted by others,” says Hoppe. “When we’re uncomfortable, anxious or uncertain our blood pressure automatically elevates. As this occurs,

the nerve endings in the tips of your earlobes become engorged with blood making them itchy. To relieve the itch, we rub our ears. This is where the term ‘Pinocchio Effect’ originated,” he adds. Like learning a new language, understanding body language is a skill that can be developed over time. By paying attention to what we project and how it is being interpreted, we can ethically manipulate how we are perceived to others and how we perceive ourselves. So, sit up straight, push your shoulders back and smile because, “Body language is reciprocal. How you behave will directly influence and dictate how others will behave towards you.”

Selon Hoppe, la clé ultime pour décoder le langage corporel est de regarder les patterns et les séquences extérieures aux comportements habituels, appelés la «normalisation.» Et même si beaucoup de recherches sont faites dans la science du langage du corps, le fait de lire des gestes n’est pas une science exacte. Le comportement normal d’un individu doit être évalué pour déterminer le plus correctement possible ce que leur corps communique. «Dans les affaires, vous pouvez avoir une conversation agréable avec quelqu’un. Vous êtes assis confortablement et ses bras sont confortablement posés le long de son corps, lorsque soudainement il les croise sur son torse. Cela peut vouloir dire qu’il en a assez de cette conversation ou qu’il n’est pas d’accord avec ce qui vient d’être énoncé.» Dans le cas mentionné ci-dessus, la séquence et le pattern de ce qui était considéré comme des mouvements normaux et les comportements ont changé. Il est facile de constater que cette personne n’est pas intéressée par les choses dites. Le fait de bâtir des rapports est important lorsqu’on veut développer des relations avec des gens. Nos relations sont construites sur des liens profonds, sur la confiance et une crédibilité réciproque. Ces choses prennent du temps à établir. Il est possible d’établir des rapports rapidement non-verbalement. Hoppe le souligne : « Vous savez que vous avez des rapports avec quelqu’un, par exemple, lorsque vos actions commencent à miroiter celles des autres personnes. Si vous voulez vérifier si vous êtes en relation, grattez votre main. Si la personne se touche la main ou se gratte, vous

êtes en relation et vous êtes le leader. Cela est probablement le bon moment de demander ce que vous voulez. » Avoir des contacts visuels engagés, faire des gestes avec les mains ouvertes, les palmes vers le haut pour mettre de l’emphase sur un point précis, et vous positionnez pour que votre corps soit en face de celui des autres sont autant de techniques qui vous aideront à établir des rapports. Dans un environnement d’affaires, nos marqueurs non-verbaux peuvent donner un faux message aux employés ou aux clients potentiels. Hoppe renchérit : «Évitez les gestes qui pointent vers une personne pendant que vous parlez. L’inconscient et l’esprit d’une personne voit cela comme une menace. Si vous ne pouvez pas enrayer ce comportement, essayez de tourner votre main et de pointer avec votre pouce, la palme vers le haut et le poignet relaxe. Cela enverra un message moins menaçant.» Dans le secteur des ventes, établir une relation de confiance est important pour bâtir une clientèle loyale de base. Hoppe le souligne : «Les études démontrent que les gens qui touchent leur visage ont moins la confiance des autres. Lorsque nous sommes inconfortables, anxieux ou incertains, notre pression

artérielle augmente automatiquement. Les nerfs au bout de vos lobes d’oreilles s’engorgent de sang, ce qui favorise la démangeaison. Pour enlever cette démangeaison, nous nous grattons l’oreille. C’est dans ce contexte que le terme «effet Pinocchio» a été inventé.» Comprendre le langage corporel est une aptitude qui peut se développer dans le temps, comme l’est toute acquisition d’un langage. En faisant attention à ce que nous projetons et comment cela peut être interprété, nous pouvons éthiquement manipuler comment les autres nous perçoivent et comment nous nous percevons nous-mêmes. Alors asseyez-vous tout droit, reposez vos épaules vers l’arrière et souriez. Le langage du corps est réciproque. Et votre comportement influencera directement et conditionnera comment les gens se comportent avec vous.»

Eliot Hoppe has delivered body language seminars for IDC in Alberta, New Brunswick, Ontario and Saskatchewan. He is the President of Paramount Learning System. Continue the conversation: @eliot_hoppe

Eliot Hoppe a donné plusieurs séminaires sur le langage du corps pour les DIC en Alberta, au Nouveau-Brunswick, en Ontario et en Saskatchewan. Il est le président de la firme Paramount Learning Systems. Pour continuer la conversation : @eliot_hoppe

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on your behalf… en votre nom…

Looking to make more productive use of your time? Want to market your business online? Interested in business support services like an HR service or a personal assistant? IDC has a solution. Interior design firm owners, principals/partners, or interior designers who head interior design departments can now join IDC through FIRM + Co. – our newest way to help you grow your business. FIRM + Co. is an annual subscription that gets you exclusive benefits tailored to ensuring your business is easily found online, reclaiming your time, and putting you ahead of the competition. Findability Ever y day, thousands of people search online for an interior designer in their neighbourhood. A FIRM + Co. subscription includes a comprehensive, self-managed company profile on FINDinteriordesigner.org-IDC’s new referral search engine. The website allows the public to find your business easily online and lets them know that you’re a qualified member of Canada’s national association for interior design professionals. The domain name, FINDinteriordesigner.org, was thoroughly researched and expertly selected to direct a high volume of traffic to the site. Productivity This comprehensive subscription package has been designed to help draw clients to you and help your business succeed. “We are thrilled to bring this opportunity to the membership,” said IDC CEO, Susan Wiggins. “The staff and board team worked really hard to ensure this program has benefits for everyone.” FIRM + Co. subscribers can enjoy exclusive benefits that will help shave a few hours off your work week and save you money. Benefits include: • Free access to the HR resource, Two Grey Suits – a $595 value. Two Grey Suits helps organizations improve performance through people. It’s a 24/7 HR hotline and website and is an invaluable tool for managing day-to-day employee performance.

Vous souhaitez utiliser votre temps d’une manière plus productive? Vous voulez une plus grande présence en ligne? Vous êtes intéressé par des services de soutien en ressources humaines en ligne ou convoitez un assistant personnel? Les DIC ont une solution. Les propriétaires de firmes de design d’intérieur, les présidents, les associés et les gestionnaires de département peuvent maintenant joindre les DIC grâce à FIRM + Co., notre nouvelle méthode pour vous aider à promouvoir votre entreprise. FIRM + Co., est une adhésion annuelle conçue pour vous offrir des privilèges exclusifs et vous assurer que votre entreprise est facilement repérable en ligne. Elle vous permettra d’épargner de l’argent et de rester compétitif. Repérage Tous les jours, des milliers de personnes cherchent en ligne quels sont les designers d’intérieur de leur voisinage. L’abonnement à FIRM + Co. comprend un profil de compagnie détaillé et autogéré sur FINDinteriordesign.org, le nouveau moteur de recherche de références des DIC. Le site Internet permet aux membres du public de repérer votre entreprise plus facilement. Les membres du public verront aussi que vous êtes membre de l’association nationale pour les professionnels du design d’intérieur. La nouvelle appellation FINDinteriordesigner.org a été scrupuleusement recherchée et conçue pour accommoder un plus grand volume d’achalandage sur le site. Productivité Ce forfait d’abonnement a été conçu pour vous aider à attirer des clients et pour favoriser la réussite de votre entreprise. La chef de la direction des DIC, Susan Wiggins, précise: «Nous sommes fiers d’offrir aux membres cette occasion en or. Les employés et le conseil d’administration ont travaillé très fort pour assurer que ce programme soit profitable pour tous.» Les abonnés à FIRM + Co. profitent de privilèges exclusifs qui les aideront à sauver temps et argent. Ces avantages comprennent les suivants : • Accessibilité gratuite à des services de ressources humaines, le programme Two Grey Suits, d’une valeur de 595 $. Le programme «TwoGreySuits» aide les organisations à améliorer leur performance, grâce aux individus. Ce sont un service en res-

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• Discounted administrative and personal assistant services with Black Tulip, who provide clients with financial and payroll administration. With their “get it done attitude,” Black Tulip services free your time so that you can concentrate on what’s important to your business, while they take care of the rest. • Free company analysis to reduce spending with Procurity Group – a $3,600 value. Procurity Grop helps organizations reduce their overhead costs by 10 to 40%. Your free spend analysis includes an assessment of your costs to identify overspend and quantify cost reduction opportunities with a report to summarize key information. • Significant savings on standard and international FedEx rates. Whether your shipping needs are urgent, large or small, subscribers can take advantage of 30% to 35% off intra-Canada, International and U.S. shipping services. • Discounted business supplies at Staples Business Depot on their top 4,000 items. Subscribers will also receive a dedicated account manager and free delivery on any size order. • Special rates on teleconferencing, desktop video conferencing and web streaming ser vices with Momentum Conferencing. Momentum’s suite of conferencing solutions can assist you and your team with reaching a broader market more efficiently and cost effectively. Additionally, they deliver an easy way

to communicate and collaborate internally as well as with clients and dealers.

sources humaines et un site Internet disponibles 24 heures par jour, 7 jours par semaine. C’est un moteur inestimable pour gérer la performance des employés au quotidien. • Des services administratifs et d’assistant personnel avec la firme Black Tulip, qui fournit des services de la paie et financiers. L’attitude positive des services de Black Tulip vous permettra de sauver du temps pour mieux vous concentrer sur les choses plus importantes de votre entreprise, pendant qu’ils veillent au reste. • Des analyses gratuites afin de réduire les dépenses d’entreprise avec Procurity Group – d’une valeur de 3600$. La firme Procurity Group aide les organisations à réduire leurs frais généraux de 10 % à 40 %. Votre analyse gratuite comprend une évaluation de vos dépenses pour mieux identifier les dépassements budgétaires et quantifier les possibilités de réductions des coûts. Le tout comprenant un rapport détaillé et un sommaire des informations importantes. • Des rabais importants sur les tarifs normaux et internationaux de FedEx. Que leurs besoins de livraisons soient urgents, petit ou gros, les abonnés peuvent profiter des réductions des services de 30 à 35% pour des livraisons à l’intérieur du pays, aux États-Unis ou à l’étranger. • Des rabais imbattables sur les 4000 items disponibles chez Staples Business Depot. Les abonnés profiteront des services d’un gestionnaire de compte et de livraisons gratuites sur toutes les commandes. • Des tarifs spéciaux sur la téléconférence audio, la visioconférence pour PC de bureau et sur des ser-

vices de lecture en transit avec Momentum Conferencing. La gamme de solutions de conférences de Momentum peut aider votre compagnie à atteindre un plus grand marché, plus efficacement, à épargner de l’argent. De plus, les services vous offrent une manière plus facile de communiquer et de collaborer à l’interne ou avec vos clients, vos agents et vos représentants.

Profitability From professional development to exclusive event invites, we’re rewarding FIRM + Co. subscribers with exciting promotions to help your business grow. Receive subscriberonly access to business forecast webinars, speakers’ series events, awards programs, social media marketing and international trade missions. As a subscriber, you will also get exclusive bidding rights to RFPs brought to IDC’s attention and special member rates on IDC Career Centre postings. IDC is now accepting subscriptions. Join the many IDC member firms already growing their business through us. Sign up today by visiting FINDinteriordesigner. org and by filling out an online application form. For more information, visit idcanada. org, or email inquiry@idcanada.org. Need us to act on your behalf? Let us know. We’re here to help. Continue the conversation: @idcanadatweets

Profitabilité Nous récompensons les abonnés de Firm + Co. en offrant des formations de développement professionnel et des invitations à des événements prisés qui leur permettront de rester compétitifs. Profitez de l’accès aux divers webinaires, aux événements et aux séries de conférences, aux programmes de prix, au marketing sur les médias sociaux, sans oublier les diverses missions internationales d’échanges commerciaux. Le tout pour les abonnés seulement! Comme abonné, vous aurez un accès exclusif aux appels d’offres qui nous sont envoyés et aux réductions spéciales pour les membres des DIC sur le centre de carrière des DIC. Les DIC acceptent les demandes d’abonnement. Joignez-vous aux autres membres de FIRM + Co., qui élargissent leurs horizons d’affaires avec les DIC, en visitant le site FINDinteriordesigner.org pour compléter le formulaire d’adhésion. Pour en savoir plus, visitez idcanada.org ou envoyez-nous un courriel à inquiry@idcanada.org. Vous avez besoin de nous pour agir en votre nom? Faites-le-nous savoir. Nous sommes là pour vous aider. @idcanadatweets

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Industry members

*Membres de l’industrie IDC Industry - Partner Partenaire des DIC Caesarstone Canada Hunter Douglas LP. Interface Knoll North America Corp. Levey Industries Inc. Philips Shaw Contract Group Tandus Flooring Teknion Limited Williams-Sonoma Inc. Designer Marketplace IDC Industry - Tier III Niveau III 3M Canada - Architectural Markets Ames Tile & Stone Ltd. D&H Hospitality Group ELTE and Ginger’s Formica Canada Inc. GLOBAL GROUP Haworth Ican Tile Distributors INSCAPE Jagorta, Ltd. Kravet Canada Lutron Electronics Canada Inc. Milliken & Company Richelieu Hardware The Mohawk Group YellowKorner IDC Industry - Tier II Niveau II Allseating Allsteel Arborite Beaulieu Commercial Benjamin Moore & Co. Ltd. Cambria Natural Quartz Surfaces Ceragres Tile Group Contrast Lighting M.L. Inc. Crown Wallpaper & Fabrics Dauphin North America DIRTT Environmental Solutions Hettich Canada L.P. Julian Ceramic Tile Inc. Kohler Canada Co. MC Commercial Mapei Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Momentum Group Odyssey Wallcoverings PC350 Robert Custom Upholstery Ltd. Royal Lighting Runway Flooring Couture Steelcase Canada StonCor Group Stone Tile International Inc. Superior Seating Hospitality Three H. Furniture Systems TORLYS Smart Floors Vintage Flooring IDC Industry - Tier I Niveau I 3form 3G Lighting Inc. A&V Granite Abet Corp. Actual Design & Décor Advance Marble & Granite, AMG

Advanced Precision Systems Corporation Aeon Stone & Tile Inc. AGA Marvel Alendel Fabrics Limited Altro Canada Inc. Amala Carpets Antech Technologies Inc. Anti-Slip Anywhere Appliance Love Applied Electronics Ltd. Arconas Astro Design Centre Avant Garde division of Master Fabrics Banner Carpets Ltd. Barazin Barrisol Canada Bay Resource Group Beckwith Galleries BerMax Design Ltd bf workplace BL Innovative Lighting Blackburn Young Office Solutions Inc. Blum Canada Ltd. Bradford Decorative Hardware Inc. Bradlee Distributors Inc. BRC Canada Brunswick Manufacturing Co. Ltd. Buckwold Western Ltd. - Winnipeg Branch Burritt Brothers Carpet and Floors Business Interiors by Staples Buy Rite Office Furnishings Source C/S Construction Specialties Canada California Closets Canadel Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 Carlisle Wide Plank Floors, Inc. Cascadia Design Products CD/M2 LIGHTWORKS Corp. Centanni Tile Inc. Century Wood Products Inc. CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot Click Lighting and Home Coast Wholesale Appliances Cocoon Furnishings Coja by Sofa4life Colin Campbell & Sons Ltd. Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Creative Custom Furnishings CTI Working Environments Cubo Design Inc. culture in design Custom Chic Daltile Canada Dasal Architectural Lighting Décor-Rest Furniture Ltd. Dell Smart Home Solutions Delta Sierra Construction & Millwork Ltd. Denison Gallery Design Exchange Design Lighting Design Living Centre Digital Smart Homes Dimensions Framing DIRTT Environmental Solutions Ltd. Diversified Technology System Inc. (DTS) DOM Interiors Toronto Dominion Rug & Home D’or Art Consultants Dor-Val Manufacturing Ltd. DPI Construction Management Drechsel Business Interiors

DuPont Canada eCarpetgallery Elite Draperies & Home Decorating Elite Finishes Inc. The Ensuite Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group European Flooring Group Finecraft Window Fashions Fleurco Products FloForm Countertops Flux Lighting Inc. Fontile Kitchen and Bath Forbo Linoleum Inc. Gautier (Assanga Interior Design Group) GoodHome Painting Inc. Greenferd Construction Inc. Grohe Canada Inc. Grosfillex Inc. Heritage Office Furnishings Ltd. Herman Miller Canada Inc. High Point Market Authority hitplay Holmes & Brakel Humanscale Indigo Books & Music Inc. Interior Consciousness International Design Guild Isted Technical Sales itk Home JCO & Associates Joel Berman Glass Studios Johnsonite Jones Goodridge KAARMA Kartners Bathroom Accessories Keilhauer Kinetic Design Products Ltd. Kitchen & Bath Classics (Wolseley) Kobe Interior Products Inc. Kraus/Floors with More Krug La Scala - Home Automation and Integrated Audio/Video Leber Rubes Inc. Legend Kitchen Gallery Inc. Leonardi Construction Ltd. Leon’s at the Roundhouse Light Resource LightForm Livingspace Interiors LSI Floors M.R. Evans Trading Co. Ltd. Mac’s II Agencies Maharam Malvern Contract Interiors Limited Mannington Commercial Marble Trend Ltd. Marco Products (W Group) Marketing Your Design Martin Knowles Photo/Media Marshall Mattress Mayhew McKillican Canadian Melmart Distributors Inc., Atlantic Division Mercury Wood Products Metro Wallcoverings Inc. Miele Gallery Caplan’s Miller Thomson LLP Miriam Manzo Interiors MOEN INC. Monk Office Interiors M-Tec Inc. Muskoka Living Interiors Nester Furniture New Wall Nienkamper Furniture and Accessories Inc.

Novanni Stainless Inc. NUCO System Inc. Octopus Products Ltd. Office Source Inc. OfficeMax Grand & Toy Olympia Tile International Inc. Olior Interiors (Advanced Precision System Corporation) Para Paints Pentco Industries Inc. POI Business Interiors Powell & Bonnell Home Inc. Pravada Floors Prima Lighting Prolific Marketing Inc. Robert Allen Fabrics Canada Roman Bath Centre Salari Fine Carpet Collections Save More Plumbing & Lighting Schluter Systems Canada Inc. Sherwin Williams Showcase Interiors Ltd. Silk and Style By Dann Imports Silverwood Flooring Skyfold smitten creative boutique SOFA - Source of Furniture and Accessories Sound Solutions 1997 Inc. SpecConnect Spectrum Brands Canada, Inc. Square, Inc. Stone Port Stonequest Inc. Streamline Sales & Marketing Inc Stuv America Summit International Canada Sustainable Solutions International SwitzerCultCreative Symmetry Lighting Taymor Industries Ltd. Textile Trimmings The Brick Commercial Design Centre Midnorthern Appliances The Interior Design Group The Ensuite The Office Shop The Pentacon Group The Sliding Door Company The Sullivan Source Inc. Tierra Sol Ceramic Tile TOR The Office Resource Toronto Refurbishing Limited Tremton Construction Inc. Trespa Tri-Can Contract Inc. Trigon Construction Management TRIPPED ON LIGHT design inc. Turkstra Lumber Company Ltd. Tusch Seating Inc. Valley Countertops Industries Ltd. Vandyk Commercial Co. Ltd. Vantage Controls Vesta Marble & Granite Vestacon Vifloor Canada Ltd. W Studio Decorative Carpets Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Workplace Essentials IDC Media Partner Partenaires des médias des DIC Canadian Interiors HOMES Publishing Group * As of January 31, 2014 * À partir du 31 janvier 2014

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