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November/December 2013

Official publication of the Interior Designers of Canada

1964-2014

years

Contents FEATURES

50 Years! INTRODUCTION — 27 WORDS OF WISDOM — 31 Letter from the (very first) editor. By David Piper 50-50 — 35 50 great Canadian interiors, from 50 years of Canadian Interiors. By Michael Totzke LET’S MOVE ON — 67 Success in the field of contract furniture requires staying in sync with the evolution of technology – as Global, Keilhauer, Nienkämper and Teknion will attest. By Peter Sobchak

THE SPICE OF LIFE — 83 The best of Maison & Objet, late-summer 2013 edition. By Peter Sobchak WHO’S WHO — 88

WE ARE CANADIAN — 75 Mapping the progress of our associations (provincial and national) for the interior design profession: a compendium of important dates. By Leslie C. Smith CAST OF CHARACTERS — 80 From our pages: 25 notable characters/firms. By Michael Totzke

DEPARTMENTS INSIDE — 12 WHAT’S UP — 16 SHOW BIZ — 21 Great expectations Trends – some anticipated, others completely unforeseen – at IIDEX Canada By Leslie C. Smith

LAST WORD — 90 On the face of it Canadian Interiors covers through the years, from the first to a recent favourite.

Following page 90

November/december 2013 CANADIAN INTERIORS 9

November/December 2013 VOL.50 NO.7

Publisher

martin spreer Editor

michael totzke Deputy Editor

Peter sobchak Associate Editors

Janet collins, david Lasker, rhys Phillips, Leslie c. smith Contributing Writer

david Piper Art Director

Lisa Zambri Advertising Sales

416-510-6766 Account Manager

Joelle Glasroth 416-510-5248 Circulation Manager

beata olechnowicz 416-442-5600, ext. 3543 Reader Services

Liz callaghan Production

Jessica Jubb 416-510-5194 Senior Publisher

tom Arkell Vice President of Canadian Publishing

Alex Papanou President of Business Information Group

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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 seven 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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So far, so good... To make a long story short: Canadian Interiors magazine was published by Maclean-Hunter from 1964 to 1993; sold (along with Building magazine) to Sheri Craig, whose small company, Crailer Communications, published CI until 2007; then sold once more (again, with Building) to Business Information Group, which continues to publish CI as we approach 2014, its 50th-anniversary year. In that time, the magazine has remained true to its mandate, which CI’s first editor, David Piper, laid out succinctly in his first editor’s column: “We wish Canadian Interiors to be a forum for interior design opinion and taste in Canada, to generally assist the profession and further its worthwhile aspirations.” Amen. On a personal level, the best thing about producing this special issue has been getting to know Piper: a finer gentleman I have never met. At our first lunch, I asked him if he’d write an account of his time as editor, from 1964 to 1979. To my delight, he agreed. Look for “Words of wisdom,” which leads off our 50th-anniversary package, on page 31. I’ve spent the last six months paging through – with pleasure, wonder and sometimes downright astonishment (oh, those sexist ‘60s ads!) – 50 years of back issues: looking and reading; photocopying and scanning; plotting and collating. In the end, after many false starts and painful winnowing, I came up with what I think are representative interiors (“50-50,” page 35); people (“Cast of characters,” page 80); and covers (”On the face of it,” page 90), giving a taste of Canadian Interiors through years. I turned to deputy editor Peter Sobchak to write a piece about Canadian contract furniture, no restrictions, and he came up with a winner – investigating the “greatest hits” of Global, Keilhauer, Nienkämper, and Teknion (“Let’s move on,” page 67). Finally, I assigned associate editor Leslie C. Smith a truly Herculean task: to sum up, through milestones, the history of our eight provincial associations for the interior design profession (a ninth was founded quite recently: welcome, Interior Designers of Newfoundland and Labrador, a.k.a. DNL!), along with the history of the national Interior Designers of Canada, a.k.a. IDC. Why Smith? Because I know of no finer researcher/reporter/writer. A special thanks to her for producing an invaluable resource (“We are Canadian,” page 75). I hope you enjoy this 50th-anniversary issue as much as art director Lisa Zambri and I enjoyed putting it together. c I

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What’s Up

Nov./ Dec. B.C.’s very best The 30th annual Interior Designers Institute of British Columbia’s Awards of Excellence gala was held at the Vancouver Convention Centre at the end of September. Nearly 250 guests were treated to a memorable evening of networking, laughs, eye candy and taste delights. IDIBC holds the annual event to celebrate excellence in interior design and promote its members throughout the province. Awards were given in the following categories: Residential; Multi-unit Residential and Marketing; Retail and Kiosk; Healthcare and Personal Services Facilities; Public and Institutional Spaces; Hospitality; Food and Beverage; Workplace Total; and Workplace Partial. Total awards this year number 27: the Robert Ledingham Award, honouring a project that demonstrated the highest level of design excellence and creativity (established this year and presented for the very first time); nine Awards of Excellence; and 17 Awards of Merit. The big winner of the evening was Kasian Architecture Interior Design and Planning, taking home the Robert Ledingham Award as well as an Award of Excellence for the Esker Foundation Gallery. A modern landmark in Calgary’s most historic neighbourhood, the project encompasses aesthetically stunning features, including a flowing

steel-wrapped nest and digital video art wall. (Kasian also won an Award of Merit for its own office in Calgary.) SSDG Interiors Inc. took home two Awards of Excellence, both for Workplace Total projects, one for Blackburn Young Office Solutions, the other for Hootsuite Media Inc.

16 CANADIAN INTERIORS November/december 2013

(In the same category, SSDG also won an Award of Merit for Plentyoffish Media Inc.) Winners of the remaining six Awards of Excellence: Mitchell Freedland Design, for Los Angeles Private Residence; Sinclair Dental Co. Ltd., for True Dental; BOX Interior Design Inc., for The Fish Shack;

McFarlane Green Biggar Architecture + Design, for Bosk Restaurant; Ingenium Design Group Inc., for Yellow Door restaurant; and Square One Interiors Inc., for its office for Bosa Properties. To view the full list of winners, visit idibc.org.

Clockwise from opposite top The Esker Foundation Gallery, by Kasian Architecture Interior Design and Planning; Blackburn Young Office Solutions, by SSDG Interiors Inc.; The Fish Shack, by BOX Interior Design; Los Angeles Private Residence, by Mitchell Freedland Design; and True Dental, by Sinclair Dental Co. Ltd.

What’s Up

Clockwise from above Burnet, Duckworth and Palmer LLP, by MartensGroup; Empty Nesters Condo Renovation, by IN8 Design; One55 Cumberland, by Union 31; and Entro, also by IN8 Design.

ontario’s very best Toronto’s storied royal York (officially the Fairmont royal York Hotel) was the setting for the annual ArIDo Awards gala dinner at the end of September. As always, the evening proved to be the season’s most joyful and well-attended event. The Association of registered Interior Designers of ontario never fails to put on a good show. The ArIDo Awards recognize excellence, innovation and creativity in the province’s

interior design industry. Total awards this year number 19: Project of the Year; three Awards of excellence; and 15 Awards of merit. The big winner of the evening – taking home Project of the Year – was Sharon martens of martensGroup Licensed Interior Design Studio Ltd., for her project burnet, Duckworth and Palmer LLP. These extensive offices for the prestigious Calgary law firm employ refined materials in a palette of contrasting black and white; the project’s outstanding feature is a fanciful 100-foot millwork screen angling across the floor plate. “ArIDo members

18 CANADIAN INTERIORS November/DeCember 2013

consistently defy expectations, creating groundbreaking, world-class projects,” says ArIDo president Janine Grossmann. “This law office conveys a progressive yet professional image befitting a top-tier firm.” Alex Chapman of Union31 took home an Award of excellence for one55 Cumberland, a dramatic reimagining of a condo in Toronto’s Yorkville neighbourhood. The remaining two Awards of excellence went to michel Arcand and Don Parker of IN8 Design Inc. for a pair of Toronto projects, one for the sophisticated empty Nesters Condo renovation, the other for entro, an inspiring

new office for the brand communications and graphics firm. “ArIDo congratulates all award winners,” says Grossmann. “Their talent and commitment to design excellence strengthen ArIDo’s position as the guardian of the highest standards for interior design in ontario.” To view the full list of winners, visit arido.ca and click on Awards. To see photos taken at the gala celebration, see Who’s Who on page 88. cI

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Visitors attend a big trade show such as IIDEX – Canada’s National Design + Architecture Expo and Conference, presented by the Interior Designers of Canada and Architecture Canada/RAIC, held this September at Toronto’s Exhibition Place – expecting to be wowed by certain things. Invariably, however, it is the things you don’t expect that end up making a major impact. My own IIDEX tour started out exactly as planned. Pre-show hype for The Bunkie, a concept cabin produced by ad hoc design team Evan Bare of 608 Design, Nathan Buhler and Jorge Torres of BLDG Workshop, and business developer Jim Moore, proved spot on. Fascinated show attendees quickly surrounded their innovative, 100-squarefoot structure, a prefabricated prototype making its debut at IIDEX. Framed in reclaimed barn board, Etch-A-Sketch aluminum outlines of a traditional house silhouette, complete with stylized chimneystack, trace their way around a pair of 11-foot-high, opposing glazed curtain walls with tilt-and-turn doors. The cunningly crafted interior, featuring a queen-size Murphy bed, built-in shelves, a small, ventless Ethanol fireplace, a pull-down table and wooden folding chairs that fold neatly into the side of a cupboard door, provides a place to sleep, eat and play away from the madding main cottage crowd, and offers its occupants the next-best sensation to living in the open. Once any last-minute bugs are worked out – including how to keep out any real bugs – the Bunkie would make a practical and architecturally stunning addition to any vacation property. Although not an official part of IIDEX’s “Glamping” showcase, the Bunkie fit the new international trend mash-up of “glamour” and “camping” far better than the disappointing display of plastic blow-up furniture, decorative iron cauldrons and wood-plank dining tables presented by Toronto’s Mason Studio. For my money, the adjacent Woodshop exhibit made a far more convincing statement of what I’ve decided to dub “Canadiana Glama.” Conceived by the City of Toronto along with 15 members of the Toronto design community, including the always-vital

Great expectations Trends – some anticipated, others completely unforeseen – at IIDEX Canada. —By Leslie C. Smith

Showstopper The Bunkie concept cabin.

November/december 2013 CANADIAN INTERIORS 21

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brothers dressler, the Woodshop finds new use for at least a fraction of the 200,000plus ash trees estimated to be destroyed over the next five years as a result of an ongoing infestation of emerald Ash borers. Lars dressler is a particular fan of ash wood, which, he says, “is extremely strong and has a nice, long grain to it.” He and his brother Jason contributed the elbow ollie lounge chair, a bent-wood seat built for relaxation and “reclined creativity,” which comes with a detachable side table and ash wand Led light that can either be clamped to the side of the chair or cradled on its own desk stand. other intriguing Woodshop prototypes include the snowshoe-shaped Kôna lounger by miles Keller; the Keela coffee table, with its pseudo-campstool legs, by Paus + Grun; and National design collective’s Ubagaan, a foyer seat crafted as an upside-down tribute to the toboggan. All very “glama-rous” indeed, and distinctly canadian. Another canadian treat was the Nienkämper booth, whose debut furniture products Gateway and the Pleat Series both won Gold Innovation Awards at the expo. The latter, designed by Toronto’s Four o Nine, includes a low-profile, cantilevered dining chair in rotation-moulded polyethylene that’s bent slightly in the middle and dramatically along the sides, back and legs, in origami-like homage to the pleating techniques found in fashion design. Gateway, designed by the dynamic danish duo of Flemming busk and Stephan Hertzog, headquartered in London, england, employs minimalism to provide “technically neutral” tables, media walls, lounge seating and accessories that can be informal or formal, and configured physically or technologically however the end user wishes. The office grouping’s plain styling gets humanized by softened lines, rounded edges and sinuous curves that amply demonstrate simple doesn’t necessarily mean simplistic. Unique seats also captured attention at designYouedit, a first-time-at-IIdeX Italian firm, based out of Saonara, a suburb of Padua that specializes in transformable and multifunctional furnishings. The company showcased, among other things, the curlicue Sissi chair that allows you to sit in three different ways, and the question markshaped Aleaf – billed as “the chair that hugs

1—Elbow Ollie lounge chair by Brothers Dressler 2—Kôna lounger by Miles Keller (left) and Keela coffee table by Paus + Grun (right) 3—Ubagaan foyer seat by National Design Collective 4—Pleat Series chairs by Four O Nine, from Nienkämper 5—Gateway collection by Flemming Busk and Stephan Hertzog, from Nienkämper.

November/december 2013 cANAdIAN INTERIORS 23

Show Biz

you” – whose broad, cushy back encourages a variety of seating positions and big, wrap-around arm can function either as a book, computer tablet or arm rest. But of all the stories swirling around IIDEX – an engrossing Modernism At Risk exhibit, sponsored by World Monuments Fund with support from Knoll; a new website, ideacious.com, that puts small creators in touch with a large online buying community; and Get Better!, the UIA-PHG + GUPHA International Healthcare Design Forum & Expo, held for the first time in Canada – I did not expect to get enraptured by commercial carpeting. Interface’s new Net-Works Project and resultant Net Effects modular carpet tiles are not only great design (winning the LaGrange, Georgia–based company a Gold Innovation Award) but also great sustainable design. Initiated as a pilot project by Interface and the Zoological Society of London, in conjunction with global synthetic-fibre manufacturer Aquafil, Net-Works has now been launched into a full-scale business venture that gives real import to going green. Non-biodegradable, discarded nylon fishing nets represent a serious biological and environmental hazard to oceanic life. Partnering up with impoverished fishing communities in the Philippines, Net-Works provides financial incentive to local residents to gather up these “ghost nets,” which are then recycled into carpet yarn. In an everybody-wins scenario, the villagers receive much-needed supplemental income, as well as a healthier environment for their primary source of income, the local marine life. The world’s environment is thus improved and, rather than Interface using virgin raw materials for their carpeting, the company’s ecological loop is now one step closer to closing. “It may seem a little crazy that a commercial carpet tile company has ended up working with the fishing community on a remote double barrier reef,” says Miriam Turner, AVP Innovation for Interface. “But that’s the beauty of seeing design as more than just product. Co-innovating with experts from lots of different disciplines has been brilliant – together we’ve re-imagined what the value chain could look like. Sustainability is the mother of all collaborations, after all.” c I

1—Interface’s Net Effect Two, in Atlantic 2—Interface’s Net Effect One, in Pacific 3— Sissi chair by DesignYouEdit 4—Aleaf chair by DesignYouEdit.

November/december 2013 CANADIAN INTERIORS 25

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50 Years

1964-2014 Canadian Interiors is 50! In the following 50-plus-page special section, we celebrate 50 years of CI people CI places & CI things Happy anniversary to us!

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Words of wisdom Letter from the (very first) editor. —By David Piper

Yesterday...

Starting a magazine is fun. I wanted to be a writer and when I came down from Cambridge I became a journalist. In England I was on the staff of the very visual Sunday Graphic and the bestselling (four million circulation) Daily Express. In Toronto I joined the Toronto Star before becoming associate editor of Modern Purchasing, a MacleanHunter publication. My other interest is film and theatre and I had a comedy produced at a little theatre in London. And radio plays in Toronto. George Gilmour, our group publisher at Maclean-Hunter, did the math by adding up the number of advertising pages the American interior design magazines had, hoping that we would reach our goal of 10 per cent of that. He had talked to a couple of interior decorators specializing in residential interiors whom he passed onto me. To cut a long story short, my manager, Joe Resnick, and I quickly discovered that the credit ratings of most of the interior decorators was such that the kind of advertisers we wished to attract did not do much business with them. Herbert Irvine, who did a million dollars a year for Eaton’s, a lot of money then, was an exception. I was also to learn that the American magazines each had a niche readership. In Canada we are 10 per cent of the size of the U.S.; and if Canadian Interiors was to be successful we had to appeal to all the niche readerships, as well as architects because they also were designing interiors. To these we added the industrial designers because they were designing so many of the products our readers were specifying, particularly furniture, and the developers, as the end users.

We felt it was important that the magazine should look different from any other, that we would stand out if left on someone’s coffee table. I think John Bellinger’s solution of black-and-white covers worked very well. I believe one of the reasons for the magazine’s success was this wide range of readership covering so many different tastes and skills. And yes, we also covered residential interiors because interior decorators like Budd Sugarman filled their work with new design ideas. Like many of our readers, Sugarman was a great character who fought to keep Yorkville, and his shop there, as a smart shopping district. I never published his work, either in the magazine or later in my column in the Saturday Star, without him grousing about some minor detail he felt I had wrong, while at the same time telling me how this had helped him attract new business! The business magazine division of Maclean-Hunter mostly published magazines covering a technical field, and since we were partly about taste we stuck out like a sore thumb. George Gilmour had a lot of courage to start us and it was a pity he did not continue to be our boss. Design is a visual field and an architect on our advisory panel would always illustrate what he was saying on a napkin or back of an envelope. So the art director was a key player. I felt we were a cross between a consumer and business magazine and we used Joan Chalmers, the art director of Chatelaine, for two of our first issues, and an art director from the business magazine division, John Bellinger, as our permanent one. This set the tone. November/december 2013 CANADIAN INTERIORS 31

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Since I was a writer and journalist I listened a lot and had an advisory panel of designers from different fields. We also ordered every design magazine we could lay our hands on which John Bellinger and I would pour over. The photographers, correspondents and assistant editor were important as they needed to appreciate good design. Don’t forget that then as now, most writers and journalists are word men and women. Then there was the general public. While the remark is too clever by half, when the late architect John Parkin described Canadians as “visual illiterates” he was not entirely wrong. Television has changed tastes enormously. Over time we developed simple, strong layouts with a mixture of big pictures and little ones showing the details. Sometimes these details were taken off the big pictures, but it obviously worked better when the details were photographed separately. When I attended a photo shoot I not only suggested shots but lifted furniture and plants so that the interior looked the same in the photo lens as it did in real life. I would also provide accessories. The younger interior designers would have degrees but some of the older ones needed to take an exam to upgrade their skills, which we encouraged. In Europe the interior designer is often called an interior architect, which better describes the role. We also encouraged the Ontario Decorators of Ontario to change its name to the Interior Designers of Ontario. While it is unfair to pick one president over another, Jack Houghton did a lot for IDO’s business image by negotiating to have it licensed by the province and becoming ARIDO, the Association of Registered Interior Designers of Ontario. A man of many parts, as an OCA graduate he had run the family firm in the field of contract interiors before becoming a successful stockbroker. To be a good editor I think your field has to become your life. Two architects who helped with the magazine, both as friends and critics, were the late Alan Moody and George Robb. I had the most fun doing the foreign issues. Design is international and each

country had something special to offer, from the spare classicism of Denmark to the rich colours and imagination of Italy. The Italians were the best hosts. One trade commissioner who took me round his country explained that not only were we guests of the Government of Italy, he was too, and he liked his food and wine! It was in Denmark and Sweden I developed a liking for beer chased by aquavit as well as their designs. These foreign issues were hard work but always had a high readership. Photographing the best designs from the Interior Design Show came a close second. We usually photographed the furniture beside Lake Ontario, accompanied usually by elegant models, but once by a tiger and another time by a policeman on his horse who happened to be passing. The readers helped as it was their magazine, mirroring their work and influencing their times, and they were proud of it. Until Joe Resnick was promoted, the advertisers also helped by feeling an integral part of what we were doing. I attended their new product launches in the evenings and was careful that layouts of various interiors were accompanied by the spaces’ sources set in small type. We also had a well-read New Products section and technical articles when necessary. I often felt that our many editorial awards were given to the readers and advertisers as much as the magazine staff. They were a fine group of people who influenced their times a great deal during the 16 years I was editor, and are still doing so. c I —David Piper’s first issue of Canadian Interiors as editor was April 1964; his last was November 1979. During those 16 years, he won numerous editorial awards for himself and the magazine. In the years since then, David wrote a weekly column for the Toronto Star before starting his own business, Derwentwater Films, where he serves as writer and executive producer.

November/december 2013 CANADIAN INTERIORS 33

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50 Years

50-50 50 great Canadian interiors, from 50 years of Canadian Interiors. â&#x20AC;&#x201D;By Michael Totzke

From the archives

50 Years

1 2

1—WORTH SAVING National Trust Building, Toronto Design by Alison Bain Ltd.; architects: Marani Morris

In the very first issue of CI, David Piper, the very first editor of CI, writes, “Only the board room, the president’s and executive president’s office have antiques. The over-all mood is thus progressive and twentieth century.” To wit: marble walls of dark green and cream; burnished copper-coloured carpet; and Knoll and Swiss design copper-coloured chairs. April 1964

2–TAKE A GANDER Gander Airport lounge, Gander, NF Design by Chris Sorensen; architects: Durnford, Bolton, Chadwick and Ellwood

Original caption: “Colour scheme in lounge, pleasant rather than violent, to calm nervous and excited passengers, is range of blue and greens.” (Remember when flying was glamorous?) The furniture is 99 per cent Canadian designed and manufactured. May 1964

November/december 2013 CANADIAN INTERIORS 37

1—COTTAGE LIFE Cottage, Canadian exhibit, 13th Triennale, Milan Interior design by Jacques St-Cyr; architect: Schoeler and Barkham

After a six-year absence, Canada returned to Milan with a vengeance, winning the Gold Medal. As CI’s assistant editor Madge Phillips writes, “What, the members decided, could be more Canadian than a summer cottage. And a summer cottage it is, sitting in the midst of Italian greenery and making the viewer feel he [sic] has walked into the Canadian Northland.” Colours inside range from cool blues to soft beiges, set off by cedar panelling. (By the way: Jacques St-Cyr, who designed the interiors, also designed the Canadian flag.) August 1964 1 2

2—MEMBERS ONLY City Hall member’s lounge, Toronto Design by Knoll Canada; architect: Viljo Revell

John Quigg’s glass-topped table with wood base; along with Warren Platner chairs designed for Knoll and made in Canada, plus tables. 38 CANADIAN INTERIORS November/december 2013

(Cut to 2013: it was the recent purchase of 30 replicas of the Platner chairs, for $75,000, that sent Mayor Ford into a major hissy fit; the originals, in disrepair, had been refurbished in the past.) In his editor's column, David Piper writes, “The furniture makes a strong personal imprint, in the

same manner that the building itself does. The whole thing shows courage and integrity, is an attempt to capture the truth of an artistic idea and to carry it through with force and clarity.” May 1966

3—IN THREES Three Small Rooms, Windsor Arms, Toronto Design by Janis Kravis

One of the “three small rooms” of Toronto’s first sophisticated restaurant (the story goes), highly influential at the time. Walled in dark-brown brick, the Wine Cellar featured chairs with fumed-oak frames and natural leather cushions, grouped around tables of laminated oak. June 1967

4—NATURAL HABITAT Habitat interior, Expo 67, Montreal Design by Alison Hymas, Webb, Zerafa, Menkes; architect: Moshe Safdie

One of 12 Habitat display suites, furnished by Canadian designers and Canadian manufacturers. Writes Hymas, “I felt the problem required architect-type furniture which represented a continuation of the architectural forms, with an attempt to underplay the furniture and leave the interior volume to express itself strongly.” September 1967

4 5

5—ACCORDING TO ARTHUR ERICKSON House in British Columbia Architect: Arthur Erickson

One of Canada’s most distinguished architects, Erickson (1924–2009) is quoted as saying, “The form and arrangement of a house should come out of the site; the character should be suggested by the clients – how they live, what kind of materials they’re used to.” Case in point: a house for a couple, he a painter, she a weaver – with the interior wood left rough and a fireplace made of concrete. January 1968

November/december 2013 CANADIAN INTERIORS 39

1—GOOD RECEPTION Offices of Arthur Andersen & Co., TD Centre, Toronto Design by J&J Brook

The lobby of the international accounting firm is fully panelled in sequenced matched walnut. On the west wall (at right) is an 18-foot-long relief map of the world: 140,000 birch pegs, set on two levels, describe areas of land and sea; acrylic pegs pinpoint Arthur Andersen offices. The groovy ceiling is sculpted cast plaster. September 1968

2—NATIONAL PRIDE National Arts Centre, Ottawa Architects: project architect A.B. Nichol; consulting architects Affleck Dimakopoulos Lebensold Size

Here come the ‘70s. On the way to the Studio, a colourful mural by William Ronald: “Suddenly, the entire space opens up in a burst of marvellous colour and pattern.” September 1969

40 CANADIAN INTERIORS November/december 2013

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From the archives

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From the archives

50 Years 1

1—SCIENTIFIC METHOD

3—WINNING IN WINNIPEG

Ontario Science Centre, Toronto

Centennial Hall, University of Winnipeg

Design by G. Ronning-Philip; architect: Raymond Moriyami

As contributing editor Alan Moody puts its, “Escalators lead from the auditorium on the conical hill down into the ravine to the exhibition halls. To quote the architects, ‘The buildings are like a strip show, facets and aspects and views developing as one goes along.’ A treatment of large mass concrete walls contrasts the window areas, out of which the visitor overlooks the view.” July 1970

2—HAIR TODAY Vidal Sassoon salon, York Square, Toronto

Architects: Moody Moore Duncan Rattray Peters Searle Christie

The Expansion ’70 program at the Univerity of Winnipeg is the second stage of growth, and includes a major multimedia library facility with extensive additions to the academic and teaching areas; the architects endeavour to design a flexible system that can readily adapt itself to changing factors in the years ahead. Cafeterias run all along the fourth floor and fourth-floor mezzanine corridor areas. Stairwell, ducts, trusses and services are white; rails are yellow. February 1973

Design by AJ Diamond and Barton Myers

Shag haircut, anyone? In a well (at right in photo), a stair rises three storeys to a huge skylight, the space penetrating the building. September 1971

November/december 2013 CANADIAN INTERIORS 43

1—IT’S A GAS

3—TRÈS CHIC

Offices for Cockfield, Brown and Co., Vancouver

Rive Gauche fashion shop, Montreal

Architect: Werner Forster

Design by Goyette Duplessis; architect: Joe Dunne

On the top floor of the old Kelly Douglas warehouse in Vancouver’s Gastown neighbourhood (then experiencing a resurgence), good structural brick and concrete to work with, along with unusual 1½-to-two-storey spaces originally housing freight elevators – ideal for a “far out” ad agency. May 1973

2—EVERGREEN Offices for Greenshields, Toronto Design by Rice-Brydone Limited Design Consultants

As writer Cynthia Gunn tells it, “Modern chic, Champs Elysée French, expensive but not outrageously so – that's the design image of Rive Gauche which the 5½-year-old design firm of Goyette Duplessis tried to recreate in an old St. Catherine St. building in Montreal, situated across from an A&W and just a few buildings away from a new Howard Johnson's restaurant.” In the entrance lobby, steps from rue Sainte-Catherine, early-’70s high style: blue ceramic tile, stainless steel, and Plexiglas tubes lit from above. August 1973

“The Greenshields job [on the 12th floor of Toronto’s historic Bank of Commerce Building] demonstrates the Rice-Brydone style, where antique chests of drawers and French bronze candlesticks are all mixed with the best of contemporary.” June 1973 3 44 CANADIAN INTERIORS November/december 2013

4—HERMAN MILLER, HERE

6—BACHELOR ARTS

Herman Miller showroom, Toronto

Bachelor pad, Yorkville Village, Toronto

Design by Doug Stead and Jo-Anne Vandervelde, Herman Miller Ltd.

Design by Peter Rice

The two-storey space in a penthouse on University Avenue had never been occupied, offering Herman Miller a blank canvas. The upper floor is set back forming a balcony from which the lower floor can be seen. Good carpeting and Herman Miller furniture are all that’s needed. November 1975

To quote editor David Piper, “It started spontaneously when Italian furniture importer George Bartello, designer Peter Rice and display artist Scott Craigie renovated warehouse space in the fashionable Yorkville Village area of Toronto.” To quote H.W. (KC) Casey and Richard Finch, “Oh, that’s the way, uh-huh, uh-huh / I like it, uh-huh, uh-huh.” June 1978

5—CENTRE OF IT ALL The Eaton Centre, Toronto Architect: The Ziedler Partnership

Can one imagine Toronto without it? Writes the late architect George Robb, then a CI contributor, “Much of the architecture of the centre considered by itself is of a very high order, but the fragmented nature of the overall assembly does produce some peculiar results.” In his editor's column, David Piper writes, “The Eaton Centre project is a very good object lesson in almost all aspects of design….The design team included town planners, architects, interior designers, industrial designers, civil, structural and electrical engineers, acoustical consultants, flooring consultants, lighting consultants, store planning consultants, and many others….It is not possible for any design discipline to hide in its ivory tower.” September 1977 6

November/december 2013 CANADIAN INTERIORS 45

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From the archives

50 Years

1—METROPOLITAN LIFE

3—INSIDE 24 SUSSEX DRIVE

Lucien D’Allier Metro station, Montreal

Prime Minister’s Official Residence, Ottawa

Architect: David, Boulva, Cleve

Redecoration by Margaret Trudeau

Monumental dimensions were used by the architects to create the effect of an underground cathedral with arches and vaulted ceilings. Let there be light – 85 feet into rock.

Photographs of the P.M.’s digs were released to Canadian Interiors in 1978. The fireplace is surrounded by matching tuxedo-style sofas, covered in off-white silk corduroy; the coffee table is bronze, with a smoked-glass surface. The painting over the fireplace is by Paul-Émile Borduas, one of the fathers of modert art in Quebec.

January 1981

2—MALL OF MALLS West Edmonton Mall Architect: Maurice Sunderland Architects Inc.

May 1982

Welcome to the decade of excess: marble and mirrors and bronze, oh my. Once promoted as the “8th wonder of the world,” WEM is still the largest shopping mall in North America. Its centre court soars 50 feet to an atrium ceiling; 35-foot trees – the tallest ever placed in a Canadian mall – grow toward the light. The fountain’s 19 jets of water “dance” in time to music. November 1981

3 November/december 2013 CANADIAN INTERIORS 47

1—THE JOY OF ROY Roy Thomson Hall, Toronto Architects: Arthur Erickson/Mathers and Haldenby Asssociate Architects

From CI’s news section: “On the evening of Sept. 13 in Toronto, an elegant, formal crowd of 2,800 gathered to approve Arthur Erickson’s latest design project – Roy Thomson Hall. The gala opening audience included the design as well as the concert, and the event was as impeccably executed as the hall itself.” Writes editorial contributor Rick Book, “Erickson wanted a showpiece, a design that enabled the people outside to see what was going on inside the building at night. In the darkness, it is a house of glass. Passersby stop. Like children with faces pressed against the window, they watch the people on the grand staircase, sneaking glances at each other in the kaleidoscope of mirrors – offering a million changing reflections of the curtain wall.” October 1982

2—LET US ENTERTAIN YOU Zanzibar Tavern, Toronto Design by Fred Parera, Martin Hirschberg Design

“The client [the infamous ’burlesque’ club on the lower end of Yonge Street],” Parera tells the writer, Richard Cadoret, “wanted to divest the club of its backroom image and make it festive and colourful – to legitimize the place.” Cadoret weighs in: “The tone is set with bright wall graphics and white female mannequins reminiscent of those in the Milk Bar sequence of Stanley Kurbick’s A Clockwork Orange.” Not shown is the dance stage with Lucite shower stall, designed to "clean up the act.” September 1985

48 CANADIAN INTERIORS November/december 2013

3—SPECIAL OF THE DAY

4—STRUTTING THEIR STUFF

Ediner, Yorkville Shopping Centre, Toronto

Gianni Versace shop, Leone deparment store, Vancouver

Design by Duro Bicanic, Jedd Jones Architect Ltd.

Design by Yabu Pushelberg

A salute to the streamlined look characteristic of 1930s “moderne“ design, in a diner made to look like Hollywood's notion of a city streetcar. The now classic “diner" materials – vinyl, Formica, laminates, stainless-steel panels, terrazzo, quarry tile and glass block – are perfectly balanced. April 1986

Toronto-based Yabu Pushelberg is the first non-Italian firm to be asked to design a high-end men'sfashion shop for Gianni Versace. Partners George Yabu and Glenn Pushelberg create a suitably sleek and sophisticated environment: the floors are granite with flamed-granite diamond inserts; the metal is polished raw steel; and the walls are a subtle grey stucco. September 1987

November/december 2013 CANADIAN INTERIORS 49

1—CITYTV LIMITS CITY-TV studios, Toronto Design by Quadrangle Architects

As the display copy sums up rather elegantly, “Toronto’s CITY-TV is television verité. ‘Behind the scenes’ are the scenes.” The design team created a city within an early-1900s building on Queen Street West: corridors equal streets; departments equal storefronts. A pavilion set over the executive waiting area (shown) functions as the city square. July 1989

2—STEELCASE IN MONTREAL Steelcase showroom, Montreal Design by Jill Hogan, Moureaux Haupsy, with MH’s George Haupsy and the Steelcase team

The reception area (bottom right) introduces the curves and motifs that set the tone of the one-level, 8,600-square-foot showroom. Elliptical lines cut through the theatrically lit main area (top right); drama comes from an emphasis on texture and colour. September 1989

50 CANADIAN INTERIORS November/december 2013

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50 Years

WINTER OF OUR CONTENT Winter Garden Theatre, Toronto Restoration by architect Mandel Sprachman and restoration consultant David Hannivan

In 1913, a double-decker theatre was built in Toronto – with Lowe’s Yonge Street (later the Elgin) on the bottom and the Winter Garden on top. As B. Prosser Thomas writes, “the whimsical Winter Garden was closed in 1928 in a peculiar way. With its silent [film] projector in place and vaudeville scenery still suspended, the doors were simply shut, sealing up the theatre.” Cut to 1982, when the restoration of the Elgin and Winter Garden began. A particular challenge, the Winter Garden’s trompe l’oeil walls were painstakingly restored employing a technique for cleaning museum documents; workers went through over 1,000 pounds of flour to make bread dough to roll over surfaces, picking up dirt and soot. January 1990

November/december 2013 CANADIAN INTERIORS 53

1—HOW CIVILIZED The Canadian Museum of Civilization, Gatineau, QC Architects: Douglas J. Cardinal Architect Limited, in association with Tétreault, Parent, Languedoc et Associés

According to the visionary Cardinal, the curved shapes that characterize the commanding project are not an arbitrary choice: “The museum will be symbolic in form. It will speak of the emergence of this continent, its forms sculpted by the winds, the rivers, the glaciers.” The suspended staircase (far left) at the end of the Grand Hall soars through three storeys. In the Hall itself (left), columns on the glazed wall are individually shaped to diffuse sunlight. 1

January 1990

2—LIBRARY ARTS Vancouver Public Library Architect: Moshe Safdie

Controversial from the get-go, the Roman Colosseum–like building by the Canadian-Israeli architect is an engaging civic space to some, a postmodern folly to others. Safdie defends it as “a high-tech building of the highest order.” Furniture and fixtures in the outer reading arcades boast the warmth of cherry wood and oxidized metal. May/June 1995 2

3—FUN & SUN Toronto Sun offices, Toronto Design by Burt Manion Interior Design Limited

The main reception area of “the little paper that grew” features ¾-inch sandblasted electronic security doors. Austrian cut-glass prisms catch and reflect natural and artificial light. May/June 1992

54 CANADIAN INTERIORS November/december 2013

5 6

4—MAKE AN INVESTMENT

5—ZOOM, ZOOM...

6—HOW SWEET!

Office for Harley Street Holdings Inc., Vancouver

Zoom Caffe and Bar, Toronto

Mozart pastry shop, Toronto

Design by Ian Dubienski and Loren Cavallin, Group 5 Design Associates Ltd.

Design by II BY IV

Design by Burdi Filek

“The instructions I gave were fairly straightforward,” Harley Street Holdings president George Killy is quoted as saying. “I wanted a fun place that I would enjoy spending my work day in and that also had good display space for my art collection.”

Zoom took Toronto by storm, for both its dishes and its design. II BY IV transformed a cavernous banking area into a dramatic collection of intimate spaces. A trio of massive custom-designed spheres suspended on steel rods visually lower the height of the room – 23 feet at its highest point.

Diego Burdi and Paul Filek of Burdi Filek (now Burdifilek) have always been known for playful experimentation. Case in point: Mozart, a 500-square-foot pastry shop whose Art Deco touches include rounded corners in the walls, display fixturing and dark-ash framing, plus retro colours.

October/November 1996

May/June 1998

September 1999

November/december 2013 CANADIAN INTERIORS 55

1—maritime MODERNISM

2—THE MASTER’S TOUCH

Howard house, West Pennant, NS

Del Prado lofts display suite, Vancouver

Architect: Brian MacKay-Lyons

Design by Robert M. Ledingham Design Consultants

The Halifax-based architect creates a Modernist, scupltural object facing the ocean. Main-floor views north (top left) and south (bottom left) reveal, in the words of editor David Lasker, “a Miesian ‘universal space,’ without partitians.” A trough of maple millwork panels and grey ceramic tile turn up along the wall from the polished concrete floor, making a wainscotting sill.

Characteristic refinement from the much-honoured, internationally known designer. The walls of the living room at the display suite in the Yaletown neighbourhood are zoned into Mondrianesque sectors of maple cabinetry, a fireplace surround of industrial metal and white drywall. November/December 1999

November/December 1999

2 56 CANADIAN INTERIORS November/december 2013

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50 Years

1—PARAMOUNT IMPORTANCE

3—ICE, ICE BABY

Famous Players Paramount Festival Hall, Toronto

Ice Hotel, 10 km east of Quebec City

Design by Andrew Gallici, International Design Group

Design by Jacques Debois, with ice sculptor Michel Lepire

Over the top we go in the multiplex movie-theatre flagship. The Vivid lounge-bar pays homage to “1970s-vintage Star Wars high tech and ’60s space camp (à la Barbarella and The Jetsons).” Highlights include a continuous silver banquette, with round and oval holes cut out; and, overhead, several large hemispheres covered in metallic reflective sequins.

A total of 4,500 tons of snow and 250 tons of ice were used in building the first ice hotel in the Great White North. The narrow lobby (bottom) features a 16-foothigh vaulted ceiling supported by a double row of stocky, crystalline ice columns. A suite (top) also features towering ice columns. March/April 2001

September 2000

2—MUSKOKA LIFE Muskoka boathouse, ON Design by Shim-Sutcliffe Architects

“In a stylish update of the vernacular Muskoka decor, the sleeping cabin transforms the traditional Victorian ceiling of beadboard (cottage-style, tongue-in-groove panelling) into a shaped, Douglas fir ceiling,” writes editor David Lasker. ”The curving form marks a rare Shim-Sutcliffe departure from rectileanearity.” November 2001

November/december 2013 CANADIAN INTERIORS 59

1—LOUNGING AROUND Lexus Lounge, Roy Thomson Hall, Toronto Design by Kuwabara Payne McKenna Blumberg

Fresh from its triumphant renovation of Roy Thomson Hall’s audience chamber, KPMB creates a sleek, brand-new space. On an existing flat, concrete wall, a maple sleeve adds visual warmth. Illumination was inspired by the diffused side lighting used in photo studios and the overhead point lighting on theatre stages. July/August 2004 2

2—INSIDE OUT

3—KID STUFF

Home for Claude Cormier, Montreal

Waterloo Children’s Museum, Kitchener, ON

Design by Jacques Bilodeau

Architect: Levitt Goodman Architects

For conceptual landscape architect Claude Cormier, Bilodeau constructs a contemporary interior landscape. Highly unconventional, the house is structured through a series of platforms that suggest plains of inhabitation, rather than delineating rooms. Dark walnut parquet gives uniformity to a lively composition of slopes and plateaus.

In designing the museum, the Toronto architectural firm had a superior shell to work with: the old Goudy’s department store, once the jewel of Kitchener’s main drag. Stripping back the building to its 1870s steel skeleton gave the design team a remarkable vocabulary to incorporate into the museum’s “exploration of art and technology” mandate. The “planetary wall” in the atrium playfully introduces a circular motif.

September/October 2004

May/June 2005

60 CANADIAN INTERIORS November/december 2013

4—How canadian Offices for Inco Special Projects, Mississauga, ON Design by Inger Barlett & Associates

In the reception area, Bartlett chose a material palette reflecting Inco and Canadian themes. Maple clads the cantilevered ceiling sector; the slatted canopy and metal detailing throughout feature stainless steel, a nickel alloy. July/August 2006

5—STURDY STUFF Gallery M gallery/showroom, Vancouver Design by Martha Sturdy

In the new gallery/showroom, replacing Sturdy’s former retail outlet, a room vignette boasts an illuminated chair in the designer’s signature resin material. March/April 2007

4 5

November/december 2013 CANADIAN INTERIORS 61

1 2

1—LET THERE BE LIGHT

2—A BLANK CANVAS

Umbra store, Toronto

Offices for Nolin/BBDO, Montreal

Design by Figure 3; architect: Kohn Shnier

Design by Daoust Lestage

In 2007, much of the buzz in Toronto concerned Umbra’s first stand-alone store in a storied building just off Queen Street West. Bathed in light from a southern-facing wall of windows, a wide concrete staircase leads to the second floor. Everything in the interior is clear, transparent, floating in stark white, with Umbra products providing colour.

For the branding, advertising and marketing firm, Daoust Lestage created a stark space to spark the imagination. A 27-foot-long structure runs the length of reception – a desk at one end, a white-leather lounge at the other, and a steel-and-glass chandelier overhead. A bright-red carpet runner reflects the firm’s corporate brand.

September/October 2007

January/February 2008

C m a S 62 CANADIAN INTERIORS November/december 2013

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50 Years 1—FANCIFUL The Room at the Bay, Hudson’s Bay Company, Toronto Design by Yabu Pushelberg

From fabulously successful George Yabu and Glenn Pushelberg, some characteristic magic. The duo divided the 20,000-square-foot space into distinct areas delineated with permeable screens. Writes associate editor David Lasker, “The screens’ openness allows daylight to flow unimpeded, which reflects and sparkles on the silvery metal fittings, gleaming glass and white-on-white scheme.” Best of Canada, 2010

2—RAW MATERIALS Offices of Lemay Michaud Architecture Design, Montreal Design by Lemay Michaud

The rough with the smooth; the old with the new. “The elongated lobby acts as a telescope, focusing attention toward a peek-a-boo screen, partly concealed by a grey pavilion,” writes associate editor Rhys Phillips. “Behind the screen, a sliver of glazing fronting a raised boardroom is left visible.” September/October 2011 1

2 64 CANADIAN INTERIORS November/december 2013

3—EVERYONE INTO THE POOL Saint-Hyacinth Aquatic Recreational Centre, Saint-Hyacinth, QC Architecture: ACDF* Architecture

Associate editor Leslie C. Smith at her most eloquent: “Kinetic activity abounds, and this energy is mirrored, apparently frozen, in the huge ceiling overhead – a ceiling made up of multiple fragments of white, oblique shapes floating in space. Bringing to mind a shelter within an imaginary iceberg, the setting appears glacially cool, majestically calm, cathedral-ish yet secular.” September/October 2012

4—GOOD WOOD Xthum, Kwantlen Polytechnic University, Surrey, BC Design by Public: Architecture + Communication

An aboriginal gathering place of uncommon grace (“Xthum” is a Hul’qumi’num word meaning basket and drum). As contributing writer Adele Weder puts it, “A small jewel of a project, the gathering place is designed in one corner of Kwantlen’s “C” Building, warming a starkly officious space with reams of cedar strips that curve from wall to ceiling and crest into what looks like a breaking wave at the top of the room.” March/April 2013

4 November/december 2013 CANADIAN INTERIORS 65

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50 Years

Let’s move on Success in the field of contract furniture requires staying in sync with the evolution of technology – as Global, Keilhauer, Nienkämper and Teknion will attest. —By Peter Sobchak

When writing about the past, it’s hard not to reflexively think about the future. While no one possesses magical clairvoyance and the future will always be shrouded in mist, what is interesting is looking at what we thought about the future in the past. Admittedly, it’s fun to see old predictions of the future that grossly missed their mark, like DEC founder Ken Olson in 1977 saying, “There is no reason anyone would want a computer in their home”; or Robert Metcalfe, founder of the digital electronics company 3Com, hilariously predicting in 1995 that the “Internet [will] soon go spectacularly supernova and in 1996 catastrophically collapse.” Sure, the future doesn’t exactly look like many thought it would, but at the same time in many ways it does, especially when it comes to the evolution of the space we all spend a vast majority of our lives: the workplace. Being not so far removed from the cave as we like to think, humans still crave gathering, purpose, hierarchy, acceptance and other core attributes of how we work. And no one is more finely tuned to the ebbs and flows of the modern workplace than those who create the furniture for it, such as four of our favourite companies, each proudly Canadian: Global, Keilhauer, Nienkämper and Teknion. Change cannot be scripted, but to these companies, the writing has been on the wall for quite some time. Since the modern office is inextricably tethered to communications technology, as the latter shifts, so the former shifts with it. “The technology we rely on for business has a huge impact on how we work, and often changes to technology happen at

such a quick pace,” says Klaus Nienkämper, founder and president of the eponymous firm. As communications technology got smaller, so too did the office. In the latter half of the century, “smaller offices and more meeting rooms were a driving change in the workplace,” he notes, an observation echoed by every one of these companies. Along the way, all four companies have scored home runs with certain products that got out in front of a coming workplace paradigm shift, as you will see in the following pages. These are the products that either put the company on the map or propelled it to a level of dominance (or both). But of course not resting on their laurels, they are each keenly observing how the modern workplace is shifting and metamorphosing, and are preparing new products to meet the change. That change, they see, inhabits several forms. They predict collaboration to be a top business objective in the workplace of the future, and the workforce, mirroring our nation’s demographic trajectory, will become more diverse than ever. “The next major impact will be accommodating four generations of different cultural beliefs in one workplace, from Millennials to Boomers and the in-betweens,” says Steve Verbeek, design director at Teknion. “Each has different sets of values and work styles.” Additionally, the demand for energy-efficient, sustainable buildings will continue. “LEED has changed things a lot,” says Verbeek. “Environmental impact has been a major catalyst in the current generation.”

“The ongoing automation of jobs will be one of the major workplace game changers in the future,” says John Hellwig, Teknion’s vice-president of design and innovation. “It will eliminate once-familiar jobs and create space for new ones we never thought of before. It’s hard to predict, but if you are an optimist it is a good thing. If you’re not, it’s not.” Which is why when we hear prophets forecast an inevitable future of “virtual” offices staffed by transient workers and tiny wireless everything, anxiousness can creep in. However, while it is true that to ignore change is perilous, to ignore ageless underlying tenets is even worse. “Telecommunication technologies and power requirements have changed the workplace, but there are cultural pillars that still define how we work: the need to sit, the need of a work surface, face-to-face interactions balanced by a need for privacy,” says Verbeek. “Furniture is not a technical solution anymore. Our job now is to create meaning and value in what really are simple products. Day-to-day work function is well-understood: what we want and have to do is try to capture imaginations.” We all know that change is the only constant and those who watch and listen carefully will be better positioned to profit from it. But ultimately, some things never change. “Every business is about selling a product to people who need it,” says Mike Keilhauer, president of the eponymous firm. “The future, like the past, will always be about people.”

NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 67

GLOBAL: AFFORDABLE PRESTIGE There are few who can speak with the authority that comes from a life lived in the industry. In the world of contract furniture, Saul Feldberg, founder and CEO of The Global Group, is one such individual. After immigrating to Canada in 1953 at age 17 and learning the trade in an upholstery shop making restaurant chairs and benches, Feldberg partnered in 1966 with Bill Kemeny to establish what would become the present-day powerhouse in contract furniture. That same year, Global’s very first product hit the market like a missile: the Executive chair. “The Executive 105 was our first high-back executive chair in fabric and vinyl that we sold to our dealers for $68,” recalls Feldberg. “To give you an idea of how ridiculous this pricing was, one of our competitors sold a similar chair for $290 to their dealers, who of course marked it up before selling to an end user. Who could afford to buy it? For $2,900 you could buy a brand new, fully-loaded 1966 Pontiac Parisienne.” Not surprisingly, the skeptics needed convincing that such a well-made chair could be produced at such reduced cost. But as with anything, high quality always shines through, and dealers

began accepting Global and the concept of mid-lower-cost office furniture. “Those chairs were in service for 20 or 25 years and they made us an industry pioneer,” says Feldberg. “We created the budget

seating market niche for North America, not just Canada.” Feldberg has been uniquely positioned to bear witness to the evolution of the modern workplace over the decades, like few others. Manufacturing processes changed, materials changed, designs changed, but to him, one piece of technology can be credited for rewriting the map. “I believe that computers changed everything,” he says. “Offices were being reconfigured to accommodate computers and seating was being redesigned to fit the users, [for example with] the development of the gas cylinder or pneumatic lift and the adjustability for seating posture that led to push-button technology in seating.” Today, Global produces hundreds of contract furnishing lines that can be found in offices all over the world. But Feldberg’s original philosophy still guides the company: “I believe that price, value, and comfort weigh heavily on the minds of our customers. As in the past, Global still strives to ‘Build a product that the average person can afford.’” The Executive 105 not only lived up to that slogan, but set the company on its course.

KEILHAUER: TOM WAS BOUGHT George Orwell had certain axioms when it came to writing: “Never use a metaphor, simile or other figure of speech which you are used to seeing in print. / Never use a long word where a short one will do. / If it is possible to cut a word out, always cut it out. / Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent.” Although it wasn’t available when he wrote his influential essay Politics and the English Language in 1946, if it was, he would most likely have sat in a Tom. For the first 15 years after being founded in 1981 by the Keilhauer brothers, the eponymous company had been building on its custom contract seating pedigree, and according to president and owner Mike Keilhauer, “had been doing pretty good work in the tilter- and swivel-base market.” By the mid-1990s, it already had several successes, most notably the Elite (designed by Ed Keilhauer, the partners’ father) for the boardroom and the executive office; and Respons (designed by Chris Sorensen), which took Keilhauer from the executive office to the general office. By having products in both environments, Keilhauer was uniquely positioned to see the changing needs and conditions of the workplace as a whole, in particular the growing emphasis on ergonomically adjustable seating. Supported by a massive capital investment in tooling, the company felt the time was right to break into the U.S. market and make a name for itself. Welcome, Tom: a

beautifully designed family of task chairs that while still delineated along hierarchy, was the first to include the full array of ergonomic functions in every one. After its release in 1997 at Chicago’s NeoCon, sales of Tom doubled the size of the company

and firmly established Keilhauer in the American caster-chair market. But it wasn’t just the design of the chair that the market responded to so well: a truly original and creative marketing package (the brainchild of Jackie Maze, Keilhauer’s vice-president of sales and marketing, and Toronto-based design agency Concrete) grabbed everyone’s attention. While people were still scratching

their heads trying to figure out what to make of the recently debuted Aeron, which Herman Miller chose to define as “a chair that increases performance,” an opposite approach was taken for Tom. Keilhauer wanted people to view Tom as user-friendly, approachable, even your pal. (Hence its name, evoking a simple, friendly buddy. Contrary to first glance, it was not named after its designer, Tom Deacon. “If Deacon’s name was George we would still have named the chair Tom,” says Keilhauer.) The marketing campaign treated Tom as an unpretentious guy, with slogans like “This is Tom” and “Tom can be bought,” and shots of Tom with a cigar or going to Vegas. The straightforward minimalism of the campaign, in a time when task chairs came loaded with scientific jargon and tech-speak, was refreshing and influential. While revolutionary for the company, Tom still reflects a fundamental tenet: in the earliest days of the business, custom products were made to fill niches that were not readily available in the market. It is no different today. For example, after Tom, Mike Keilhauer determined there was a niche no one had touched: a pared-down conference chair with inherent functionality. Mark Kapka was hired by the company to design a chair to fill this niche, and Simple was born to great success. And with a name like that, it’s clear that Keilhauer shares the same philosophy as Orwell.

NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 69

NIENKÄMPER: LET’S TALK Believe it or not, technological precursors to today’s notion of teleconferencing can trace their lineage back to the early 1930s (or even further, depending on how flexible you get with the term “teleconferencing”). At the time, companies such as American Telephone and Telegraph (AT&T) were experimenting with “two-way televisiontelephone” systems, but it wasn’t until AT&T unveiled the Picturephone in 1964 that the idea moved from the laboratory to the real world. As exciting as it was to behold, the Picturephone was a financial flop for AT&T, and it took over 30 years for

software client just as that industry was beginning to change the modern workplace. What Nienkämper saw in this environment, essentially, was a growing need to figure out how to harness technology effectively and elegantly in boardrooms and meeting rooms. With Vox conference tables, Mark Müller designed a stylish solution for tabletop plug-in points for computers, projectors, conferencing equipment, electronic presentations, the Internet, or any other audio, video or data connection. Vox also deftly straddles that line of a client’s desire for prêt-à-porter as well as

position,” says Klaus Nienkämper. Pre-Vox, most of the company’s business was producing products under licence for foreign companies mostly for export to the U.S. After Vox’s development in Dallas and subsequent launch in Chicago at NeoCon, the company saw a 20-per-cent sales growth for four years in a row, and had to expand its factory in 2002 to handle the orders. Put simply, Nienkämper understood that despite the evolution of telecommunication technologies, there is always a need for rooms in which people can meet; and with its ever-expanding Vox collection

another trailblazing company (and a Canadian one at that!) to develop a product that would firmly embed the tool of teleconferencing into the modern workplace. That company was Nienkämper, and the product was Vox. Toronto-based Nienkämper has been designing high-end furniture for offices, public areas and residential interiors since its founding in 1968 by Klaus Nienkämper. But in 1997 the company found itself in the perfect nexus of influences: serving a major American

customizability. The tables are pre-wired and arrive ready to be plugged in and put to use; but are also available in 14 different shapes, can be specified with many different styles of bases, and now can even come with a glass top. It would almost be too hard to overstate the impact that Vox had on Nienkämper. “Being the first one out the gate with this type of product afforded Nienkämper a strong position worldwide in the conference table market, and we have been able to maintain that

created a niche market that not only didn’t previously exist in office furniture but, in a sense, transformed the corporate world into the globally connected realm we all take for granted today.

TEKNION: BEYOND THE CUBICLE When Toronto-based Teknion was founded in 1983, it had one single product line: the Teknion Office System (TOS). Now, 30 years later, the company offers an array of integrated products covering lines of systems furniture, mobile furniture, architectural wall systems, seating, storage and filing, freestanding casegoods and accessories. But when asked to single out a product the VIPs at Teknion feel was their “home run,” it isn’t something from the early 1980s. Instead, they point to District. Unveiled in 2007 at NeoCon in Chicago, District is a collection of cabinets, desks, walls and windows addressing the shift towards smaller workstations. “Over the past 15 years, we have seen the average size of the employee workstation decrease by up to 40 per cent, and up to 45 per cent for managers,” says John Hellwig, vice-president, design and innovation. District’s primary innovation was the ability to make the most out of small spaces: storage is the primary framework for workstations, and narrow, small-scale versions of traditional storage units stacked on credenzas serve as space dividers; credenzas themselves double as visitor seating or worksurfaces; and large windows starting at worksurface height open up the workstation to allow light and views. Teknion realized that one design does not work for all needs and uses, and so the designers created a “kit of parts” that can be used like Lego to facilitate each group’s needs; for example stackable storage, as opposed to mounted to a panel, can be

moved as needed but is still secure. But more than just a functional advancement, District also signaled a keen awareness of design trends that look both forward and back. “Horizontal overlapping planes and long floating volumes recall the best of mid-century-Modern office furniture design elements,” says Steve Verbeek, design director, and senior designer of District. “As computer hardware becomes smaller, more mobile and easier to use, workstations are becoming more like furniture.”

Unabashedly influenced by modern European residential furniture, “the use of natural veneers, glass, painted wood construction and anodized aluminum reflect these inspirations and brings the look and feel of furniture back to the open plan,” says Verbeek. In fact, that European influence is reflected in the original project name – Mid-Atlantic – which Verbeek says refers to European influence and the slow swell of change occurring in North America meeting halfway in the Atlantic Ocean. The name “District” refers to the idea that the

office - like a city - can be understood as a collection of connected but different quarters or neighbourhoods. While District is a clear attempt to get away from the old office landscape of uniformity, it is seen by Teknion as an evolutionary step, not a radical 180-degree turnabout. After all, much of District was informed by previous product lines like XM, which while not a huge success, helped presage District. “The tech industry was a huge component of Teknion’s early business, which XM was geared towards,” says Verbeek. “Although the tech bubble burst, Teknion had already connected with facility designers and designers in general, helping put the focus on design.” It took a year to develop District, from concept to implementation, and “along the way we were carefully building reassurance that we were on to something,” says Verbeek. “By the time we had sign-off, at no point did we think we should pull the plug.” Since then, District has impacted not just Teknion’s design approach, but its manufacturing process as well: for example, Teknion used to measure week-to-week business by panel-sells, before the non-panel District became a bestseller. Ultimately, District has drastically changed the entire product genre, and of course given birth to a host of subsequent imitations, as game-changers always do. c I

NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 71

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50 Years

We are Canadian Mapping the progress of our associations for the interior design profession: a compendium of important dates. —By Leslie C. Smith

Interior Designers Institute of British Columbia (IDIBC): 1950 – Interior Designers Institute of British Columbia (IDIBC) is incorporated under the province’s Society Act. 1955 – The association produces its first Decorama event, a semi-regular design show that runs until 1970. 1970 – Douglas College introduces BC’s first Interior Design program. 1976 – US National Council for Interior Design Qualification (NCIDQ) is adopted by the organization; a year later, the examination becomes mandatory for professional membership in BC. 1977 – IDIBC launches an ongoing series of successful design and charity events, including Designer Show Homes; continuing education at Designers Weekend, which runs yearly until 1999; and the annual Designer Garage Sale, which starts in 1990. 1981 – The Awards of Excellence design competition program is initiated as an annual event, showcasing excellence and innovation in residential and commercial interior design in BC. 1985 – IDIBC and Institute of Business Designers (IBD) BC Chapter amalgamate, effectively strengthening both. 1987 – The title “Registered Interior Designer (RID)” is registered under the Society Act of British Columbia. 1991 – The provincial Building Code is revised, requiring Letters of Assurance to accompany building permits signed by certified professionals. IDIBC meets with

government officials to clarify this requirement, and finally receives an exemption for tenant improvement projects in 1993. 1992 – Legal committees are formed to pursue legal recognition for Registered Interior Designers in BC. Standard legal contracts, building code courses and professional liability insurance requirements are developed. 1993 – Kwantlen College, later Kwantlen Polytechnic University. inaugurates a Bachelor program in Applied Design in Interior Design; by 2006, this program is awarded full, six-year professional level accreditation by the US Foundation for Interior Design Education Research (FIDER), a first for BC. 2000 – IDIBC celebrates its 50th anniversary by hosting the 27th IDC AGM in Vancouver. 2001 – The annual Design Northwest Trade Show is launched in Vancouver, held in conjunction with Buildex and the BC Construction Show. 2003 – The Continuing Education Unit (CEU) program with a three-year reporting cycle becomes mandatory; online CEU reporting and management are handled through NCIDQ. 2006 – IDIBC and the Architectural Institute of BC (AIBC) sign a Memorandum of Understanding to develop a framework for on-going discussions regarding possible incorporation of their memberships under the Architects Act. 2008 – Vancouver Island University launches a new Bachelor of Interior Design degree. 2013 – The British Columbia Institute of Technology launches new Bachelor of Interior Design degree.

Interior Designers of Alberta (IDA): 1957 – An initial meeting in Calgary of nine interior designers leads to a new association, Calgary Interior Designers (CID). It is agreed that designers would gain more prestige in the community if their services were properly publicized. Subsequent meetings see a charter drawn up, along with qualifications for membership and a professional standard of ethics. 1959 – Representatives from Alberta and BC meet in Nelson, BC, to form the Canadian Institute of Interior Design (CIID). 1960 –The CID association, broadened to include all of Alberta, is incorporated under the provincial Society Act as Registered Interior Designers Institute of Alberta (RIDIA). 1976 – RIDIA begins hosting the Westex trade show, which alternates yearly between Calgary and Edmonton. The event, focusing on suppliers and manufacturers active in the Western Canadian market, as well as educational seminars and guest speakers, runs annually until 1992. 1980 – “Interior Design” becomes defined and regulated under the Alberta Architects Act (AAA). RIDIA successfully lobbies for licensure of Interior Designers as recognized practitioners. The province’s Interior Design community is split by the proclamation of Bill 31, as both RIDIA and AAA are legislated professional organizations. To this day, AAA-licensed Interior Designers remain qualified and recognized within Alberta only, whereas the association’s members are recognized and qualified throughout Canada. 1980 – Calgary’s Mount Royal College NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 75

applies for and is granted accreditation for its Interior Design program by the US Foundation for Interior Design Education Research (FIDER). 1991 – RIDIA applies for registration under the Professions and Occupational Associations Registration Act, with the intention of attaining Title Act status. The application is denied in 1992 for unknown reasons. 1992 – The association adopts Interior Designers of Alberta (IDA) as its new operational name. 1999 – IDA establishes a professional degree as the minimal educational standard for registered members, and makes Professional Liability Insurance coverage mandatory for all members. 2000 – IDA launches Urban Encounters, a successful table-top trade show presented annually in both Calgary and Edmonton. 2003 – The mandatory Professional Development Program launches. 2010 – IDA celebrates its 50th anniversary.

Interior Designers Association of Saskatchewan (IDAS): 1968 – Eight interior designers meet in Saskatoon to establish Interior Designers of Saskatchewan (IDS). 1972 – In Ottawa, Saskatchewan becomes one of the original signatories to the Interior Designers of Canada (IDC) charter. This further helps legitimize IDS in provincial government eyes. 1978 – First reading of Bill 105, an Act Respecting the Interior Designers of Saskatchewan, is received and tabled in the Saskatchewan legislature; the bill stalls when the government is later adjourned for an election. IDS meanwhile institutes the US National Council for Interior Design Qualification (NCIDQ) exam as qualification for membership. 1988 – IDS represents the highest percentage of members among all provinces who subscribe to the first IDC Liability Insurance program, and the second-highest percentage of members among all provinces who successfully pass the NCIDQ exam. 1992 – Together with other professional 76 CANADIAN INTERIORS NOVEMBER/DECEMBER 2013

organizations (architects, engineers, landscape architects, graphic artists and community planners), IDS helps form the Design Council of Saskatchewan (DCS), to promote excellence in design to the public and to introduce elementary school students to the design process through hands-on learning. 1997 – The association’s name is changed to Interior Designers Association of Saskatchewan (IDAS). The Interior Designers Act is proclaimed in the provincial legislature, granting IDAS legal protection for the title “Interior Designer.” 2000 – Active participation begins in an advisory capacity to the Saskatchewan Institute of Applied Science and Technology, Architectural Technology and Interior Design program.

Professional Interior Designers Institute of Manitoba (PIDIM): 1948 – The University of Manitoba establishes a new, four-year Bachelor of Interior Design course. For nearly two ensuing decades, it remains the only school in Canada to offer this type of degree. Interior Design students at the U of M’s School of Architecture form the Society of Student Interior Designers (SSID); after graduation three years later, they expand the group, changing its name to the Manitoba Institute of Interior Designers (MIID). 1954 – An act to incorporate the Interior Designers Institute of Manitoba (IDIM) is passed by the Legislative Assembly of Manitoba. 1964 – IDIM celebrates its 10th anniversary by sponsoring a Trade Exhibition at the Fort Garry Hotel in Winnipeg. Eighteen annual and biennial shows follow until 1993. 1980 – The provincial association adopts examination and certification requirements of the US National Council for Interior Design Qualification (NCIDQ). 1981 – IDIM changes its name to the Professional Interior Designers Institute of Manitoba (PIDIM) and formally petitions the Manitoba government to reserve and protect the title of Professional Interior

Designer for registered members. Shortly afterward, Manitoba becomes the second province (after Quebec) to enact legislation designating Interior Design as a profession. 1983 – U of M hosts the International Federation of Interior Designers (IFI) Forum on Interior Design Education. Several other Interior Design organizations, including IDC, IDEC, FIDER and NCIDQ, hold their annual conferences in Winnipeg in conjunction with this global conference. 1984 – Winnipeg’s Ronald McDonald House opens its doors. The project represents a mammoth undertaking by 31 PIDIM members, who donated all Interior Design services. 2001 – Canada’s first Master of Professional Interior Design program launches at U of M. 2004 – PIDIM celebrates its 50th anniversary with a lecture entitled “Advancing the Interior Design Profession.” The event is held at the University Women’s Club – the original meeting place of IDIM. 2005 – PIDIM is invited by the Minister of Labour to join the Building Standards committee, a body that reviews and proposes building code amendments to Cabinet. 2007 – PIDIM applies for membership in NCIDQ. 2008 – The association implements a professional development program, offering instruction in both the continuing education and participation categories.

Association of Registered Interior Designers of Ontario (ARIDO): 1934 – A group of designers meet in Toronto to establish the Society of Interior Decorators of Ontario (SIDO). 1964 – Association leaders seek to outline professional standards for the profession and industry. 1970 – Society of Interior Decorators of Ontario (SIDO) changes its name to Interior Designers of Ontario (IDO). 1982 – IDO institutes its annual awards program, open to all registered members.

Showcasing excellence, innovation and originality in interior design across 10 distinct categories, the awards become highly regarded honours in the Ontario Interior Design community. 1984 – On the occasion of the association’s 50th anniversary, the Legislature of Ontario passes the ARIDO Act, legally changing the self-regulating organization’s name to Association of Registered Interior Designers of Ontario (ARIDO) and authorizing it to set standards and rules for its members. ARIDO requirements include six years of combined education and supervised internship; passing the standardized North American examination under the US National Council for Interior Design Qualification (NCIDQ); carrying professional and general liability insurance; adhering to a Code of Ethics and Standards of Practice; and participating in a mandatory continuing-education program. Of equal note, ARIDO founds IIDEX the same year, which instantly becomes the country’s leading design show. 1999 – The ARIDO Act is amended in the provincial legislature with the passing of Bill Pr6; the Titles Act grants registered members who meet ARIDO standards exclusive use of the title “Interior Designer” in Ontario. 2010 – ARIDO restructures to focus on regulatory functions in pursuit of a Practice Act.

Association of Professional Interior Designers of Quebec/ Association professionnelle des designers d’intérieur du Québec (APDIQ): 1933 – Five shopkeepers gather at Montreal’s Windsor Hotel, setting the foundations for an association that will be named Interior Decorators Association of Quebec (IDAQ). 1946 – Quebec’s legislature formalizes the existence of the newly renamed Interior Decorators Society of Quebec (IDSQ)/la Société des décorateurs ensembliers du Québec (SDEQ). 1966 – The word “Design” is used for the

first time within IDSQ/SDEQ. 1975 – IDSQ/SDEQ confirms the meaning of “Interior Design,” defining the skills and educational programs related to the field. 1994 – As the concept of Interior Design is refined over the years, the association changes its name to la Société des designers d’intérieur du Québec/the Society of Interior Designers of Quebec (SDIQ). 2002 – SDIQ ends its activities. 2003 – A new organization arises, Association of Professional Interior Designers of Quebec/Association professionnelle des designers d’intérieur du Québec (APDIQ), with a new mission and specific objectives. 2012 – APDIQ becomes affiliated with the national association, Interior Designers of Canada (IDC) and Interior Designers of Quebec (IDQ).

Association of Registered Interior Designers of New Brunswick (ARIDNB): 1984 – Partly in response to the provincial Architects Association, which is seeking to limit the practice of Interior Design to registered architects only, New Brunswick–based members of Interior Designers of Nova Scotia (IDNS) decide to form their own provincial association. 1987 – The New Brunswick Legislature passes the Titles Act, restricting the designation “Registered Interior Designer (RID)” to IDNS members, and charging the association with the responsibility of fostering professionalism and education among its members. That same year, IDNS and the Interior Design program offered through Collège communautaire du Nouveau-Brunswick/New Brunswick Community College, in Dieppe, host a presentation on Colour Theory by celebrated Californian designer Carlton Wagner. 1990 – ARIDNB, along with the University of New Brunswick Wood Science and Technology Centre and Forestry Canada, undertakes a project to investigate the opportunities for Maritime maple in value-added applications. All products are designed by members of ARIDNB and manufactured within New Brunswick. 1992 – IDNS institutes the requirement

that all members pass the US National Council for Interior Design Qualification (NCIDQ) exam. 2005 – Marking its 20th anniversary, IDNS hosts (for the third time) the board of directors meeting of Interior Designers of Canada (IDC).

Interior Designers of Nova Scotia (IDNS): 1975 – Interior Designers of Nova Scotia (IDNS) is established. 1990 – The Nova Scotia legislature passes an act limiting the use of the title “Interior Designer” to registered members of IDNS. Professionals must now possess seven years’ education and experience, pass the US National Council for Interior Design Qualification (NCIDQ) exam, and be members of IDNS to so term themselves. 2003 – The Interior Designers Act gets first reading in the provincial legislature, and is passed the following year. The act provides a legal definition of “Interior Designer,” legally recognizes the profession in terms of qualification and standards, and removes the stipulation that only architects or engineers are permitted to sign off on non-structural drawings representing work over $60,000. 2011 –The Interior Designers Act is amended, further outlining and defining the responsibilities and practice of the profession.

Interior Designers of Newfoundland and Labrador (DNL): 2013 – Interior Designers of Newfoundland and Labrador (IDNL) is founded in St. John’s with 17 core members, and received provisionally at the IDC AGM. Recent growth in the local economy is reflected by the province’s growing design community. Multiple inaugural events are planned for the spring of 2014. NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 77

Interior Designers of Canada (IDC): 1972 – After several years of consultation and preparation, provincial members from the seven extant Interior Design associations meet in Ottawa to sign a federal charter for a national advocacy and advisory group, creating the umbrella organization of Interior Designers of Canada (IDC). 1976 – A national office is established in Ottawa, in shared space, for the IDC president and a small secretarial staff. 1979 – Lacking the necessary funding and unable to convince the former federal department, Design Canada, of the need for cross-country educational accreditation, IDC begins talks with the US-based Foundation for Interior Design Education Research (FIDER) about a transnational affiliation; an agreement is reached the following year. 1980 – IDC’s Interior Designers Council of Canada is created, to foster charitable works in the Interior Design field. Toronto’s National Interior Design Show, owned and managed by Southex, a division of Southam Publishing, folds. For several years, the event provided the Canadian Interior Design community with a valuable showcase, as well as funds for an annual student-design competition. 1983 – IDC’s national office relocates to Toronto. 1984 – IDC drafts an examination affiliation with the US-based National Council for Interior Design Qualification (NCIDQ). In Toronto, the International Interior Design Expo (IIDEX) is founded by the Association of Registered Interior Designers of Ontario (ARIDO). 1986 – A professional development program is finally formulated, and Continuing Education Units (CEU) are launched with a marketing seminar held at IIDEX. IDC holds its first strategic planning session and conducts a national fee and salary survey, the results of which are published in Canadian Interiors. 1987 – The national Professional Liability Insurance program comes into being, with member associations at first 78 CANADIAN INTERIORS NOVEMBER/DECEMBER 2013

encouraged to voluntarily participate. After initially using its own exam, Quebec begins development of a French version of NCIDQ; by 1995, all provincial Interior Design associations have adopted the NCIDQ exam as a mandatory requirement. 1988 – IDC convenes the first annual provincial Continuing Education conference, in Toronto. 1989 – Decima Research is tasked with undertaking an economic-impact survey of the Interior Design profession. Resource industry representatives sit with IDC in a joint committee to investigate the ethics of then-current “specifiers fees.” The committee recommends condemning the practice and IDC disseminates display-form Ethical Policy certificates throughout the industry. 1990 – Toronto hosts the Issues Forum,

a semi-annual transnational conference wherein, under the name Unified Voice Task Force, talks are held between IDC and US-based design associations about a possible merger. On both sides of the border, these associations successfully lobby their respective governments to include “Interior Designer” in the professional designation list of NAFTA’s North American Industrial Classification System. That same year, IDC produces the first issue of its semi-annual newsletter, Communiqué. 1991 – The Interior Designers Council of Canada changes its name to the IDC Foundation, and receives tax-exempt status from the federal government. 1992 – In celebration of its 20th anniversary, IDC holds its first international Education Forum in Ottawa, which is attended by representatives of

Canadian schools of Interior Design, NCIDQ and FIDER. That same year, Unified Voice Task Force disbands after deciding that there are too many obstacles to overcome. 1994 – IDC acquires IIDEX, the world’s only major design exposition owned by a professional association. 1995 – IDC sets up its Export Committee, charged with assisting Canadian Interior Designers in promoting their services internationally. 1996 – Looking for a fresh and financially stable structure, IDC is repositioned as an association of associations. A new Government Liaison post is created to seek redress in uneven government-contract allocation. 1997 – Price Waterhouse issues a report, commissioned by Human Re-

sources Development Canada, analyzing the national design sector’s strengths and weakness, with recommendations for improvement. IDC signs a Memorandum of Understanding with Public Works and Government Services Canada (PWGSC) regarding fairness in contract allocation. 1999 – A mandatory national Liability Insurance program is implemented. IDC’s website debuts in English, and becomes fully bilingual the following year. At IIDEX, IDC launches its annual Product and Booth Awards, known today as the Innovation Awards. 2004 – IDC, American Society of Interior Designers (ASID), Council for Interior Design Accreditation (CIDA), Council for Interior Design Qualification (CIDQ), and International Interior Design Association (IIDA) launch careersininteriordesign.com, a website aimed at educating the public about the complexity of the Interior Design profession and the career path toward becoming an Interior Designer. 2008 – ARIDO presents a restructuring proposal to IDC’s provincial member associations. The provinces agree to investigate the new model, which becomes operational upon unified acceptance the following year. 2010 – IDC’s first Annual Meeting under the new structure takes place in Halifax. Under the new model, provincial associations transition to become regulatory bodies, transferring advocacy roles to the national association. Industry membership – consisting of manufacturers and suppliers across the country – is transferred from all provincial associations to IDC. IDC also launches its first-ever member survey, which

results in important data about the demographics and make-up of the Interior Design profession in Canada. This same year, American Society of Interior Designers (ASID) and International Interior Design Association (IIDA) create a new identity for the Interior Design Continuing Education Council (IDCEC). The Council, now with its own director and headquartered in Toronto, becomes an independent entity charged with streamlining and centralizing the continuing education process for both providers and learners across North America. 2011 – IDC releases its most current salary survey. Representatives of IDC’s board, along with invited association members, comprise export missions to explore marketing opportunities in Las Vegas, Germany, Abu Dhabi and Denmark. Dimensions, IDC’s quarterly magazine, is rebranded and published inside Canadian Interiors, which also publishes IDC’s Member Directory and Buyers’ Guide. 2012 –In an effort to bring the broader design community together in smaller regions, IDC launches a successful series of table-top trade shows – small, local events where suppliers and manufacturers display their products on table tops rather than in booths. IDC and Architecture Canada | RAIC become co-presenters of IIDEX. IDC also partners with Canadian Interiors to launch the Canadian Interior Design Benchmarking and Best Practices Study. The results of the study – the first of its kind since 1998 – establish the size and scope of the design industry in general and the Interior Design profession in particular. 2013 – After much deliberation, IDC sells IIDEX to its managing company, Informa Canada. IDC also awards its first Honours and Fellows designation under the new association model. c I

NOVEMBER/DECEMBER 2013 CANADIAN INTERIORS 79

50 Years

Cast of characters From our pages: 25 notable players/firms. â&#x20AC;&#x201D;By Michael Totzke 2 1

4 5

80 CANADIAN INTERIORS November/december 2013

20 22 23

1-Alison Bain, designer 2-Peter Cotton, architect and CI columnist 3-Alan Moody, architect and CI contributing editor 4-Arthur Erickson, architect 5-Rice and Brydone, design firm (from left): Eleanor Brydone and Peter Rice 6-Klaus Nienkämper, owner and president, Nienkämper 7-Barbara Jean Neal, editor of CI, Feb. ’80–Apr. ’81 8-Dean Shalden, editor of CI, May/June ’81–Jan./Feb. ’90 9-Lorraine Tierney, editor of CI, July/Aug. 90–Nov./Dec. ’92 10-John Bellinger, art director of CI, April ’64–Nov/Dec ’90 11-Alison Hymas, designer 12-Douglas Ball, designer 13-Sheri Craig, publisher (and sometimes editor) of CI, Feb/Mar. ’93–Mar./Apr. ’07; she also founded the Best of Canada Design Competition in 1997 14-David Lasker, editor of CI, Sept./Oct. ’99–May/June ’02 15-Burdifilek, design firm (from left): Paul Filek and Diego Burdi 16-Robert Ledingham, designer 17-Taylor Hariri Pontarini Architects (from left): David Pontarini and Siamak Hariri (now of Hariri Pontarini) and Michael Taylor (now of Taylor Smyth Architects) 18-Eb Zeidler, architect 19-II BY IV, design firm (from left): Dan Menchions and Keith Rushbrook; they were also the art directors of CI, Sept./Oct. ’99–Nov./Dec. ’02 20-Jacques Bilodeau, designer 21-Kelly Rude, editor of CI, July/Aug. ’02–Nov./Dec. ’06 22-Javis Kravis, architect and designer 23-Figure3, design firm (from left): Christopher Wright, Allan Guinan and Caroline Hughes 24-Karim Rashid, designer 25-Yabu Pushelberg, design firm (from left): George Yabu and Glenn Pushelberg

November/december 2013 CANADIAN INTERIORS 81

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Sweet Danish There was a lot of eye candy among the 27 participants of the Danish Crafts Collection “CC17” in the Now! design à vivre hall, for example the beautifully minimalist Facet (a) stool prototype made of Oregon pine and maple by Foersom & Hiort-Lorenzen; the ingenious Play-Fold-Bird (b) cotton apparatus by Fabelab that doubles as wall/floor art or, with a few knots, a soft seat; and my favourite, the smile-inducing Tuft (c) by Povl Kjer, a stool that wraps lambskin over ash wood and looks like it came out of Jim Henson’s Creature Shop. danishcrafts.dk

The spice of life The best of Maison & Objet, late-summer 2013 edition.

—By Peter Sobchak

The renowned French anthropologist and ethnologist Claude Levi-Strauss once irreverently quipped, “In the old days, people used to risk their lives in India or in the Americas in order to bring back products which now seem to us to have been of comically little worth, such as brazilwood and pepper, which added a new range of sense experience to a civilization which had never suspected its own insipidity.” But to paraphrase his follow-up to that line, it always seems that the reverse is true, at least for design. It is from Europe that “our modern Marco Polos now bring back the moral spices of which our society feels an increasing need as it is conscious of sinking further into boredom.” Levi-Strauss said that this time they take the form of photographs, books and travellers’ tales, but in our case they take the form of scènes d’intérieur, and as always, Maison & Objet Paris is the forum to see the finest examples of contemporary interior creativity. Somewhat poetically (when seen in the light of Levi-Strauss’s drollery), this autumn session was also the stage to officially announce the launch of the first Maison & Objet Asia fair in March 2014 and Maison & Objet Americas in May 2015. Mark your calendars!

November/december 2013 CANADIAN INTERIORS 83

1—Free form Despite first impressions, this is not some optical illusion or a fancy magic act. While the fibreglass and felt Foldchair by Olivier Grégoire for Specimen Editions is completely sturdy, it appears like a weightless ribbon on which we must sit lest it fly away, caught in an updraft. specimen-editions.fr

2—De-bugged The Bangkok-based outdoor lifestyle company Deesawat is known for its thoughtful, eco-oriented furniture lines, but the new products most eye-catching at their booth this year highlighted not just nature’s materials, but its occupants as well. Insects is a clever line of stools that strongly resemble beetles and other arthropods, but thankfully not in a David Cronenberg kind of way. deesawat.com

3—Leather bound Like any good design trade show, there was a vibrant satellite show spotlighting creative young talent. In the case of Maison & Objet, it was at the Now! le off show at Les Docks, Cité de la Mode et du Design. Among the mini-exhibits there, Interieurs Cuir (leather interiors) elegantly explored the structural properties of leather. Two products here stood out. Tabouret Ondulé (a) by Antoine Monnet is a stool where two layers of leather enclose a third in a manner similar to corrugated cardboard; the metal base is very simple, thereby focusing interest on the leather. In stark contrast, Compression de Cuir (b) by Margane Dornat takes an almost abusive approach to the material, compressing it to the point where the folds, bulges, and creases define the chair, and eliminate the elegance and finesse of such a noble material to instead honour the industrial process.

84 CANADIAN INTERIORS November/december 2013

4—How’s it hanging? A combination of swing chair, hammock and hanging garden seat, the Cacoon by Belgian company Hang It Out was designed by a team of professional sail makers, and was originally commissioned as a relaxation solution for a luxury spa hotel in Britain to complement its coastal location. The concept was inspired by how the weaver bird stitches together its tiny hanging nest. hang-it-out.com

5—Make it mean something It may not look like much at first, but the Accordion has meaning. Its legs spread out laterally to create a tabletop stand, and then in a simple accordion-like movement folds back into a slender stick, making it “the most compact trestle in the world,” say its creators, MWA (Makers With Agendas). MWA was established this year by Julien De Smedt and William Ravn, who used M&O as a coming-out party not so much for their products but for their philosophy, which is to advocate removing design from aesthetic concerns and toward societal issues. After all, an M-shape trestle is hardly imaginative if it wasn’t for its collapsing function that reduces significant amounts of packaging and fuel for transport.

6—The sequel Just like Hollywood, furniture companies often return to their hits. French firm Qui Est Paul? scored one with its Rock Garden modular planters by Alain Gilles, so decided for 2013 to turn them into seating. Hence the cheeky Rock Party. qui-est-paul.com

mwa.eu

November/december 2013 CANADIAN INTERIORS 85

1—The fresh maker If their design products are any indication, they must have a lot of fun on the tiny island of Taiwan. Their national pavilion at the show took the banner “Fresh Taiwan” and selected 10 design brands steeped in creative energy. For example, the Rubber Band teaware set, designed by Biaugust for Toast Living, takes a mischievous shot at the conventional stuffy porcelain tea set by wrapping it in colourful rubber bands.

2—Bells and whistles Hong Kong brand Latitude 22N, designers and makers of all things porcelain, unveiled its new collections at Now! design à vivre. The Ding lampshade was a definite standout; it’s versatile enough to be used as a suspension, a wall sconce, or carried around by hand. The design clearly evokes the massive bells seen at Buddhist monasteries, and yet the gold interior finish creates a rich, warm intensity.

In D S

latitude22n.com

toastliving.com 1

3—All banged up From a distance, Dent looks like a shiny polished-copper shade that was either hit by a hammer or dropped in the factory. But the pressed- or blown-metal appearance is merely clever trickery from its designer, Chak: it is in fact soft and lightweight polyethylene that comes flat packed and takes 30 seconds to put together with no tools. innermost.net

4—2Delightful The small booth of upstart French firm Art & Lux was dominated by one brilliant new product – and brilliant not just for the light it casts: a flat plywood lamp that puts a two-dimensional twist on that famous classic icon. Designed by Julie Gasiglia, the range comes in four models of different sizes, all bearing a version of the designer’s name (Jules/Julien/Juliette/Julia). Shown here is Jules. artetlux.com

Ca M No

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86 CANADIAN INTERIORS November/december 2013

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Who’s Who Teknion at the Brick Works Teknion hosted its biggest product unveiling of the year at the Evergreen Brick Works in Toronto’s Don Valley, showcasing products arising out of three new business partnerships: Teknion Studio, Teknion Textiles, and B&B Italia Project. The new ventures demonstrate Teknion’s commitment to the increasingly collaborative work styles in today’s office. 1

1—Architect Rig Mugford, integrated designer, Zeidler Partnership Architects; interior designer Lisa Fulford-Roy, senior VP client strategy, strategic accounts and consulting, HOK; recently-retired Teknion A&D manager Sue Madsen; interior designer Jillian Warren, senior associate, Perkins+Will, North America’s largest architecture firm; and Steven Misner, director of corporate services at Holmes & Brakel Interiors. 2—Teknion Studio design director Jeffrey Bernett with Teknion’s VP design and corporate marketing Joe Regan and CFO Scott Bond. 3—Something to celebrate: dinner in the Kiln Room.

Fall fun

—Text and photos by David Lasker

Zeidler book launch “Please bring a strong arm to take away your complimentary book,” read the invitation to the book launch of Buildings Cities Life, the massive, heavy autobiography of Eberhard Zeidler, architect of Toronto’s Eaton Centre and Queen’s Quay Terminal, Vancouver’s BC Place, and many another important buildings here and abroad. The event was a joyous reunion for friends of the Zeidler clan, taking place as it did in daughter Christina’s hip Gladstone Hotel. 1—Eb Zeidler with Jacek Vogel, who worked at Zeidler Roberts Partnership/Architects before starting his own, eponymous architecture business. 2—Martha (née Robinson) and George Butterfield of Butterfield and Robinson, the biking-and-walking travel company; Margie Zeidler, founder of 401 Richmond, the artist-entrepreneur hub housed in a century-old tin-can lithography factory she saved from the wrecker’s ball; and brother Robert, leasing director at Pinnacle International Realty Group. 3—Jane Zeidler, who as art consultant hung Michael Snow’s Flight Stop gaggle of Canada geese in her husband’s Eaton Centre Galleria; Jack Zeldan, husband of Jane’s late business partner, Sheila; the Zeidler’s Rosedale neighbour Ceri Cleber, unofficial “mayor” of Beaumont Road; and real-estate mogul Elise Kalles.

88 CANADIAN INTERIORS November/december 2013

Smart House “Smaller is better” was the message at the launch of Smart House, a “microcondo” project slated for Queen Street West with architecture by architectsAlliance and interior design by II By IV. 1—Graham Hill, founder, TreeHugger and LifeEdited; Lloyd Alter, editor, TreeHugger; and Grant Algar of Grant’s Interior Design, Bowmanville, Ont. 2—Smart House developers: Terry Lustig, development and marketing manager, and Rony Hirsch, president, Malibu Investments; and David Wex, partner, Urban Capital.

The best seat in Global’s house Adding to the tizzy of TIFF (Toronto International Film Festival) parties in September, Global Total Office invited over 500 members of the A&D community to its “Best Seat in the House” do at the Gardiner Museum. Global had produced a limited-edition, all-white, laminated-wood chair named “TIFF” and invited design firms to compete in creating the best movie-themed embellishments. Judging the chairs were Canadian Interiors editor Michael Totzke; Glen Baxter, host of CTV’s In Fashion; and Interior Designers of Canada CEO Susan Wiggins.

DX Intersection They may no longer bill it as a “ball,” but the Design Exchange’s fall fundraiser remains a glittering gala affair.

1—Model men: Gregory Dawson, teller at TD Bank Burnamthorpe and Saturn; Ron Manuel of Earl’s Men agency; Joseph Ng, co-founder, Umoro One fitness shaker-bottle makers; Sage Hansen of Base Model Agency in Capetown, South Africa; and Mike Muto, personal trainer and owner, Muto Fitness. 2—John Weetom, curator of the DX toy show this coming February, wearing a Dirk Bikkemburgs vest; DX pres Shauna Levy in an Alexander McQueen dress; Megan Oldfield, creative director at graphic design agency Coolaide Design, in Miu Miu; and Joe Temperato, owner, Pro 6 Cycle motorcycle repair shop, in Prada. 3—Byron and Dexter Peart of WANT Les Essentiels de la Vie, Montreal fashion designers and event guests of honour. 4—Jessi Touma, sales, Klaus; Jentry Chin, design merchandiser at Klaus, Nienkämper and Studio B; and Huleh Arakelian, music producer, Hulz Productions.

1—Global’s Ray Townsley, senior VP, government affairs and strategic markets; Jack Diamond, partner, Diamond Schmitt Architects; Global’s founder and chairman Saul Feldberg with his wife, Toby; and David Glass, VP sales and marketing. 2—The family trio from Norma King Design, prolific condo and display-centre designers: son Robert, mother and founder Norma, and daughter Karen.

Knoll Modernism

The exhibit “Modernism at Risk, Modern Solutions for Saving Modern Landmarks” – organized by the World Monuments Fund and sponsored by Knoll – touched down at IIDEX Canada and, subsequently, at George Brown College. The exhibit comprises photographs by Andrew Moore and interpretative panels with five case studies that explore the role designers play in preserving Modernist 2 landmarks. 1—Jose Castel-Branco, architect, LGA architectural partners; Globe and Mail architecture columnist and event guest speaker John Bentley Mays; and, from Knoll, Fabiana Stubrich, national director business development, and Chris Rock, national A&D manager. 2—Sylvia Richmond, designer; Graeme Kondruss, architectural designer for George Brown College; and George Brown College Institute without Boundaries students Michi McCloskey, Kate Watanabe and Francesca Anderson. November/december 2013 CANADIAN INTERIORS 89

Last Word

April 1964

September 1967

May 1973

December/January 1980

November/December 1981

May/June 1992

November/December 1993

May 1997

September/October 1999

September/October 2001

September/October 2007

November/December 2011

On the face of it Canadian Interiors covers through the years, from the first to a recent favourite. 90 CANADIAN INTERIORS November/december 2013

dimensions v o l .4 /2013

The emotional journey / Le parcours émotionnel Coping with stressed-out clients can often be part of the design process. Faire face à des clients stressés peut souvent faire partie des étapes du design.

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contents/ sommaire

dimensions magazine vol. 4 /2013

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. the emotional journey le parcours émotionnel Add the strain of losing a loved one, the loss of relationship, or a health scare to an already stressful renovation and interior designers can be forced into an uncomfortable situation. La perte d’un être cher, d’une amitié, ou une inquiétude reliée à la santé qui s’ajoute à une rénovation déjà stressante peut plonger un designer d’intérieur dans une situation inconfortable.

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. rethinking design repenser le design It’s not business as usual for design consultant Deborah Flate. She teaches how to grow your business in any economy. Ce n’est pas les affaires comme toujours, pour la consultante Deborah Flate. Elle enseigne comment élargir vos horizons d’affaires, peut importe l’économie. dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Directrice générale, 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 Tony Sienes Manager, Accounting Meghan Smith Director, Business Development Sue Gravelle Director, Professional Development Barbora Krsiakova Member Services Coordinator Debora Abreu Manager, Marketing Enrique Gaudite 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

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on a professional note… sur une note professionnelle…

Congratulations Canadian Interiors for your 50 years of editorial coverage of the Canadian interior design industry! This anniversary issue is special to us because it is one of the few publications that can trace the history of interior design in Canada. When Canadian Interiors’ editor, Michael Totzke, first approached us with the idea of contributing to this issue, we had to pause and think about what background we could offer him from our archives. The answer: we don’t have enough. Sure, we have some old photos and files, we have historical timelines that cover portions of our roots, but we don’t have a full chronological account of our Association’s history. Not to mention, there’s nothing in our archives that speaks to our professional evolution. IDC, like many other organizations, needs to be better at preserving our history. Fifty years is a long time. Now think about all of the changes that have occurred to this profession over that time. How were interior designers educated 50 years ago? Did interior design education programs even exist? Surely, there were no degree or masters programs. Sustainability, day lighting, evidence based design, LEDs, accessibility – it seems odd to think that these common place interior design functions had not yet been conceived. Technology is the mind boggling one – how did interior designers complete projects without faxes, email, mobile devices, or the internet? More importantly, who would have imagined the day that we had to market our company in 140 characters or less? Imagine your day without technology. Imagine a project without the complexities of coordination that seem to exist today with each of your projects. Imagine a project budget a quarter of what it is today. Imagine specifying that project without the advantage of a sales representative. Whoever first created the position of A&D rep deserves a medal. Let’s put 50 years into perspective. Did you know that September marked IDC’s 41st Annual Meeting? We held that meeting at the 29th edition of IIDEX Canada.

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

Félicitations Canadian Interiors pour vos 50 ans de couverture éditoriale de l’industrie du design d’intérieur canadien! Ce numéro anniversaire est spécial pour nous parce qu’il s’agit d’une des rares publications qui peut retracer l’historique du design d’intérieur du Canada. Lorsque Michael Totzke, éditeur du magazine Canadian Interiors, nous a approchés avec l’idée de contribuer à son article, nous avons dû réfléchir à l’arrière-plan que nous pourrions lui offrir provenant de nos archives. La réponse : nous n’en avons pas assez. Il est vrai que nous avons des photos et des dossiers, nous avons une chronologie historique qui couvre une parcelle de nos origines, mais nous n’avons pas une chronologie exhaustive de l’histoire de l’association. Sans oublier qu’il n’y a rien dans nos archives qui raconte notre évolution professionnelle. Les DIC, comme plusieurs organismes, doivent faire mieux dans la préservation de leur histoire. Cinquante ans est une longue période. Pensez seulement à tous les changements qu’a vécus la profession durant ce laps de temps! Comment les designers d’intérieur étaient-ils éduqués il y a cinquante ans? Est-ce que les programmes d’éducation existaient? Il n’y avait certainement pas de programmes de baccalauréat et de maîtrise. Le développement durable, l’éclairage naturel, le design basé sur des données probantes, les LEDs, l’accessibilité, cela semble étrange de penser que ces fonctions communes au design d’intérieur n’étaient pas encore articulées. La technologie est la chose la plus obsédante. Comment les designers d’intérieurs complétaient-ils leurs projets sans les télécopieurs, la technologie sans fil ou l’Internet? Plus important encore, qui aurait pu imaginer que nous allions devoir marchander notre compagnie en 140 caractères et moins? Imaginez votre journée sans technologie. Imaginez un projet sans les complexités

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During the meeting, we presented Klaus Nienkämper with an Honourary membership in recognition of his contribution to the profession. The Nienkämper factory opened in Toronto in 1968; 45 years ago. And just for fun, 50 years ago, our dear friend Trevor Kruse was born. We can only assume that the inaugural issue of Canadian Interiors magazine was sitting on the coffee table in the waiting room of the hospital where he was born! All humour aside, as you read this issue, we ask you to reflect on the history of our profession from your perspective. Do you have a story about our history to share? If so, we’d love to hear from you. Please send it along to Julia Salerno, Manager, Communications at jsalerno@idcanada.org. Inside this issue of dimensions, we have some thought provoking articles for you. First, we interviewed one of IIDEX’s keynote speakers, Deborah Flate, who expands on her presentation, Selling in Any Economy. Our second feature, The Emotional Journey, looks at how IDC members deal with emotional clients. IDC has recently renewed its publishing agreement with Canadian Interiors for another three years. To the entire team at Canadian Interiors: Tom, Martin, Michael, Peter, it is an absolute pleasure to work with you and we congratulate you on your 50th Anniversary.

“Let’s put 50 years into perspective. How did interior designers complete projects without fax machines, email, mobile devices, or the internet?” de la coordination qui semblent exister aujourd’hui dans tous les projets de votre quotidien. Imaginez un budget équivalent à un quart de la valeur de ce qu’il est de nos jours. Imaginez choisir les produits d’un tel projet sans les avantages qu’apportent les agents de vente. Celui qui à inventé le poste de représentant en architecture et design mérite un prix. Voyons de plus près la perspective de 50 années. Saviez-vous que le mois de septembre marquait la 41e assemblée annuelle des DIC? Nous avons eu cette rencontre lors de la 29e édition du salon IIDEX Canada. Lors de cette assemblée, nous avons octroyé le titre de membre honoraire à Klaus Nienkämper, en reconnaissance de sa contribution à la profession. L’usine Nienkämper a ouvert ses portes en 1968, à Toronto, il y a 45 ans. Et juste pour rire, il y 50 ans, notre très cher ami Trevor Kruse est né. Nous pouvons imaginer que le premier numéro du magazine Canadian Interiors magazine était sur la table à café dans la salle d’attente de l’hôpital où il est né! Sans blague, pendant que vous lisez ce numéro du magazine, nous vous demandons de réfléchir à l’histoire de notre profession selon votre perspective personnelle. Avez-vous un récit sur notre histoire à

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

« Voyons de plus près la perspective de 50 années. Comment les designers d’intérieurs complétaient-ils leurs projets sans les télécopieurs, la technologie sans fil ou l’Internet? » raconter? Si oui, nous aimerions avoir de vos nouvelles. Faites-le parvenir à Julia Salerno, directrice des communications à jsalerno@idcanada.org. À l’intérieur de ce numéro de dimensions, nous avons des articles stimulants pour vous. En premier lieu, nous avons rencontré une des conférencières de marque au salon IIDEX, Deborah Flate, qui nous parle plus longuement de sa présentation Selling in Any Economy. Un second article, Un parcours émotionnel, examine comment certains membres des DIC font face à un client émotionnel. Les DIC ont renouvelé leur entente de publication avec Canadian Interiors pour encore trois ans. À toute l’équipe de Canadian Interiors: Tom, Martin, Michael, Peter, c’est un pur plaisir de travailler avec vous et nous vous félicitons pour votre 50e anniversaire! 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 with IDC Retired member Sooz Klinkhamer Dimensions échange avec Sooz Klinkhamer, membre à la retraite By / Par Julia Salerno

What path did you take in your career to get where you are today? I discovered interior design through my research to consider studying architecture or engineering. Pursuing interior design meant I would have to leave my home in southeastern B.C. I attended Ryerson University in Toronto, where in my third year, I landed a design job working on dental and medical facilities throughout Ontario. I completed my fourth year part-time, while working full-time, and on four hours of sleep each night (not recommended!). I was approached with the opportunity to return to B.C. to establish a design department for a sister company to the one I worked for. Several years later, wanting more control over my schedule, I decided to give things a try on my own. I took on a five year contract to work as the interior designer, space planner, and assistant to the project manager for a new college campus in New Westminister, B.C. After 15 years of practising interior design, I became an educator at Kwantlen Polytechnic University. I was an educator for 25 years, 12 of which I chaired the interior design department. If you could have predicted the future, would you have taken a different path? The only thing I would change is to have taken more time to travel and absorb different cultures. I don’t think people realized how quickly we would become a global economy and how fast our communities would diversify. There was always pressure to work longer hours and deliver projects faster with no ‘think time’...even in the 70s and 80s! What aspect of interior design education did you most enjoy? This question really resonates with me. I love design education; learning how to teach, and how to relate my teachings to different types of learners was gratifying. I took this on with great enthusiasm. The biggest shift was implementing techniques

Name: Sooz Klinkhamer Enjoyed the most about interior design: Friendships developed over years of sharing ideas to improve our environments. Enjoyed the least: The lack of recognition of the important work that is design.

Nom : Sooz Klinkhamer Ce que j’apprécie le plus du design d’intérieur : Les amitiés développées au fil des années autour d’idées partagées pour améliorer nos environnements. Ce que j’apprécie le moins: Le manque de reconnaissance de ce travail important qu’est le design.

Quelle trajectoire avez-vous choisie dans votre carrière pour en arriver là ou vous êtes aujourd’hui? J’ai découvert le design d’intérieur à travers mes recherches, lorsque je pensais étudier l’architecture ou l’ingénierie. Le fait d’étudier le design d’intérieur impliquait que je quitte ma maison dans le sud-est de la Colombie-Britannique. J’étais dans ma troisième année à l’Université Ryerson lorsque j’ai trouvé un emploi en design, pour travailler sur des bâtiments de soins médicaux et dentaires en Ontario. J’ai complété ma quatrième année à temps partiel pendant que je travaillais à temps plein, avec seulement quatre heures de sommeil par nuit (cela n’est pas recommandé!) On m’a alors approchée pour que je retourne en Colombie-Britannique pour ouvrir un département de design pour une société sœur de celle où je travaillais. Plusieurs années plus tard, voulant avoir plus de contrôle sur mon emploi du temps, j’ai décidé d’essayer de faire les choses par moi-même et j’ai accepté un contrat de cinq ans comme designer d’intérieur, planificatrice d’espace et assistante du directeur de projet pour un nouveau campus de collège, à New Westminster en Colombie-Britannique. Après avoir pratiqué le design d’intérieur pendant 15 années, je suis devenue professeure à l’Université Kwantlen Polytechnic. J’y ai été professeure pendant 25 années, dont 12 comme directrice du département de design d’intérieur. Si vous aviez pu prédire le future, auriez-vous envisagé un autre parcours? La seule chose que je changerais, c’est le fait que j’aurai pris plus de temps pour voyager et découvrir d’autres cultures. Je pense que personne n’a réalisé la rapidité

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for learning by doing, not by listening and repeating. What stands out as a memorable moment in your career? Like many designers, my most memorable moments were when I got to see my design ideas come to life in built form. I still recall the excitement and amazement – and relief – of seeing the first dental office I’d designed. I also enjoyed seeing the delight of the two dentists who were watching their dream become reality. Additionally, I am grateful and heart-warmed by the honour of Fellow status with IDIBC, IDC, IIDA, and IDEC. More recently, I was honoured with the IDC/ IIDA Leadership Award of Excellence. I am driven to volunteer and strive for improvement by asking myself the question: “what should be happening but isn’t?” It is terrific to be acknowledged by my peers and colleagues for this.

in three dimensions – often make the best educators. In my opinion, educators must first be practised designers. Once they are humble enough to know that, they also need to learn how to teach. You must also genuinely want to see others succeed. Continue the conversation: @idcanadatweets

What makes someone a successful interior design educator? There is methodology and structure to education that is not typically in the scope of a design practitioner. People who are comfortable wading through chaos – those who can see the forest and each tree

“Design is a tool, not an end; it’s a process to create new ways of solving problems and responding to ‘now’ needs.” avec laquelle nous sommes devenus une économie globale et comment nos communautés se diversifient rapidement. Il y avait toujours de la pression pour travailler de longues heures et pour réaliser des projets sans aucun «temps de réflexion», même dans les années 70 et 80! Quels aspects de l’enseignement du design d’intérieur préfériez-vous? Cette question résonne en moi. J’aime l’enseignement du design. Apprendre comment enseigner et adapter mon enseignement à différents types d’étudiants était gratifiant. Je l’ai fait avec un enthousiasme soutenu. Le plus gros changement a été l’implantation de techniques pour apprendre en faisant, non pas en écoutant et en répétant. Quel serait un des moments mémorables de votre carrière? Comme plusieurs designers, mes moments les plus mémorables étaient lorsque j’ai vu mes idées de design se réaliser dans des formes concrètes. Je me

« Le design est un outil, pas une fin. C’est un processus pour créer de nouvelles façons de solutionner des problèmes et de répondre aux besoins de «maintenant». » souviens encore de l’excitation, de l’étonnement et du soulagement vécus lors de la réalisation de cette première clinique dentaire que j’ai conçue. J’ai aussi aimé voir la joie des deux dentistes qui voyaient leur rêve devenir une réalité. De plus, j’ai de la gratitude et je suis honorée de mon récent statut de membre associé de l’IDIBC, des DIC, de l’IIDA et de l’IDEC. Récemment, j’ai reçu le prestigieux prix de leadership et d’excellence des DIC et de l’IIDA. J’ai envie de m’impliquer bénévolement et je souhaite m’améliorer en me posant cette question : «Qu’est-ce qui devrait se passer mais qui n’arrive pas?» C’est merveilleux d’être reconnue par ses pairs et ses collègues pour cela. Qu’est qui fait qu’un individu devient un professeur en design d’intérieur qui a réussi? Dans le domaine de l’éducation, il y a une méthodologie et une structure qui ne sont pas typiquement dans le champ d’un praticien du design. Les gens qui sont confortables lorsqu’ils traversent le chaos, ceux qui peuvent voir à la fois la forêt et chacun des arbres en trois dimensions sont ceux qui font les meilleurs professeurs. Selon moi, les professeurs doivent être avant tout des designers accomplis. Une fois qu’ils sont assez humbles pour le savoir, ils doivent aussi apprendre à enseigner. En plus, il faut vouloir sérieusement que les autres réussissent.

Pour continuer la conversation: @idcanadatweets

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the emotional journey le parcours émotionnel

Coping with stressed-out clients can often be part of the design process. Faire face à des clients stressés peut souvent faire partie des étapes du design. By / Par Leslie C. Smith

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Residential design is so personal, so close to home, that it can become a rollercoaster ride. Add in two divergent viewpoints – the husband perhaps focused on the budget’s bottom line, the wife excited by all the possibilities that abound in home décor magazines and TV shows – plus the strain of temporary living arrangements, and even the most positive people can crack up a little. “Renovations are stressful,” says Sue Bennett, principal of Bennett Design Associates Inc., of Uxbridge, Ontario. Bennett recalls her own worst case, one that involved “so much tension and emotion, the couple actually had a full-out fight in our office, which was brutal.” Even though she prides herself in listening well and doing proper discovery to best understand what a client’s successful outcome would be, circumstances can sometimes force a designer into an uncomfortable situation. “Our first meeting was with the wife, who had very clear ideas of what she wanted,” Bennett says. “The husband was too busy to meet with

Le design résidentiel est si personnel, si proche de soi, qu’il peut devenir un parcours de montagnes russes. Ajoutons à cela deux points de vue différents : le mari est peut-être plus préoccupé par les exigences de base du budget, la femme plus intéressée par toutes les possibilités que l’on retrouve dans les magazines de décoration et les émissions de télévision. Sans oublier les fatigues des arrangements de vie temporairement difficiles et, dans ce cas, même les personnes les plus positives peuvent devenir folles. Sue Bennett, présidente de la firme Bennett Design Associates Inc., d’Uxbridge en Ontario, le souligne : «Les rénovations sont stressantes.» Elle mentionne même un cas très grave où il y avait «tellement de tension et d’émotion que le couple a eu une grosse querelle dans nos bureaux, rien de plus brutal.» Et même si elle est fière de dire qu’elle écoute bien et qu’elle fait des progrès pour mieux comprendre ce qu’une réalisation serait pour un client, les circonstances forcent parfois un designer à vivre une situation inconfortable. Elle ajoute : «Notre première rencontre était avec la femme, qui avait une idée claire de ce qu’elle voulait. Le mari était lui trop occupé pour

us. When we made our presentation to them, he was not on the same page. They had a huge fight, she was in tears, and ended up turning on us and accused us of getting it wrong. They decided to back out of the project. If the synergy isn’t there, the project isn’t going to work for anybody.” Client mental strain increases when you factor in sudden lifestyle changes, such as medical incapacity, divorce, or the act of downsizing. Janet ShawRussell, of Janet Shaw-Russell Interior Design Studio in Brandon, Manitoba, has seen her fair share of these situations. She, too, insists on the need for clear communication, and believes the design process goes much more smoothly when a firm is contracted for project management as well: “We’re hired to make the whole process less stressful for people. We’re also hired to help them view change in a positive light. You have to offer calm reassurance throughout the design process, maybe lay out just a few options so that they can make an easier decision, and guide them gently to making appropriate choices. Listen to the

client’s needs, and make sure they understand your part in the process.” Those outside of the industry may not realize the therapeutic nature of good design. But Dr. Gordon Reid, a Registered Psychologist specializing in individual and couple therapy in Vancouver, BC, would not be among them: “Where you live is one of the most psychologically important factors in your life, second only to your relationships with people closest to you.” He adds, “being able to listen, dealing with them in a calm, rational manner, and offering them considered choices and encouragement is critical when dealing with clients coping with emotional stress.” “When events happen to us that remove our sense of protection – the death of a loved one, the loss of a relationship, a health scare – we become very distressed. Stress can manifest in many ways, depending on the individual. But, primarily, what we’re looking for is a return to our state of normalcy. We actually try to manipulate other people into giving us what we want to make us feel better.” Stressed people do not feel confident in their own

nous rencontrer. Et lorsque nous avons fait notre présentation, il ne voyait pas les choses comme nous. Ils se sont querellés. Elle pleurait, sans dire qu’elle a tourné les choses contre nous, nous accusant de ne pas avoir compris. Ils ont alors décidé de se retirer du projet. Enfin, si la synergie n’est pas là, le projet ne fonctionnera pour personne.» La fatigue psychologique du client augmente lorsque vous considérez les changements subis de styles de vie, comme l’invalidité, le divorce ou même le fait de réduire l’espace. Janet ShawRussell, de la firme Janet Shaw-Russell Interior Design Studio, à Brandon, au Manitoba, a vu plusieurs situations de ce genre. Elle aussi insiste sur les besoins d’une communication claire et elle croit que le processus de design est plus agréable lorsqu’une firme est engagée également comme gestionnaire du projet : «Nous sommes engagés pour rendre le processus entier moins stressant pour tout le monde. Nous sommes aussi engagés pour les aider à changer leur vision de manière positive. Vous devez offrir une calme assurance durant tout le processus de design, présenter quelques options uniquement pour que les clients puissent prendre une décision facile et les guider pour qu’ils puissent faire les choix appropriés. Il faut écouter les

besoins du client et voir à ce qu’il comprenne votre rôle dans le processus.» Ceux qui sont extérieurs à l’industrie ne réalisent peut-être pas la nature thérapeutique du design de qualité. Mais le Dr. Gordon Reid, psychologue enregistré spécialisé dans la thérapie individuelle et de couple, à Vancouver, en Colombie-Britannique, ne fait pas partie de ces gens-là : «L’endroit où vous vivez est un des facteurs psychologiques les plus importants de votre vie, en second lieu seulement après les relations avec les gens qui sont les plus proches de vous.» Il ajoute : «Être capable d’écouter, de s’occuper des gens dans le calme et d’une manière rationnelle en offrant des choix mûris et des encouragements est important lorsque vous échangez avec des clients au prise avec un stress émotionnel.» « Lorsque les événements qui arrivent nous enlèvent cette impression de sécurité, qu’il s’agisse de la mort d’une personne importante, de la fin d’une amitié ou d’une inquiétude médicale, nous devenons vulnérables. Le stress peut se manifester de plusieurs façons selon les individus. Mais en premier lieu, ce que nous recherchons c’est un retour à l’état normal. Nous essayons même parfois de manipuler les gens pour qu’ils nous donnent ce

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abilities. Reid uses the analogy of two people being lost in a dark cave: “If one person is panicked, but the other acts like they know the way out, then the other person won’t panic any more.” Establishing trust with your client is essential to the process of regaining emotional balance. There’s a flip side to this scenario: What happens when the designer is the person under stress? Ten years ago, Brenda Bjarnason, of Toronto’s Bjarnason + Associates Interiors Inc., was diagnosed with breast cancer. “I was fortunate to have been mid-way through a project with a couple with whom I felt a real connection. They energized me with incredible practical and emotional support, and we remain friends today.” Bjarnason continued to work throughout her cancer treatment and now is a survivor of some 10 years standing. For her, the very act of designing has become a form of personal therapy. “The design process is such a wonderful exchange between client and professional,” Bjarnason adds. “It has to be positive.” For this reason, she says she now gravitates towards work in the not-for-profit sector, for clients such as the MasterCard, Ontario Trillium and SickKids foundations. “These organizations are filled with positive energy and people who are committed and loyal to their organization and love what they do.”

Striking an emotional harmony in the client-designer relationship may not always be possible. But with preparedness, rational thinking, empathy, and a base on which to build a strong rapport, there’s more than a good chance that an initially stress-filled project may end up producing a soothing outcome for all involved.

que l’on veut pour qu’on puisse se sentir mieux.» Les gens stressés n’ont pas confiance en leur propre habileté. Monsieur Reid utilise l’analogie de deux personnes perdues dans un souterrain noir : «Si une personne panique et que l’autre fait comme si elle connaissait la sortie, alors l’autre personne cessera de paniquer.» Établir un lien de confiance avec votre client est essentiel au processus pour retrouver un équilibre émotionnel. Il y a un autre côté à ce scénario: que se passe-t-il lorsque le designer d’intérieur est la personne stressée? Il y a dix ans, Brenda Bjarnason, de la firme torontoise Bjarnason + Associates Interiors Inc., a reçu un diagnostic de cancer du sein. Elle raconte : «J’ai été chanceuse puisque j’étais à mi-chemin dans un projet avec un couple. Je ressentais avec eux une connexion réelle. Ils me donnaient de l’énergie, un soutien émotionnel et pratique incroyable et nous sommes toujours des amis.» Bjarnason avait continué de travaillé durant son traitement contre le cancer. Elle est en rémission depuis 10 ans. Pour elle, l’acte de créer des designs est devenu une thérapie personnelle. Elle poursuit: «Le processus du design est un échange merveilleux entre le client et le profes sionnel. Il se doit d’être positif.» Pour cette raison, elle dit que son travail est orienté vers le secteur des organismes à but non lucratif, avec des clients comme Master Card, Ontario Trillium et SickKids Fondations. Elle le précise «Ces organisations sont riches en énergie positive. Les individus qui y travaillent sont engagés, loyaux envers leur organisation et ils aiment ce qu’ils font. Trouver une harmonie émotionnelle dans la relation entre le client et le designer n’est pas tou-

jours possible. Mais avec une certaine préparation, une pensée rationnelle, de l’empathie et une base sur laquelle bâtir une relation forte, il y a plusieurs chances qu’un projet initialement stressant se réalise confortablement pour tous les individus impliqués, en bout de ligne.

Continue the conversation: @Bennett_CEO

Pour continuer la conversation : @Bennett_CEO

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rethink design repenser le design

Growing your business in any economy Pour une croissance de votre entreprise peu importe l’économie By / Par Julia Salerno

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Deborah Flate is an interior designer turned consultant. She helps businesses – mostly those in the industry, like suppliers, manufacturers, dealers, and interior design firms – learn the skills to be able to sell in any economy. Her 30 plus years of experience in design give her a creative edge to turn ailing (or not) companies into more profitable ones. Flate is a creative person who puts clients through a creative process to teach other creative people how to sell and better run their business. “I turn companies around because I don’t do business as usual,” she says. “Interior designers need to be more business focused and should understand that they’re sales people, too. The only way to capture new clients is if you can sell.”

Deborah Flate est une designer d’intérieur devenue consultante. Elle aide les entreprises, en particulier celles de l’industrie comme les fournisseurs, les fabricants, les représentants et les firmes de design d’intérieur à apprendre les outils pour vendre peu importe l’économie. Plus de 30 années d’expérience en design lui donnent la créativité nécessaire pour transformer les compagnies en détresse (ou non) en entreprises plus profitables. Madame Flate est une personne créative qui invite les clients à un processus créateur. Elle enseigne à d’autres personnes créatives comment vendre et mieux gérer leur entreprise. Elle précise : «Je transforme les compagnies parce que je ne souscris pas à la règle qui dit «faites des affaires comme

While Canadian’s were not as affected by the recession as our American counterparts, Flate believes that doesn’t mean we can’t stand to make our businesses stronger today. “After the recession hit, I realized we could have survived it better had we sharpened our skills when the economy was good,” she says. “The skills I teach aren’t just for a bad economy, they’re for any economy.” “The mistake many design firms make,” she says, “is that they’re so busy working in their work, especially small firms, that they can’t work on their work. I tell my clients to dedicate at least 25 per cent of their work week to running their business. And, that’s whether they’re busy or not.” Flate can’t stress enough that a business cannot be sustained if it’s not worked on. “You will end up on the same rollercoaster ride I see so many of my clients on: you get a job, you hire up, you finish the job, you fire the people that you just hired. It’s a vicious cycle.” First thing on Flate’s list when she works with a new client is to carry out

a needs analysis to better understand where her client’s have been, what they’re doing, and where they want to go. She then helps them define their target market. Once a client has identified their primary market(s), she helps them to find the value that they can bring to that market, and teaches them the necessary skills to bring them into profitability. “You have to define what your value is to your preferred market,” she says. “What isn’t valuable—and I see this on 98 per cent of my client’s websites—is saying that you’re an interior designer who does space planning, project management, and design development. That’s a menu. A menu is great if you’re at a restaurant, but if you’re looking for someone to pay thousands of dollars for your services, a menu says nothing about you and the value you can bring to a project.” Flate also helps you develop methods of getting new business within your market, and helps you create a business and marketing plan. “Most of my clients fail in thinking

d’habitude». Les designers d’intérieur doivent être plus centrés sur les affaires. Ils doivent comprendre qu’ils sont aussi des vendeurs. La seule manière d’attirer les nouveaux clients c’est de pouvoir vendre.» Même si les Canadiens ont été moins touchés par la dernière récession que leur voisin du sud, Doborah Flate croit que cela veut dire qu’il est encore possible de faire des meilleures affaires aujourd’hui. Elle souligne : «Après que la récession a frappé, j’ai réalisé comment nous aurions pu mieux lui survivre si nous avions examiné nos aptitudes lorsque l’économie était bonne. Les outils que j’enseigne ne sont pas seulement pour les économies affaiblies, elles sont pour toutes les économies.» Ell ajoute : «La plupart des erreurs des firmes, c’est qu’elles sont si occupées dans leurs travaux, surtout les petites entreprises, qu’elles ne peuvent pas travailler sur l’entreprise comme telle. Je demande à mes clients de consacrer au moins 25 % de leur horaire de travail hebdomadaire à gérer leur entreprise, et cela, qu’ils soient occupés ou non.» La consultante réaffirme sans cesse comment il est impossible de soutenir une entreprise si on ne s’en occupe pas. Elle renchérit: «Vous allez vous retrouver dans des montagnes

russes comme celles que je vois chez plusieurs de mes clients. Vous obtenez un contrat, vous engagez des gens, vous finissez le contrat, vous congédiez les gens que vous venez d’engager. Cela est un cycle vicieux.» La première chose sur sa liste lorsqu’elle travaille avec de nouveaux clients, c’est de faire l’analyse des besoins pour mieux comprendre leur parcours, ce qu’ils font et où il veulent aller. Elle les aide ensuite à mieux définir leur marché cible. Une fois qu’un client a identifié son marché de prédilection, elle l’aide à trouver la valeur qu’il peut apporter au marché et lui enseigne les outils nécessaires pour les rendre profitables. Deborah Flate insiste : «Vous devez définir ce que vous valez pour votre marché cible. Ce qui n’a pas de valeur, je le vois dans 98 % des sites Internet de mes clients, c’est le fait de dire que vous êtes un designer d’intérieur qui fait de la planification d’espace, de la gestion de projet et du développement de design. C’est le menu. Un menu, c’est bon pour le restaurant, mais si vous cherchez quelqu’un qui paiera des milliers de dollars pour vos services, le menu ne dit rien de qui vous êtes et des choses inestimables que vous apportez à un projet.» La consultante vous aide à dévelop-

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that the wrong things will grow their business,” says Flate. She uses the concept of build it and they will come as an example. “Just because you’ve spent lots of money on your showroom, doesn’t mean you will sell more,” she says. “Interior designers want to hire PR professionals when they’re struggling. These are old ways of getting business that have never worked, but people didn’t realize that until the economy fell apart. I think there’s more of a need to make ourselves valuable. I have to teach my clients how to rethink design.” Flate helps clients develop skills and learn growth strategies that will take their business to the next level. Becoming a better presenter is one of those skills. “There’s a difference between presenting and selling, but you want to go into a presentation with a sales mentality to turn them into your next client,” says Flate. “Presentation skills for designers is about making them more engaging through eye contact, and asking lots of the right types of questions to help uncover their needs. Your job is to then tell them how you will fulfill those needs.” Flate cautions not to fill the air just to show your expertise. She recommends listening carefully to learn about the clients’ needs. Sometimes it’s her clients themselves who are the ones hurting business. For example: “I once worked with a company that had a bottle

neck. Nothing could get by without the approval of both principals,” Flate recalls. “That was a huge obstacle to the growth of their business because their employees didn’t feel empowered. As a result, they weren’t invested in seeing it succeed.” Deborah Flate is based in Chicago, IL, and is the owner and founder of Dialogue Consulting. Since 2001, Deborah has delivered workshops, webinars, and seminars around North America, including her recent presentation at IIDEX Canada called “Selling in Any Economy.” Flate is launching a book with the same name, set to be released in 2014.

per des méthodes pour trouver de nouveaux contrats à l’intérieur de votre marché cible et aussi à créer un plan d’affaires et de marketing. Madame Flate poursuit sa réflexion : «La plupart de mes clients se trompent en pensant que les choses incorrectes feront grossir leurs affaires.» Elle utilise le concept «built it» et ces clients-là seront évoqués comme exemple. Elle ajoute: «Le simple fait de dépenser beaucoup d’argent sur votre salle de montre ne veut pas dire que vous vendrez plus. Les designers d’intérieur veulent engager un professionnel en relations publiques lorsqu’ils ont des difficultés. Ce sont de vieilles façons de faire des affaires qui n’ont jamais fonctionné, mais les gens ne l’ont pas réalisé avant que l’économie flanche. Je crois qu’il y a un plus grand besoin de se rendre valable. Je dois penser à enseigner à mes clients comment repenser le design.» Elle aide ses client à développer des outils et à apprendre à élargir les stratégies qui les feront passer à un autre niveau. Devenir un meilleur présentateur est l’un de ces outils. Elle constate : «Il y aune différence entre présenter et vendre, mais il faut entrer dans une présentation avec l’idée de vendre en tête pour faire de votre auditoire vos prochains clients. Pour les designers, les aptitudes de présentation impliquent qu’ils deviennent plus engagés et qu’ils regardent les gens dans les yeux. Il faut aussi poser les bonnes questions pour les aider à formuler leurs besoins. Et votre rôle est alors de leur dire que vous êtes là pour les combler.» Deborah dit qu’il faut faire attention de ne pas occuper tout l’espace simplement pour leur démontrer votre

expertise. Elle recommande d’écouter attentivement pour apprendre quels sont les besoins des clients. Il arrive parfois que ce sont les clients eux-mêmes qui sont nuisibles aux affaires. Elle se rappelle notamment «avoir travaillé une fois avec une compagnie qui avait un goulot d’étranglement. Rien ne pouvait se faire sans l’approbation des deux présidents. C’était un obstacle important pour la croissance de leur entreprise parce que leurs employés se sentaient sans pouvoir aucun. En bout de ligne, ils n’étaient pas investis dans la réussite de la compagnie.» Deborah Flate est propriétaire et fondatrice de la firme Dialogue Consulting, basée à Chicago, en Illinois. Depuis 2001, elle a été responsable d’ateliers, de webinaires et de séminaires partout en Amérique du Nord, incluant sa récente présentation dans le cadre du salon IIDEX Canada intitulée « Selling in Any Economy». Elle lancera un livre éponyme en 2014.

Continue the conversation: @idcanadatweets @DeborahFlate

Pour continuer la conversation : @idcanadatweets @DeborahFlate

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on your behalf… en votre nom…

In the September/October issue we shared all of the new and exciting programs implemented for emerging professionals at IIDEX Canada. Social media was a large part of how we did that, and we realize it’s a great way for you to connect with us. For IDC, social media is more than pushing out content. We want to engage you in an online discussion, draw you in, and get you excited about your association, and what we do on your behalf. Leading up to IIDEX Canada 2013, IDC held Top 5 Tuesdays, a day we dedicated to promoting the winners of our Top 5 Under 5 Awards program through our social media outlets. The campaign raised the profile of some of Canada’s emerging professionals, and helped spread the word to our followers about the ones to watch. The Emerging Professionals Lounge at IIDEX Canada 2013 offered a spot for showgoers to connect online and have real-time conversations about show happenings. Hashtags #IIDEX13 or #sketchIIDEX were displayed on live feeds in the Lounge and captured online conversations and buzz from the show floor. Social media at IIDEX offered members a whole new way to experience the show: through the phone camera’s lens of an emerging interior designer, or through an IDC board member’s comment about a seminar they attended, for example. Hundreds of people used the hashtags and joined the conversation. IDC hosted its first ever Twitter contest at the show. The task: to sketch something ‘show-stopping’ from the IIDEX show floor. Interior design and architecture students sketched on their smar t phone or tablet and uploaded it to the site by using #sketchIIDEX. The students could also visit the IDC lounge to submit their sketches on Moleskine notebooks. Many students participated in the online competition. IDC, with Architecture Canada | RAIC and Moleskine, judged the sketches and selected three winners from the submitted drawings. Grand prize winner, Student member Elizabeth Johnston-Howard of Fanshawe College, won airfare and hotel for a trip to NeoCon in Chicago, second prize winner, Student member Mar wa Talal of Algonquin College, won an ipad mini and an honourable mention goes to, Student member Katrina Clancy of Ryerson University, who took home a Moleskine prize

Dans le récent numéro de septembre-octobre 2013, nous avons partagé avec vous tous les programmes stimulants implantés pour les professionnels au salon IIDEX Canada. Les médias sociaux ont aussi joué un rôle important. Nous le savons, c’est une manière extraordinaire pour vous de maintenir le contact avec nous. Les médias sociaux sont plus qu’une plateforme de contenus pour les DIC. Nous voulons entrer dans un dialogue en ligne, vous faire participer et vous intéresser davantage à ce que nous faisons en votre nom. En se préparant à l’événement IIDEX Canada 2013, les DIC ont tenu leurs mardis Top 5 : une journée complètement dédiée à la promotion des gagnants de notre programme de prix Top 5 Under 5 à travers notre présence sur les médias sociaux. La campagne a rehaussé le profil de quelques jeunes professionnels débutants du Canada et nous a permis de parler avec ceux qui nous succéderont des talents à surveiller dans l’avenir. Au salon IIDEX Canada 2013, le lounge des professionnels débutants a offert un espace pour que les visiteurs puissent se connecter en ligne et avoir des conversations en temps réel sur ce qui se passait au salon. Les mots-clics #IIDEX13 et #sketchIIDEX étaient visibles au lounge pour permettre les conversations sur le vif au salon. Les médias sociaux ont aussi offert aux membres une nouvelle manière d’expérimenter le salon IIDEX: par exemple, à travers la lentille de la caméra du cellulaire d’un professionnel débutant ou à travers les commentaires d’un membre du conseil d’administration des DIC au sujet des séminaires qu’ils ont suivis. Des centaines de personnes ont utilisé les mots-clics et se sont joints à la conversation. Les DIC ont également organisé leur premier concours sur Twitter, au salon. Le défi : faire le dessin d’un « coup de cœur » vu sur le plancher du salon. Les étudiants en design d’intérieur et en architecture ont dessiné sur leur téléphone intelligent et sur leur tablette et ils ont pu télécharger les dessins terminés sur le site, en utilisant le code #sketchIIDEX. Ils ont également pu visiter le lounge des DIC pour soumettre leurs dessins dans l’un des cahiers de dessin Moleskine. Plusieurs étudiants ont participé à la compétition en ligne. Les DIC, en collaboration avec Architecture CanadaΩIRAC et Moleskine, a jugé les dessins pour sélectionner trois gagnants parmi les soumissions. Le premier prix a été décerné à Elizabeth Johnston-Howard, de Fanshawe College, qui a remporté les frais de déplacement et d’hébergement pour un voyage au salon NeoCon, à Chicago. Le deuxdimensions 14

pack. Congratulations to all winners and thank you to our judges, IDC Provisional Director, Sarah Parker Charles, David Craddock, Past President, Architecture Canada | R AIC, and Sade Hooks,PR and Events representative for Moleskine. IDC is now integrating social media into all of its programs. One of our newest undertakings is using our social media outlets to promote our Industry members. IDC has more than 1,600 Facebook and 1,500 Twitter followers, allowing us to connect to diverse groups within the design community. By sharing news on behalf of our Industry members, we are amplifying the voice of manufacturers and suppliers while connecting them with the design community at large. “We are tr ying to create a dialogue within the interior design community, so tying social media in with our advocacy efforts means that everyone can participate in the discussion,” says Candis Green, IDC’s communications coordinator and social media guru. Through our social media efforts, these connections have helped IDC become an online destination for those seeking to learn more about the industry and for those in the industry to participate in the online conversation. Join the conversation/Joignez-vous à la conversation. Follow us at/Suivez-nous @IDCanadatweets & facebook.com/ InteriorDesignersofCanada.

ième prix, un mini iPad, a été décerné à Marwa Talal d’Algonquin College, et Katrina Clancy, de l’Université Ryerson, a obtenu la mention honorable sous la forme d’un coffret de cahiers Moleskine. Voir les dessins primés à la page 15. Nous tenons à féliciter tous les gagnants et à remercier nos juges, la directrice, provisoire des DIC Sarah Parker Charles, l’ancien président d’Architecture CanadaΩIRAC David Craddock et Sade Hooks, la représentante de Moleskine. Les DIC intègrent désormais tous les médias sociaux à leurs programmes. Une de nos plus récentes réalisation est le fait d’utiliser les médias sociaux pour faire la promotion de nos membres d’industrie. Les DIC ont plus de 1600 abonnés sur Facebook et 1500 sur Twitter, ce qui nous permet de maintenir le contact avec des groupes divers dans la communauté du design. En partageant les nouvelles au nom des membres d’industrie, nous augmentons la voix des fabricants et des fournisseurs tout en les mettant en relation avec la vaste communauté du design. La coordonnatrice des communications des DIC et spécialiste des médias sociaux, Candis Green, précise: « Nous essayons de créer un dialogue à l’intérieur même de la communauté du design. Ainsi, le fait de marier les médias sociaux à nos efforts promotionnels veut dire que tout le monde peut participer à la discussion.» À travers nos efforts sur les médias sociaux, ces nombreuses connexions ont aidé les DIC à devenir une destination prisée en ligne pour ceux qui veulent en savoir plus sur l’industrie et pour les gens de l’industrie qui souhaitent participer à la conversation en ligne.

From top to bottom: First prize sketch by @elizabeth_mjh. Second prize sketch by @marweezyT. Honourable mention goes to @ktrina027 for her sketch of something show-stopping at #IIDEX13. De haut en bas: Le premier prix dessiné par @elizabeth_mjh. Le second prix dessiné par @marweezyT. Et la mention honorable à @ katrina027, pour son dessin d’un coup de coeur à #IIDEX13.

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

Industry members

*Membres de l’industrie With thanks to our industry members for their continued support. Nous tenons à remercier nos membres de l’industrie pour leur soutien continu. IDC Industry Partner Partenaire des DIC Hunter Douglas LP. Interface Knoll North America Corp. Levey Wallcoverings Philips Shaw Contract Group Tandus Flooring Teknion Limited Williams-Sonoma Inc. Designer Marketplace Tier III Niveau III 3M Canada - Architectural Markets Ames Tile & Stone Ltd. Caesarstone Canada Formica Canada Inc. GLOBAL GROUP Haworth Ltd. Ican Tile Distributors INSCAPE Kravet Canada Lutron Electronics Canada Inc. Milliken & Company Richelieu Hardware The Mohawk Group YellowKorner 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 ELTE and Ginger’s Hettich Canada L.P. Julian Ceramic Tile Inc. Kohler Canada Co. Mabe Canada (GE Monogram) Mapei Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Momentum Group Odyssey Wallcoverings PC350 Robert Custom Upholstery Ltd. Royal Lighting Superior Seating Hospitality Steelcase Canada StonCor Group Stone Tile International Inc. Three H. Furniture Systems TORLYS Smart Floors Vintage Flooring

Tier I Niveau I 3form 3G Lighting Inc. A&V Granite Abet Corp. Advance Marble & Granite, AMG 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 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. - MB Burritt Brothers Carpet and Floors Business Interiors by Staples C/S Construction Specialties Canada California Closets Canadel Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 Cascadia Design Products CD/M2 LIGHTWORKS Corp. 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 Daltile Canada Dasal Architectural Lighting Dell Smart Home Solutions Delta Sierra Construction & Millwork Ltd. Denison Gallery Design Exchange Design Lighting Design Living Centre Dimensions Framing DOM Interiors Toronto Dominion Rug & Home D’or Art Consultants Dor-Val Manufacturing Ltd. DPI Construction Management

Drechsel Business Interiors DuPont Canada eCarpetgallery Elite Finishes Inc. 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 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 Island Window Coverings Ltd. Isted Technical Sales 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 Mayhew McKillican Canadian Melmart Distributors Inc., Atlantic Division Mercury Wood Products Metro Wallcoverings Inc. Miller Thomson LLP MOEN INC. Monk Office Interiors M-Tec Inc. Muskoka Living Interiors Inc. New Wall Nienkamper Furniture and Accessories Inc. Novanni Stainless Inc.

Nuco System Ltd. Octopus Products Ltd. Office Source Inc. OfficeMax Grand & Toy Oloir Interiors Olympia Tile International Inc. 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 Sherwin Williams Showcase Interiors Ltd. Silk and Style By Dann Imports Silverwood Flooring smitten creative boutique SOFA - Source of Furniture and Accessories Sound Solutions 1997 Inc. ClickConnect Spectrum Brands | Hardware & Home Improvement 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 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 Vestacon Vesta Marble & Granite 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 August 12, 2013 *À partir du 12 août 2013

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