Canadian Interiors January February 2021

CDN $8.95 JANUARY FEBRUARY 2021

Embracing Social Infrastructure …and why designers need to be part of that discussion.

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A product designed by Cosentino®

TOPS ON TOP Cindy Crawford on Silestone Seaport

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The Silestone® LOFT series designs have been registered by Cosentino S.A.U.

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January | February 2021 / V58 #1

Senior Publisher

Martin Spreer

416-441-2085 x108 Editor in Chief

Peter Sobchak Art Director

Roy Gaiot Contributors

Toon Dreessen, Michael Kaethler Online Editor

Christiane Beya Customer Service / Production

Laura Moffatt

416-441-2085 x104 Circulation Manager

circulation@canadianinteriors.com

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Canadian Interiors magazine is published by iQ Business Media Inc. 101 Duncan Mill Road, Suite 302 Toronto ON M3B 1Z3 Telephone 416-441-2085 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes six issues, plus a source guide, per year. Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher.

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01/022021 Features

22 BUILD US UP Our physical infrastructure supports a social infrastructure, which is why design industries need to be involved in those conversations. By Toon Dreessen

30 ALL DESIGN IS SOCIAL Michael Kaethler chats with Jan Boelen about reinventing design in order to reinvent the individual, society, and its various structures.

Regulars

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HOW IT’S MADE 14 SEEN Pure Talents Contest 2021 presents forward-thinking product concepts by young creatives. 16 THE GOODS With bold visuals, textural luxe and warm colourways, new carpet collections enhance connectivity and enliven the spaces that surround us; plus, performance-driven upholstery lines are as unique in style as they are in construction. 34 OVER & OUT Featuring simple lines and exceptional craftsmanship, Karben Wood’s furniture is a response to a world moving too quickly.

COVER – BGLA transformed the former chapel of a private school in Québec City into a new modern library.

Photo by Stéphane Groleau.

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com Welcome to our new podcast series, where we step away from the photographs and talk with interesting folks about interesting ideas and issues facing the design world today. Available now for listen or download on our website as well as on a variety of streaming platforms, including

Episode 1 Cross Pollination: Embracing Inspiration from Alternative Disciplines

House on Haliburton Lake +VG link the exterior to the interior, visually and spatially, for a luxury cottage on a remote site near Algonquin Park.

Frank and Oak Imperatori Design builds a new Montréal workspace for the clothing brand that reflects their workshop philosophy.

Episode 2 Trade Shows w/ Jeff Forrest

Episode 3 Office Re-entry w/ Dyonne Fashina

Oakville Trafalgar Community Centre A dynamic new 53,000-sq.-ft. health and wellness facility, designed by Diamond Schmitt Architects, is inspired by the adjacent Chimney Swift colony.

Episode 4 Design Education w/ Anna Stranks

Rakuten Ready Québec City-based Patriarche designs a new Québec office for the location-centric mobile commerce platform.

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Episode 5 Architecture Theses on Film

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inside

Be real

As the waning weeks of 2020 dissolved like ice cubes in our eggnogs, the prevailing sentiment seemed to be that 2021 “couldn’t get here fast enough.” But before we careen into the new year with unfettered (and unrealistic) optimism, it is important to let data do the talking.

Take, for example, billings. Once a month, the American Society of Interior Designers (ASID) conducts a survey of 200 firms on current and future business conditions for the interior design industry and releases the results quarterly in a report called the Interior Design Billings Index (IDBI), which they did on December 3 for Q3. In the interest of full disclosure, “While there are a few firms based in Canada who participate in the survey, IDBI is predominantly a snapshot of the interior design industry within the United States,” says Eric Lynch, ASID senior associate, Research & Knowledge. That said, a look at the results is still useful, especially since there is no equivalent index done specifically in Canada (yet).

The Index’s highlight reel for Q3 2020 looked like this: September’s score was healthy, and the three-month moving average score indicat-

ed a recovery from the low scores seen in March and April during the nascent stages of the pandemic. The same was true for inquiries regarding future projects. As far as firm size scores, most appear to have rebounded from the lows seen in March and April: small and mediumsized firms reported widespread billings improvement, while the largest firm size category struggled with sub-par billings scores. But wait: these positive scores appear to only benefit the single-family home sector, as commercial, institutional, and multi-family sectors have not rebounded since March, with all three sectors still showing sub-par scores. Three out of four respondents (76 per cent) expected conditions to be better or the same by the end of 2020, albeit slowly and variably, as consumers and businesses look beyond the U.S. election for when reasonably effective vaccines becomes available.

What to make of this? Simply put: we’re far from out of the woods, and it will be an uphill climb even after vaccines roll out. Spectres of massive debt due to government stimulus are keeping many investors’ purse strings tight, which is tough for design firms whose portfolios consist primarily of big-ticket office, commercial and institutional projects, as opposed to kitchen and bathroom renovations.

And even those aren’t slam dunks, as inevitable interest rate escalations will impact everyone, including homeowners. While no one likes a pessimist, blind optimism isn’t much better. Instead, as has been said, the best optimists are realists. So be one of those.

Peter Sobchak

psobchak@canadianinteriors.com

CALL FOR SUBMISSIONS! 24th Best of Canada Awards, the only national design competition in Canada to focus on interior design projects and products without regard to size, budget or location!

All winners will be published in the July/August issue of Canadian Interiors.

Submission Deadline: Thursday, May 6th at 11.59 p.m.

www.canadianinteriors.com/BoC

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caught our eye

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A River of Metaphor Billed as the largest “living architecture” sculpture in the world, Meander, created by Philip Beesley, occupied the inside of a restored historic building in Cambridge, Ont. that is part of the Gaslight District redevelopment by HIP Developments. Beesley worked with the Waterloo-based collective Living Architecture Systems Group to create a soaring installation of meshwork spheres, columns and canopies suspended from the ceiling and made of a lightweight, flexible structure that is interwoven with radiant lattices of expanded metal and recycled transparent polymer that react to visitors thanks to sensors. The piece will also play a central role in a new work that Beesley will present at the 2021 Venice Architecture Biennale. www.meandercambridge.ca

Throwing Shade on Winter The Art Gallery of Ontario (AGO) engaged the winter season with a solo exhibit called Haegue Yang: Emergence dedicated to the Seoul-based artist known for manipulating everyday domestic materials into new sculptural form. In addition to an 82-work showcase, the AGO also commissioned two site-specific installations: a mural-like wallpaper; and Woven Currents – Confluence of Parallels, an assemblage of aluminum venetian blinds, steel wire and LED tubes. www.ago.ca

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caught our eye

The Gang’s All Here From furniture to lighting design, Toronto has no shortage of talent. To celebrate and support the city’s talents during these times of uncertainty, Scavolini Toronto brought together seven local makers and opened a gallery space within its Castlefield Design District showroom that spotlights a selection of handcrafted, locally made art by Lori Harrison, Moss & Lam and Paul Lavoie; lighting by Anony; and décor items by Filo Timo, Rekindle and hollis+morris. www.scavolinitoronto.com

Goodbye Yellow-Haired Toad Designer and artist Paul Raff has turned off-the-shelf, mass-produced consumer products (in this case, cabinet knobs) into a pixilated pseudo-digital image of the now-former President of the United States. The cheap-yet-dazzling 1,793 translucent knobs, purchased from Chinese e-commerce company Alibaba, is “an ironic nod to the ways in which Trump’s previous career as a real estate developer was characterized by an obsession with opulence in architecture.” Knob Portrait: President Trump is the second in a series by Raff of low-relief, pixilated portraits. www.paulraffstudio.com

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Home on the Road As if there are not enough gadgets in your car already, LG Electronics and Hyundai Motor have unveiled the IONIQ Concept Cabin with even more home-like features. By taking advantage of extra interior space from EVs unencumbered by internal combustion and mechanical components, room has been found for amenities such as a capsule coffee machine, a compartment that dries wet shoes; a “wardrobe manager” and a mini-fridge.

Then there is the 77-in. flexible OLED display that covers much of the ceiling and can be adjusted with hand gestures. Once the vehicle is empty, a sliding bar wipes the floor clean, and overhead UV LED lights disinfects the interior. www.lg.com

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arriscraft.com | 1/2 2021 CANADIAN INTERIORS

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how it’s made

French Kiss

Pop Art mixed with French curve cues heavily influenced this tête-à-tête chaise.

Photography: Rajeshta Julatum (finished shot) / Ryan Anning (process shots).

The project brief for the 16th Annual Wilsonart Challenges Student Chair Design Competition stated that a chair was to be designed that cited precedents from both furniture and contemporary art, using laminate for its skin to showcase the application possibilities of this material. With these instructions in mind, Toronto-based Ryerson CANADIAN INTERIORS 1/2 2021

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School of Interior Design student Ryan Anning drew on several sources: a French curve template helped provide the form; Claes Oldenburg’s famous works of monumental scale provided inspiration for echoing the form of an everyday chaise object; and the legacy of Pop Art helped influence the palette.

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1—Before producing the piece, a full-scale cardboard mock-up was built to further analyze the form and identify potential problem areas that might emerge during the fabrication process. This helped to establish the best order in which to proceed, setting out the clear steps that were needed in assembling the layered components.

4—Bend-ply was then wrapped around the shape, forming a curved substrate for the laminate to be applied to.

2—The silhouette was designed to take material constraints into consideration, specifically the tolerance of the laminate’s radius and the points of material termination.

5—While there was initially concern about how to make laminate connections at the two sharp points, a strip was 3D-printed and affixed to serve as an extension and taper for the bend-ply.

3—A CNC router was used to cut out the chair’s sides from half-inch MDF and notch the perimeter for the plywood cross-bridges that would give the piece its core structure.

6—On this substrate, the laminate was applied, routed, and sanded along the edges. The result is a sculptural chair with a camp aesthetic. It measures 6’ x 3’ x 18”. A second refined prototype is currently ongoing.

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seen 1

Bright Ideas

Pure Talents Contest 2021 presents forward-thinking product concepts by young creatives.

By Peter Sobchak

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JoJo | Sofia Souidi This lamp is wound up by a string and emits a bright, warm light, but within a short period of time the light becomes dimmer before it goes out, creating a sense of time.

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According to the Grain | Sho Ota This project highlights the quality of a wood knot, the character of which is often treated as a defect and neutralized in industrial processing.

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Presented by IMM Cologne and LivingKitchen, the 18th edition of the Pure Talents Contest attracted 862 product entries from 59 countries, with 240 design schools that focus on product and interior design involved. As with everywhere else, the coronavirus pandemic presented the Contest with new challenges. Normally, the nominated designs are staged as prototypes in a lavish exhibition during IMM Cologne and LivingKitchen and personally presented by the designers themselves. The cancellation of the in-person event means a special Pure Talents showcase will not be held either. In response, the organizers expanded the international reach of the competition.

Organised by Koelnmesse, the competition is specifically aimed at designers who are either still in college or have just completed their training. This year’s judges included designer Eva Marguerre from CANADIAN INTERIORS 1/2 2021

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Triplex Stool | Whitnie Yvette Lau and Dennis Cheung Made of flax fibre and designed with a strategically curved geometry, the less than 3mm thick stool stands elegantly on its arches and embraces the weight it carries.

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Click | Will Cook Foremost a joinery system, the click-together joint enhances the experience by eliminating the frustration of furniture assembly, leaving the user to appreciate the function and beauty of the piece.

Hamburg-based Studio Besau-Marguerre; Jennifer Reaves, CEO of international design trade show blickfang; designer Sebastian Herkner from Offenbach; and Norbert Ruf, creative and managing director of Thonet GmbH. The jury was impressed by the many international entries and the creativity exhibited and pointed to the fact that the already difficult circumstances young designers face when they finish training are even more challenging than usual right now. “For the young generation, being seen and expanding their network is the beall and end-all. At this point in their careers, young designers don’t have anything to show for themselves yet,” said Reaves. “This could now be a lost generation of designers because there’s currently not any opportunity for young designers to meet producers. What’s more, most companies tend to play it safe and hire established designers rather than relying on young talents,” said Herkner.

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Pipe-Line | Peter Otto Vossding An extending table whose mechanism serves as the central design feature, two pipes flow into each other akin to a telescopic rod and function simultaneously as the extending mechanism and frame.

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Flow Chair | Filip Lenarcik Reinventing flat-pack furniture, the chair consists of four main elements and eight joints that can be reassembled multiple times without sacrificing strength.

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Aspirator | Qing Deng Think of it as a psychological vacuum cleaner that helps people vent negative emotions.

When users are unhappy, shouting or saying something to the Aspirator will make the airbag inflate.

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the goods

Count Them In

Featuring bold visuals, textural luxe and warm colourways, these carpet collections enhance connectivity and enliven the spaces that surround us.

Compiled by Peter Sobchak

The Digipop Collection | W Studio This Toronto-based carpet design house is fearless when it comes to juxtaposing form, colour, and patterns, and they have collaborated with the perfect ambassador for just such an aesthetic. The ever-prolific Karim Rashid has brought his love of strong, bright colours and three-dimensional optical topographies to a new collection of high-definition wool carpets inspired by the sensual curves and fantasies that characterize his mood — what he has called “Digipop” in the past and is also now the name of this collection. www.wstudio.ca

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Influunt | Durkan Based on traditional textile art mixed with abstract paintings and Jacobean embroidery patterns, this carpet design was created by Yelena Rodina as part of an experience she encountered earlier this year during self-isolation. “During the quarantine I had a problem with my internet one day. I turned to my love of painting and experimenting with different techniques,” she says. The collection is offered in Durkan’s (Mohawk Group’s hospitality division) three-dimensional layering effect called Synthesis, Pattern Perfect, PDI carpet tile and tufted broadloom.

Cobble | GAN This new line of hand-knotted wool rugs replicates fairly convincingly the look of cobblestone paving in a grayscale that is reminiscent of natural stone, concrete or granite. Tough enough to endure prolonged use like pressure from rolling furniture, in addition to dark gray tones that help regulate light in a room, makes the rug ideal in studies or offices. www.gan-rugs.com

www.durkan.com

Inspired Connection | Patcraft This commercial collection’s aesthetic is intentionally reminiscent of home, with exaggerated textures and warm, soothing colours meant to evoke feelings of comfort. “We conducted a nationwide listening tour to gather market insights and customer feedback as we considered market needs, patterns and colourways,” says product designer Linnzi Rich. “The collection was inspired by the importance of connectivity in creating a sense of belonging and well-being for the people who experience a space.” The modular tiles are constructed with Eco Solution Q nylon, EcoWorx backing and are Cradle to Cradle Certified Silver. www.patcraft.com

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The Meiso Collection | Bentley The three new patterns of this collection — named Root, Roam and Ponder — are inspired by Japan’s Sagano Bamboo Forest and use a colourline that borrows from the traditional meanings of the variety of hues found within Japanese culture. They are produced with environmental sensitivity: Cradle to Cradle Certified, NSF 140 certified, CRI Green Label Plus certified and produced in a LEED-EB:OM Gold-certified manufacturing facility. Along with Environmental Product Declarations (EPDs) and Health Product Declarations (HPDs), the products also feature the Declare label and have achieved LBC Compliant status through the Living Building Challenge. www.bentleymills.com

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the goods Mickalene Thomas | Henzel Studio Known for partnering with renowned artists to create limited edition art rugs (their bulging roster already includes the likes of Helmut Lang, Marilyn Minter, Jack Pierson, the Foundations of Andy Warhol and Tom of Finland, among others), their newest collaboration is with American artist Mickalene Thomas. Titled Racquel Come to Me, the irregular and free-form rug is adapted from a photo drawing collage created specifically for this project, referencing art history, popular culture and politics. Each piece is hand-made using various levels of pile heights, carving and cutting techniques. www.henzelstudio.com Embodied Beauty | Interface Continuing the company’s eminent respect for nature, this collection is their first-ever cradle-to-gate carpet tiles in three carbon negative styles, which combine the company’s new CQuest BioX backing with specialty yarns and proprietary tufting processes designed to store more carbon than any carpet tile before. Designed by Kari Pei, the collection reflects Japanese aesthetics of minimalism, restoration and principles of ikigai, a Japanese concept related to well-being and happiness. www.interface.com

Amulet | Bloomsburg Carpet Produced in collaboration with Zeftron nylon, a six solution-dyed nylon yarn system for commercial carpets, the placement of cut and uncut surfaces provide areas of open space bound tightly together as one form. Woven on Bloomsburg’s double heddle velvet looms, this line is available in seven colourways ranging from organic earth tones to grays and other calming neutrals, and is Green Label Plus and MBDC Cradle-to-Cradle certified. www.bloomsburgcarpet.com Sonata Elements | American Biltrite Originally intended to be launched at NeoCon, this new collection combines the hygienic benefits of luxury vinyl tiles with a dimensional striated textile visual inspired by modular carpet tiles, and is based on foundational neutral beiges and grays, which are complemented with neutral tone-on-tone as well as chromatic gradient patterns.

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www.american-biltrite.com

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By Royal Decree

Origin

In celebration of its 10-year global anniversary, The Campaign for Wool Canada has partnered with custom handmade rug creator Creative Matters Inc. and designer Sarah Richardson in creating a collection of handcrafted Canadian wool rugs.

Consisting of two rugs and one runner, the bespoke collection highlights the benefits and potential of wool in contemporary design, particularly Canadian wool.

Initiated by its Patron His Royal Highness The Prince of Wales, the campaign brings together wool farmers, manufacturers, artisans and leaders in the fashion and interior design space, to advocate for the value of wool. “The mission of The Campaign for Wool is to knit together (pun intended) partners from every level of the value chain through initiatives that exemplify the profound impact wool can have in our lives, from the clothes we wear to the spaces we inhabit,” says Matthew Rowe, CEO of The Campaign for Wool Canada.

Titled Origin, Highland and Hampton, each piece in the collection incorporates several elements which celebrate the anniversary and honour its Patron. Hampton is based on a garden photo from the Hampton Court Palace garden show; Highland evokes the Scottish landscape where The Campaign’s Dumfries House Declaration on the future of wool was signed; Origin is inspired by macramé and showcases the natural beauty of undyed Canadian wool. The wool featured in this rug collection comes from the Briggs & Little Mill of New Brunswick, a family-owned business that has been operating since 1857.

In addition to being renewable and biodegradable, Canadian wool is particularly special because of its high elasticity, which enables it to retain its original shape. Toronto-based Creative Matters Inc. provided the design and manufacturing expertise to bring Sarah Richardson’s designs to life and produced this collection under fair trade conditions audited by Label STEP, an independent Swiss non-profit organization.

Highland

Hampton

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the goods

There’s the Rub

Sophisticated and energetic, these new performance-driven upholstery lines are as unique in style as they are in construction.

Compiled by Peter Sobchak

Prairie School | Architex This collection honours the late 19th- and early 20th-century midwestern architectural style of the same name. Monikers like Purcell, Sullivan, Taliesin and Wright are evoked as pattern aesthetics utilize strong horizontal lines and banding, similar to the style’s architectural elements that were meant to evoke and relate to the wide, flat expanses of the prairie landscape. www.architex-ljh.com

Intersection | Duvaltex Co-created by Duvaltex and Steelcase, in partnership with the SEAQUAL initiative, which turns marine plastic waste into recycled products with full traceability, Intersection is the first Ocean Waste Clean Impact Textiles.

Offered in 17 colours, Intersection is available throughout the Steelcase surface materials distribution network and applicable on over 50 Steelcase screen and panel product lines, and made with post-consumer recycled polyester and plastics that were salvaged from oceans, processed and upcycled into a polymer used as yarn.

Contour | Concertex This coated upholstery fabric plays with light and shadow using a new engraved roller that applies a layer of poly­urethane to create a raised, textured design that is smooth and sleek. Boasting over 100,000 double rubs, bleach cleanable and HHI compliant, Contour has a graffiti-free finishing to withstand the rigorous demands of all workplace, hospitality, and healthcare facilities. www.concertex.com

www.duvaltex.com/cleanimpact/ steelcase

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Everyday Textures | HBF Textiles Created to complement HNI contract furniture brands such as Allsteel, Gunlocke, HON, and HBF, the six materials in this collection (Checkmate, Look-see, Blink, Walkabout, Poppy, and Zippy) “have a real body to them, and the creative use of yarn provides a unique feel and definition,” says HNI Corporation Director, Colors, Materials + Finishes Kandice Tjebkes. www.hbftextiles.com

Textile Collection | Designtex + West Elm Four new textile patterns represent the fourth collaboration with West Elm and combine a residential look and feel with commercial performance suitable for contract applications across congregate spaces, senior living, hospitality venues, and corporate settings. The upholstery styles are inspired by mid-century fashion cues and include: Boucle Melange; Chenille Chevron; Chunky Tweed; and Corded, and all feature Crypton chemistry, a bonded fabric system that renders the textiles durable and easy to clean and disinfect. www.designtex.com

Remede Alta Healthcare | Architex The Remedé line’s newest offerings include a six-pattern, 67 colourway collection inspired by the sea and with names like Billow, Seabed and Shower.

Woven in 100 per cent solution-dyed nylon and powered by Alta Healthcare performance, these patterns are part of a collection featuring disinfectant cleanability, high durability, stain resistance and moisture barrier performance. www.architex-ljh.com

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Allante FRee | Morbern This Ontario-based coated fabric producer has released a leather-like vinyl without additives designed for the hospitality, contract and public seating markets. Formulated phthalate free and void of antimicrobial additives, the material is denim dye and oil resistant (from cosmetics, cooking oils and fatty foods), and available in 25 solid colourways from neutrals to saturated reds, greens and blues. www.morbern.com

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Our physical infrastructure supports a social infrastructure, which is why design industries need to be involved in those conversations.

up us

Build

By Toon Dreessen

CANADIAN INTERIORS 1/2 2021

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By Toon Dreessen

When people talk about spending to stimulate the economy, governments are often quick to turn to “shovel ready” projects. According to the Federation of Canadian Municipalities and the CanInfra Challenge, we have an infrastructure deficit in the range of hundreds of billions of dollars. We tend to think of infrastructure as big-ticket things like bridges, transit projects, pipelines and highways. Infrastructure is architecture: schools, community centres, social housing, health care facilities, theatres and arts venues. The reality is that most of our infrastructure is designed by architects.

During a debate at Queens Park on the Infrastructure for Jobs and Prosperity Act, MPP Hon. Victor Fedeli said, “historically 60 per cent of all infrastructure is bricks and mortar. It’s buildings: hospitals, schools.

That’s infrastructure as well.” He could not have been more right. What we are missing in our current debates about infrastructure is the role architects and interior designers play in creating our society.

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Alex & Jo Campbell Centre for Health and Wellness, Camosun College, Victoria Stantec Architecture Ltd. Photography: Michael Elkan Photography

Camosun College provides health science education to 13 academic programs that were previously scattered throughout different buildings on campus, housed in aging and inflexible spaces not conducive to a collaborative work-centric teaching model at the core of the program’s pedagogy. To remedy this, the Alex & Jo Campbell Centre was built with an interior that integrates program-specific learning spaces with shared assets across different academic programs, such as: high fidelity simulation labs; flexible innovative labs; a home care living lab; a teaching clinic that also serves the public; and numerous informal and collaboration spaces, all enhanced with biophilic elements that draw from the area’s sub-tropical environment and vegetation. For example: trees feature prominently, with Douglas fir motifs interspersed throughout at various scales, including live trees in the central atrium; the large exterior social stair sits beneath the wood soffit of the upper levels; an atrium feature wall design is inspired by the undulations and striations of the bark on a tree; a round cedar-clad and acoustically insulated Indigenous multi-purpose space; and a therapeutic garden is on the Level 3 terrace. Other sustainable design features take advantage of the mild climate both in heating and cooling and promoting good air quality, all important parts of health and wellness.

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Buildings create the social infrastructure that is vital to who we are.

The creativity that architects bring to the table makes new opportunities and innovates on new ways to solve problems. Architecture is about solving problems and delivering excellence that has sustained, generational impact.

environment in creating community well-being that has resulted in places that have become iconic parts of our cultural psyche.

We know that if we invest in a community by creating a social hub where young people can gather safely, where new Canadians can learn job and language skills and where children can be cared for, we create a community anchor that becomes a beloved part of people’s lives. Case studies in the United Kingdom and the United States have shown that investing in people, and their sense of place, saves money. Current calls to defund the police are as much about reallocation of police budgets to fund housing, mental health, substance abuse and increasing access to education. We know that this investment helps create happier people who feel connected to their community and their country. We know that it can reduce crime by giving people hope, education and a sense of well-being.

In the years after World War II, huge investments were made in just this sort of social infrastructure. Toronto Community Housing, for example, has 2,200 buildings representing over 50 million square feet of residential space, an asset worth more then $9 billion of which more than half is over 50 years old.

In this same period, Canada invested in new universities, colleges and libraries to meet the demands of a growing population. We saw massive investment in, and understanding of, the role of the built

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Saint-Jean-Eudes Library, Québec City BGLA architecture + design urbain Photography: Stéphane Groleau

In redeveloping a private school’s former chapel into a library, the designers tackled the space’s austere double-height volume by zeroing in on the circle: a shape with deep religious as well as natural connotations. Here, the shape’s primary expression to users and visitors is in the form of a new circular mezzanine, a strong gesture suspended in the vast height of the chapel that increases spatial and visual interconnections in all directions while offering views to the exterior that were previously impossible given the high position of the chapel windows. Clad with “Merisier Condor” (Condor birch), a purpose-designed natural wood veneer (named after the school’s sports team), the mezzanine touches the exterior walls at only two anchor points, aiding in even light dispersion. The circle motif was continued with a curved staircase; a new round reception desk, finished with the same veneer and created as a counterpoint to the mezzanine; and colourful “working bubbles” carved out of the thick wall and covered in acoustic materials to aid students’ concentration.

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Łutsel K’e Dene School, Northwest Territories Taylor Architecture Group Photography: Ihor Pona

Home to nearly 300 people, the Denésoliné (Chipewyan) First Nation community of Łutsel K’e is located on the East Arm of Great Slave Lake in the Northwest Territories and can be accessed by barge in summer or air freight any other time of the year. The need to upgrade their single JK-12 school presented an opportunity to increase attendance rates, which statistically were low. To achieve this, three design strategies were pursued. The first was to increase transparency and access to light: the existing school had solid partitions with typical compartmentalized rooms, which for locals was reminiscent of the oppressive residential school feel. In response, interior glazing was introduced to allow light and direct lines of sight to pass into and between the classrooms.

The second strategy was creating “neighbourhoods” for each age group: originally formed around a single linear corridor, during the re-design small sections of classrooms were carved out to create individual zones within the corridor for kindergarten, elementary, middle and high school, each with their own entrance and washrooms. These break-out areas enable each age group to have a sense of ownership over a pocket of space within the school.

The interior glazing in corridor partitions allows these areas to be passively supervised from within the classrooms. Thirdly, interior finishes were chosen that relate to nature and traditional life in Łutsel K’e. For example, although the original exterior log cladding was not salvageable, the interior log walls and wood components were refinished, and exposed interior posts were replaced with natural log columns to preserve the school’s history. At the main entrance, a sculptural wall was designed to reflect rock outcroppings along the banks of the East Arm. The corridor flooring pattern is an aerial interpretation of the Great Slave lakebed, and custom tackboard art walls in the corridors are based on sketches made by local students, showing tipis, wildlife, and aurora borealis.

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environment where their spirit is lifted and they have a sense of belonging. Accessibility cannot be applied as an afterthought, or meet a minimum building code standard, it must be integrated throughout a design process to create places that are welcoming and inclusive.

We know that if we create a place for childcare, we create job opportunities for women; this can offset the “she-cession� that is the result of the COVID-19 pandemic. We know that if we create a place that is culturally relevant, we can bridge gaps and move towards reconciliation with Indigenous People, taking specific action on recommendations in the TRC Report and bring about a socially just society.

We need to approach problem solving in a creative way, bringing forward talent, innovation, and the ability to apply Canadian research and technology to designing solutions to these challenges. There is enormous potential in Canada: our research institutions, universities and colleges are at the forefront of building science innovations, for example the growth in the use of mass timber in the last few years is a madein-Canada approach that creates jobs and sustainable solutions.

Investment in buildings has enormous potential to affect climate change. Buildings account for 40 per cent of all greenhouse gas (GHG) emissions, and, combined with transportation, can consume as much as three quarters of all energy produced. We need to invest in sustainable buildings that are closely linked to sustainable public transit, including walkable and bikeable communities. Making a better place for people, where they can live, work and shop in close proximity creates the 15 minute neighbourhoods we know are essential to vibrant, socially rich communities.

Architecture can address many of the challenges society faces today, with solutions that may appear indirect: architecture can provide the space for social connection, communication and development of shared cultural beliefs, and can create physical environments where people can gather to celebrate life and grieve loss.

Our population is aging, and we are seeing an increasing need to integrate accessibility into our built environment. If we want to welcome a diverse range of abilities and ages in our cities, we need to create homes, businesses and public places that allow everyone to feel included. Building an accessible Canada means creating a built

Related design fields in landscape architecture and planning can create parks, public places and preserve our natural habitats. Increasing weather extremes mean we need places for stormwaters to flood,

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forests to buffer the winds and shady green spaces to play. We need natural habitats for wildlife, and farmland to grow food closer to home as international supply chains become strained.

and innovative solutions and open the market to smaller firms and emerging talent. Over 75 per cent of architecture and interior design practices in Ontario are small businesses but are often excluded from projects because of restrictive procurement processes that value firm size, past performance and low price as criteria for selection.

Let’s not forget the buildings we already have: thousands of buildings across the country are in urgent need of investment: everything from new roofs, insulation and windows to replacement of heating and ventilation systems. Ontario faces over $16 billion in needed repairs to schools alone.

The time is now. We need to recognize that infrastructure includes architecture. Culturally relevant places designed for people and that respect the land are needed today more than ever. Focussing on people, creating opportunities for health, happiness, dignity and social justice is the core philosophy of national architecture policies in most western European countries and the driving force behind Rise for Architecture, a grassroots effort to develop a national architecture policy for Canada. Reach out to your elected officials and make sure they know that architecture is infrastructure.

As published on Treehugger, when using Life Cycle Analysis “building reuse almost always yields fewer environmental impacts than new construction when comparing buildings of similar size and functionality.� Renovating our existing buildings is an excellent opportunity to learn about, appreciate, and enhance our heritage while having a significant impact on sustainability.

Toon Dreessen, OAA, FRAIC is president of Architects DCA, an Ottawa-based architecture practice.

Toon served six years on OAA council, two years as president and received the Order of DaVinci in

When given the opportunity, architects can create cohesive social infrastructure that enhances the role of government investment. Governments can support design competitions to solicit ideas, creative

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2020. Toon is a noted public speaker, writer and advocate for architecture and serves on numerous regulatory and advocacy committees.

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Associated Hebrew Schools, Posluns Campus, Toronto Projekt Studio Architects Photography: Wilson Costa

In addition to the client wanting a “super-creative, fun, immersive multi-functional space that was going to promote and foster creative thinking and exploration to a broad age group of students,” as Ben Gaum, principal at Projekt Studio Architects, puts it, the classroom was also intended as a marketing and fundraising tool that would help attract new students and families to the school.

This meant abandoning standard conventions of what a classroom space typically looks and feels like, and instead approach it as an exercise in exploration — both physically and metaphorically — with a particular focus on tinkering, making, designing, coding and other STEM-related fields.

The designers used vertical spaces as much as planar spaces “to explore design opportunities that would heighten senses and put a smile on a student’s face,” says Gaum.

Parametrically designed and fabricated reading pod walls are dramatic counterpoints to colourful sunken seating sections in the raised floor area of the room, but both serve similar functions: children can climb up into individual isolated spaces for private activities or down into a collective group setting; either way these movements lead to exploration and discovery.

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allDesign is o c i a l CANADIAN INTERIORS 1/2 2021

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Michael Kaethler chats with Jan Boelen about reinventing design in order to reinvent the individual, society, and its various structures.

Michael Kaethler: Let’s start with the programme you directed at Design Academy Eindhoven. Is it true that 10 years ago this Master’s programme had a question mark in its title (Social Design?)? If so, why?

at the implications and get stuck on deconstruction. We need to look at what can be done: What can be built on the ruins of the twentyfirst century? How can we use these ruins as a source to create a new reality — a new world with different values and relationships?

Jan Boelen: Because there’s no such thing as ‘social design’: all design is social. I began this programme wanting to challenge the very idea of social design. For one, it’s a pretentious title — it makes a lot of claims as to the intention and capacities of design. Moreover, I wanted the students to explore what this notion could mean; I also wanted to co-explore it with them. Students are very annoyed by this lack of definition but it’s enriching to see how they develop their own interpretations as their practice progresses. After 10 years of running the programme, I still do not give a clear statement on Social Design. I still do not like the term, but I find it useful.

How is your approach to design different from, say, the current obsession with techno-innovation?

Innovation today emphasizes technological or economic aspects that are there to serve the market, ultimately acting as self-fulfilling prophecies. Take, for example, technology such as the LED light bulb: it does use less energy than a traditional bulb, but it has so many different micro-electronic components that it’s almost impossible to reuse or properly recycle. Moreover, we end up using more LED light bulbs without questioning their use; and besides, they provide a worse quality of light. This example shows how so-called ‘sustainable thinking’ creates more problems that need solving and uses the same logics that gave us those problems in the first place. If we continue to point to technology as the answer, then we need to re-evaluate the question that it is purportedly responding to. And I don’t think technology is responding to a question.

What interested you in the notion of social design?

I’ve always been interested in what design is doing with or for society — in other words, in the implications and repercussions of design.

When you start to deconstruct or question design, all sorts of questions emerge: How does design affect our behaviour, our use of resources, our choices and freedoms to participate in social, political or economic decision-making, and the extent to which we feel we have agency over our lives? These questions show the power and possibilities within design and the need to better consider how it is executed, where, with whom, and so on.

Do you think it is possible for us to design our way out of our social, economic, and political collapse?

This is kind of a trap. On one hand, design is part of the problem; on the other, it is part of the solution. There is a mentality in design that is fashion-oriented, focused on the surface level and primarily appealing to either the ego or the market. This makes design a seasonal activity that responds to colours, surfaces, and textures and not to a need. The focus here is on keeping the production system rolling and accelerating profit margins through constantly providing new objects to purchase. This goes to show how the logic of the market is deeply embedded in certain tendencies of the design world, including designing superficial answers to serious questions, or answers to questions that nobody is asking.

What is your starting point in asking these questions?

The seed for me is at the object level. I’m interested in objects and I see each object as a type of hyper-object that is fully connected with social, economic, and political relations, as well as with what is currently happening in the world. This is how I begin — whether that’s making exhibitions or in my role as an educator. We need to focus on the object and look outwards from it. But it’s not enough to just look

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Let’s go back 10 years to when you first started the Master’s in Social Design. What was the social design mentality back then, and how has it changed?

Design is also responsible for shifting the blame and rarely questioning its responsibility in what it produces. In other words, instead of asking consumers to responsibly consume, designers could begin to responsibly produce. For one, designers need to take more responsibility and not shift it onto the consumer. Secondly, fuck, we’re producing so much shit — in effect, pushing a multi-cycle act of consumption — buying it, throwing it away, only to have it reborn as another shitty object that will only get thrown away again. It’s a vicious continuous cycle. We’re in a trap and we need to get out.

The difference is that back then there was a certain optimism that we don’t feel today. There was a sense that design and designers could really change things, that with good intentions they could do great things and that they could really save the world. It was a bit like the mentality of missionaries. I found this frightening; there were so many dangers evident in this type of thinking. There are still conferences today that focus on ‘what design can do’, as if design is the new saviour for all our social and economic ills. It’s like that saying, ‘the road to hell is paved with good intentions’: we find ourselves speeding downhill towards our own demise based on, among other things, the naïve intentions of ‘what design can do’.

Additionally, design is often instrumentalized. For example, after the 2008 financial crisis there was a booming interest in social design, especially in the Netherlands. While the welfare state was on its last breath and as the public sector was washing its hands of its own responsibility, social design was being celebrated for its capacity to bring about positive social change. This synchronicity was no accident. Suddenly, complex multiscalar problems, which had formerly been within the remit of large institutions, were now in the hands of creative individuals — tasked with saving neighbourhoods, tackling public health shortcomings or addressing housing shortages. This is frightening; governments were not taking responsibility for their domains and instead were outsourcing to the freelance creative class.

This resulted in embedding designers within structures of power — in effect doing their bidding for them. Since then, many of these same governments have become increasingly conservative, dragging designers and their programmes along with them.

You put designers between a rock and hard place. How does one begin to change our current situation without good intentions?

It’s about starting with yourself. I am not a social person in the sense of ‘socializing’ and surrounding myself with people. I relate to certain people in certain ways. By analyzing myself, I understood this part of me, and why I react a specific way in particular situations. What I want to say here is that only through knowing myself can I begin to reach out better to others. In the same way, social design is as much about the individual designer as it is about the world around them.

You cannot relate to the world around you unless you also understand your own desires, fears, tensions, and discomforts. It’s a troubling paradox, but an important one — social design is about me, myself and I. Only through knowing the self can we know the ‘other’.

I hold design up as extremely powerful; but as I just explained, it often ends up being instrumentalized, market-oriented, or superficial.

So for me, it’s not a question of what design can do, or whether or not we can design our way out of our current situation. Rather, it’s a question of how to do this, where and with whom?

So, how then do we design our ‘way out’?

Social design is often criticized for its naivety in engaging with complex issues. But at the same time, you promote an approach that is rooted in a deeply personal exploration — another type of naivety.

What is crucial here is fundamentally rethinking the broader systems, the power structures, and relations that are behind all of this. If we are to design our way out, we need to do it by critically questioning the fundamental basis of our design intentions, to foster design that can act and reason independently from these larger social or economic forces, taking back control over how material, data, tools, and systems are to be used, by whom and for whom. We need to rethink not only the underlying questions that design often seeks to address, but also how we go about the very process of ‘rethinking’ itself.

I believe that naivety is crucial, as is enthusiasm. There are different forms of naivety. For instance, if you go somewhere with the naïve idea that you know all there is to know, then you will fail to learn, to engage, to make something meaningful. But if you go there with that certain naïve enthusiasm that pushes you to leave your comfort zone and get lost in something, then you have a true encounter, from which powerful relationships and ideas can emerge. Learning is an act of ‘unlearning’: it is about forgetting preconceived notions and being able to see through different eyes — using your intuition or senses.

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This type of thinking precedes analysis; it provides the foundational knowledge, which can later be made sense of. First, we embody and then we take a distance to truly understand what is important, what is real, what is meaningful.

reading of what the social is and how design can interact with it through deeper engagements. Look at our student projects; they are long term, almost life-long projects that require a lasting and profound commitment from the designer. These projects are not intellectual exercises or self-congratulatory: no, they are born from deep convictions and are manifest through intuitive and reflective material engagements. With this, we can change the way we think about social design and prevent more shitty design projects.

There are all kinds of kitschy descriptions and false distinctions that highlight the differences between art and design, such as ‘art causes problems, design solves problems’, or ‘design is a solution and art is a question’. Looking at the types of projects coming out of Design Academy Eindhoven blurs these distinctions.

How do you see the future of Social Design?

We take a lot of inspiration from the arts. Design can easily fall into reproducing and amplifying the existing ways of thinking about problems and solutions. Art on the other hand creates alternatives, thinks sideways or invertedly, and plays by its own unique logics.

Similarly, we’re not interested in producing products; instead, we focus design outcomes on processes, conversation pieces, scenarios, networks, and so on. With political or critical design, the statement is the ‘thing’, while speculative forms of design are about narrations and scenarios that challenge the way we think or process realities. We are situated here on this side of the spectrum and quite far away from the pragmatic, conformist, solutionist, and affirmative approaches to design.

We, as a species, only have a future if our societal model changes. Our future is very bleak if we are not able to come up with new ways of organizing and designing democracies and economies. These two areas (democracies and economies) are the key topics for the next 10 years.

We need to identify new ways of decision-making and participation in society as well as new models for contributing to society. If design cannot help us in this search then it will soon be redundant, as will our species. We need to re-think the fundamental pillars of society and do so from both theory and bottom-up through design, allowing both to communicate with each other. We cannot leave it to the economists or politicians to come up with new models or alternatives — they will follow the same path. Design, I feel, is key in this process and social design is absolutely essential. If not, our future is severely limited. This is a critical moment, an urgent one. I say these things with profound concerns while at the same time believing that change is possible. Voilà.

Someone reading this might be confused by an internal paradox.

We claim that if matter is social, then all design is social. So why do we need social design if all design is social? Why not just collapse it within the larger design field?

Jan Boelen is a curator, educator and researcher

I don’t think social design is ready to be absorbed, it will be too quickly metabolized by certain superficialities of design, the market, fashionability, and ego. This tradition, which dates back to Papanek and even Bauhaus, still needs to be protected and fostered.

in art and design. He has been the head of the Master’s department of Social Design at Design Academy Eindhoven (NL) since 2010. In 2019, Jan was elected as the New Rector of Karlsruhe University of Arts and Design (HfG).

OK, so if you want to remain separate, does it bother you to work under the banner of social design when it is sometimes associated with arrogant, boring, aesthetically underwhelming and conceptually flat projects?

Michael Kaethler is a sociologist of design whose work focuses on the transmission, production and embodiment of knowledge in art and designoriented practices.

I believe we need to change it from within. There’s a valuable tradition here, as I just mentioned. Believe me, I’ve seen how shallow and misguided social design projects can be, all the while making bold claims and promises. I feel that we need to push social design from the inside, to change the discourse and practice by offering a deeper

The preceding is an excerpt from the new book Social Matter, Social Design, edited by Boelen and Kaethler (2020, Valiz). Reprinted with permission. www.valiz.nl

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Photo by Lauren Kolyn

over & out

Featuring simple lines and exceptional craftsmanship, Karben Wood’s furniture is a response to a world moving too quickly.

A Smooth Stop

By Peter Sobchak

where our customers can see where their furniture is made. We believe that creating greater connection between consumers and the products they choose will inform more thoughtful and more local choices. [Georgia and Anni] offer an opportunity to support local lumber mills, local designers, local makers, women in woodworking and local small businesses,” says Karras.

In an era of disposable furniture cheaply made in faraway places and easily replaced as trends come and go, the Georgia chair and Anni bench by Toronto-based Karben Wood offer a calm, timeless and beautiful alternative. Debuting during Toronto Design Week in early 2020 and led by David Benson, a former lawyer from England now on to a second career as a furniture-maker, and interior designer Lia Karras, the inaugural collection “was designed with the belief that furniture will not only inhabit a person’s space, but will become an intimate part of someone’s story, and the story of their home,” say the duo.

Taking cues from both Windsor and Wegner such as clean lines and traditional joinery, both pieces were designed with several goals in mind: thoughtful use of local materials and labour; creative small-batch manufacturing that allows for efficient production and a high level of craftsmanship. Both pieces are made in a co-operative workspace in Toronto using solid ash harvested from local trees. “It is important for us to keep our shop within the city CANADIAN INTERIORS 1/2 2021

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“We strive to create products that are made efficiently, with a high level of craftsmanship, around the corner from the person who will hopefully own the piece for a very long time. This keeps people connected within their neighbourhoods, keeps people employed doing meaningful work, and reduces the amount of goods in ships zigzagging around the globe,” says Karras. “Our company is committed to positively impacting our community. We are currently working on pro-bono design and manufacturing work for a not-for-profit in the city that is encouraging children’s literacy. We have also partnered with One Tree Planted. For every piece of furniture sold, a tree is planted.”

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Number TEN Architectural Group Winnipeg Office Design: Number TEN Architectural Group Photography: Michael Pratt, Copyright 2020 Black anodized aluminum feature walls and reception desk logo.

LED backlit stretch fabric displays, white oak inserts and digitally printed murals

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