Canadian Interiors May / June 2017

May June 2017

May June 2017

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20th 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 a special Awards issue and honoured at a gala ceremony on November 29th.

Submission Deadline: Friday, June 9th at 11.59 p.m.

Don’t delay!

www.canadianinteriors.com/BoC

BESTOF CANADA AWARDS

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05/062017 Features

34 HIT THE LIGHTS Inspired by nature, history, sustainability and geometry, these lighting fixtures ditch the traditional in favour of rhythm, elegance and visual impact. Compiled by Shannon Moore

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CHILD’S PLAY LEED Gold certification, a ‘competitive’ budget and timeline, multiple themes and usage stipulations – just another day at the design office. By Leslie C. Smith

45 HEALTHY MEASURES Nature and evidence form the foundation of one of North America’s largest mother and child health centres. By Rhys Phillips

50 LAY OF THE LAND A library perched on the edge of the Niagara Escarpment takes its inspiration from the rugged glacial terrain surrounding it. By Martha Uniacke Breen

54 BALANCING ACT A new office building in Mississauga celebrates Canada’s natural environment while paying tribute to its Japanese roots

Regulars

19 CAUGHT OUR EYE 22 SEEN Highlights and insights from Maison&Objet in Paris; Heimtextil in Frankfurt; and IMM in Cologne. 58 SCENE 62 OVER & OUT The SwissFrench master’s palette is becoming more readily available through product partnerships.

COVER –In the atrium of the CHU Sainte-Justine’s new building, two stacked volumes, like a matrix generating the surrounding spaces, house two auditoriums and provide a remarkable view onto the outdoor garden. Photo by Stephane Brügger

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Next time in

Malaysia International Furniture Fair 2017

It has been a long time since we visited Kuala Lumpur for one of the more important interior furnishings shows in the East, and things have changed considerably!

2017 Canadian International AutoShow A diverse and intriguing roster of cars, trucks, SUVs and concept vehicles were unveiled to some 339,000 visitors in Toronto.

Zn House +tongtong places strategic incisions throughout the renovation of a traditional Victorian house in Toronto in order to open it up and let the light in.

Toronto Centre for the Arts Diamond Schmitt Architects has repurposed an existing auditorium into two venues: a proscenium with a new stage; and a flexible ‘black box’.

Île Blanche Residence APPAREIL architecture gives a spacious Île des Soeurs home a second life with a resolutely contemporary and luminous aesthetic.

Pick up the next issue to see our roundup!

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May| June 2017 / V54 #3

Senior Publisher

Martin Spreer

416-441-2085 x108 Editor

Peter Sobchak Art Director

Roy Gaiot

Assistant Editor

Shannon Moore Associate Editors

David Lasker, Rhys Phillips, Leslie C. Smith Contributors

Martha Uniacke Breen, Leslie Jen, Michael Totzke Customer Service / Production

Laura Moffatt

416-441-2085 x104 Circulation Manager

circulation@canadianinteriors.com President of iQ Business Media Inc.

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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.

Subscription rates > Canada $38.95 per year (plus taxes) U.S.A. $71.95 US per year, Overseas $98.95 US per year.

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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, 101 Duncan Mill Road, Suite 302 Toronto ON M3B 1Z3 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-441-2085 x104 e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com 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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Celebrating Powerbond’s 50th. Join us at NeoCon showroom 380 for the celebration.

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inside

Get Well Soon(er) Healthcare is everywhere lately, no doubt fueled by the insanity going on south of the border. While “We the North” can rest a little more comfortably in a long-established, saner healthcare system, that doesn’t mean everything is running on all cylinders. Even in Canada, there are disconnects everywhere: from the science to the policy to the funding to, yes, even design. “Healthcare design does not yet fit into the conventional clinical organization, and institutional practices have not established meaningful positions for design” says Peter Jones in his book Design for Care: Innovating Healthcare Experience. This is true for all forms of design, including communications, visual, product and interior design. “Design (of all disciplines) is not yet showing its impact in health services. For the most part, designers remain on the sidelines in institutions and practice, unsure of where and how to step in and make a difference,” says Jones. “Compounding this position is the difficulty that designers are often not given the latitude to practice creatively and meaningfully in healthcare institutions.” - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Healthcare is a messy, emotional landscape to work in, where fuzzy, ill-defined, invisible and often chaotic human relationships shape many of the interactions. In such a massively complex system, designers need to stay humble, curious and adaptive. They shouldn’t attempt to “fix” the care sector, but instead should attempt to gain credibility and respect by showing the impact of design. One way is the introduction of a new language for design within the larger realm of healthcare, says Jones, actively engaging in new kinds of caring partnerships which challenge the pre-existing institutionalized power dynamics that have historically characterized the relationships between patients and doctors. “Until we prove to be valuable contributing members of the care team, we risk being seen as specialists and even marginal players in the story of care,” says Jones. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Yet progress is being made, and examples of being “valuable contributing members of the care team” are emerging in Canada. Interesting exploratory work is being done at the Health Design Lab at Emily Carr’s Design School in Vancouver, and in Toronto, OCAD University’s Strategic Innovation Lab (sLab) has done a lot of work in the health industry sphere (and also where Jones is an Associate Professor). And of course the projects featured in this issue — the CHU Sainte-Justine in Montréal, and Ron Joyce Children’s Health Centre in Hamilton, Ont. — are illustrative of the ways that designers are understanding the needs of healthcare as it evolves in a more holistic and patient-centered way. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - •

16 Peter Sobchak

psobchak@canadianinteriors.com

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caught our eye

Forever In Blue Jeans Our full Salone del Mobile report will be coming in the next issue, but here’s a tease: Off The Cuff, by New York-based Diller Scofidio + Renfro and the centrepiece of an exhibition titled A Matter of Perception held during Milan Design Week. 300 pairs of jeans, attached waist-to-waist and cuff-to-cuff, were stretched in a tensile, catenary diagrid across the courtyard of Palazzo Litta, cleverly bringing to mind many formal and informal debates about the nature of space and the body.

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caught our eye

Lovely as a Tree Sous le grand arbre adorns the lobby of a new CHSLD (Centre d’hébergement de soins de longue durée) in East Angus, Que., and was completed in January as part of the province’s Art and Architecture Integration Policy. The tree motif, says Montréal artist Elisabeth Picard, is intended to suggest that the centre and its staff play a protective role for the long-term care residents “like a big tree,” while also referencing the municipality’s pulp and paper industry. www.elisabethpicard.com

Lines Are Drawn The Mondrian House in Amersfoort, Netherlands, has been renovated to coincide with the 100th anniversary of the De Stijl art movement. Tinker Imagi­neers created a multimedia concept for the interior based on the concept of an empty canvas, and then filled with elements of Mondrian’s oeuvre, taking visitors from his early landscapes and colourful seascapes to the abstract world he is famous for. www.tinker.nl

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Phenomena | Bomma Czech lighting brand Bomma upholds its country’s reputation for high-quality glass production in the unveiling of DECHEM studio’s Phenomena collection of translucent/transparent tinted and hand-blown crystal pendant lamps.

Phenomena is available in three shapes – capsule, cone and sphere (in two sizes), and in four colours – mint green, smoke grey, Ferrari red and flamingo pink. Alternatively, a clear crystal finish with finely cut geometric patterns may be requested. Stainless steel fittings come in either a silver or gold finish. http://lighting.bomma.cz

Entrèves | Ligne Roset Venerated French designer Marie Christine Dorner has conceived of the Entrèves dresser for Ligne Roset, introducing a refreshingly flexible storage system premised on modularity. Entrèves can be arranged in a multitude of ways: side-by-side with the curved edges at the outer corners and vice versa, or back-to-back for accessibility from opposite directions.

With all sides perfectly finished, there is no bad angle. The dresser is finished with smoked oak or cherry veneer, and lacquer in a choice of satin white, argile, plomb and bleu nuit. www.ligne-roset.com

By Leslie Jen

Artisanal Approaches Projects gleamed with boundless enthusiasm and commitment to research and design at the January edition of Maison & Objet: a satisfying immersion into global design culture in one of the world’s most inspiring cities.

It’s always a treat to start the New Year with the winter edition of Maison & Objet in Paris. This time around, I was particularly delighted by an artisanal, less-industrialized and international approach to making and design.

Several standout examples of this were seen, for example, in the cross-cultural collaboration between U.K. designer Sebastian Conran and traditional artisans of the Gifu prefecture in Japan; London-based Polish designer Marcin Rusak’s Flora collection, a compelling selection of pieces that are deeply evocative, recalling William Morris’s intricate wallpaper patterns, the dark mysteries of 17th-century Dutch and Flemish flower paintings, and also the Romantic floral motifs present in the collections of Belgian fashion designer Dries Van Noten; and Studio SWINE (an acronym for Super Wide Interdisciplinary New Explorers), a globe-trotting pair whose work addresses global concerns of sustainability and issues of historical and political significance. - - - - - - - - - - - - - - - - • CANADIAN INTERIORS 5/6 2017

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Katakana | Dare Studio Founded by Sean Dare, Britain’s Dare Studio presents the Katakana collection. The desk and chair are compelling examples of a refined design sensibility evident in their streamlined proportions and elegantly splayed legs. Both pieces come in solid American black walnut or white oak with a hard-wearing wax oil finish.

The leather-topped desk is equipped with two leather-lined drawers and two A4 paper storage recesses, along with a central storage area with cable-management facilities. The accompanying chair can be upholstered with leather, fabric or the customer’s own material. www.darestudio.co.uk

Ribbon, S | Object Studio Founded by Thomas Vaughan, London-based Object Studio combines traditional wood-crafting techniques with cuttingedge digital methods of industrial design and manufacture. Recalling the compelling contours of British sculptor Henry Moore’s masterful figure studies, the S and Ribbon (shown) chairs are stunningly gorgeous objects that move far beyond the functional definition of furniture. www.objectstudio.co.uk

Visioni | cc-tapis The Visioni graphic carpet by prolific Spanish designer Patricia Urquiola was introduced in two new colours at M&O. Her architectural training is evident in the orthogonal perspective lines of the carpet’s boldly graphic composition, and pleasing muted shades enhance the 3D effect. A textile blend of Himalayan wool and pure silk is hand knotted in Nepal to the highest standard of 125,000 knots per square metre. www.cc-tapis.com

Borghese | La Chance The Borghese series by French designer Noé Duchaufour Lawrance for La Chance comprises a coffee table and a sofa inspired by the stone pines of the Villa Borghese gardens in Rome. Matte black steel forms the structure of both pieces, branching off to support the three solid oak surfaces of the table, and the seat and back cushions of the sofa. High-density polyurethane foam sofa components can be upholstered in a wide variety of shades, either as a single-colour scheme or as a combination of four colours. www.lachance.fr

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Gifu Collection | Sebastian Conran British design veteran Sebastian Conran introduced the extensive Gifu Collection at M&O, the result of an ongoing collaboration with 10 specialized artisans in the Gifu region of Japan.

With an emphasis on combining traditional Japanese craftsmanship with Conran’s contemporary design ethos, the collection includes over 50 items made from traditional materials. Here, the Kinka lantern by Asano-Shoten is constructed from white ash and mulberry paper, and incorporate digital technology via a batteryoperated LED light source. www.sebastianconran-gifu.com

Flora | Marcin Rusak Chosen as one of six individuals/ teams represented in M&O’s Rising Talents, Marcin Rusak applied material innovation to his Flora series of beautifully moody objects for the home: lamps, tables and screens feature a profusion of flowers encased in dark resin slabs that are sliced and reassembled into screens or cut into cylinders to form the lamp bases. This results in a fossilized or subtly veined finish characteristic of stone, but with an otherworldly depth and luminosity. www.marcinrusak.com

Gyrecraft, Fordlandia | Studio SWINE The architecturally trained Azusa Murakami and artist/husband Alexander Groves sailed 1,000 nautical miles collecting plastic flotsam and jetsam from the North Atlantic Gyre, transforming the debris into decorative sculptural objects through a solar extruder they designed and built themselves. Sold as luxury items at Selfridges, different sculptures are made from the unique assortment of plastics sourced from the five major ocean gyres. A more recent initiative is an exhibition and book project entitled Fordlandia, inspired by the short-lived Brazilian community established by automobile giant Henry Ford in the 1920s to procure rubber from the rainforest for the manufacture of tires. Seeking to reinterpret the production ideals of Fordlandia, Studio SWINE make use of ebonite, a very hard and dense vulcanized rubber that can be processed like wood, utilizing a sustainable forest product rather than relying on the endangered hardwoods. Guided by the Tropical Modernism movement of 1950s Brazil, the pieces in the collection include an armchair and a lounge chair: ebonite forms the gracefully curving structure of each, combined with sustainably sourced rainforest materials such as woven cane, rubber sheet and fish leather. www.studioswine.com

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Annular | Woud New Danish design brand Woud showcased the Annular pendant lamp by Canada’s own M-S-D-S Studio, a multidisciplinary design practice led by Jonathan Sabine and Jessica Nakanishi. Surprisingly, the light source does not emanate from the centre of the pendant, but emits diffusely via a concealed ring of LEDs tucked in the space between two nested aluminum cones. www.woud.dk

Duo | Zaha Hadid The late great Zaha Hadid was an indefatigable force in the architectural world, also turning her talents to the design of objects such as furniture, tableware and home accessories. Amongst the selections at M&O was the twisting, interlocking Duo salt and pepper grinders, articulating Hadid’s characteristically expressive and organic formal vocabulary. All pieces are fabricated in stainless steel. www.zaha-hadid-design.com

Fritz | Porada Italian company Porada unveils designer C. Ballabio’s charming Fritz side tables in five different shapes. Matte black metal legs meet the ground with elegantly brushed brass feet; tabletops with a high-sided rim are crafted from solid canaletta walnut. Tops can be specified with a glossy lacquered finish in four different colours. www.porada.it

Variable | Mini Archi Designed by the Belgian architect team of Ana Maia and Laurent Maes, who operate under the brand name Mini Archi, Variable is a beautifully sculptural and highly functional low table that morphs into an infinite variety of configurations through its three overlapping leaves that pivot around a shaft. Manufactured in Portugal, the table is a dynamic sculptural object that invites interaction: the 3mm-thick red lacquered and origami-folded sheet metal can be manipulated into a form suitable for any number of purposes. www.miniarchi.com

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With nearly 3,000 international exhibitors at Heimtextil in Frankfurt this past January, it was a veritable smorgasbord of wall and textile products, vying for visitors’ attention and highlighting the importance that textiles will play in future furnishing projects and environments.

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BALANCING MODERN FLOOR DESIGN WITH NATURAL DIMENSION. nora® introduces norament® arago, a premium rubber floor covering that balances geological textures with resilient modern design. Envisioned to aesthetically elevate your

busy public spaces, from entryways to corridors, its timeless marbled look and cool grey tones capture the elegance of stone in an ultra-durable yet comfortable floor.

Find your balance. www.nora.com/us/arago

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Boredom is so yesterday In the furnishings sector, the year traditionally gets underway with IMM Cologne, and the city on the Rhine did not disappoint.

Compiled by Peter Sobchak 1 PIN | Schönbuch The PIN hook rail is inspired by the look of a music stave. Its fold-down hooks are made of solid wood, painted completely black and the lower ends are finished with polished brass ferrules. The rail itself is formed from round tubing and powder-coated, as are the wall fixtures. www.schoenbuch.com 2 Kerman | e15 Versatility is the name of the game for the Kerman sofa. Designed by Philipp Mainzer and Farah Ebrahimi for e15, the system is based around various combinations of seating modules, armrests and poufs. www.e15.com 3 Hoptimist It’s small. It’s cute. And it bounces around. What more do you need? www.hoptimist.com

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4 Ga Stuhl | Horgenglarus One becomes two and two become one. This is, in simple terms, the principle of the Ga Stuhl. Swiss designer Hans Bellmann devised the chair in 1955 while experimenting with shaped plywood for seat shells, and Horgenglarus produced it until 1970. Now Switzerland’s oldest manufacturer of chairs and tables has brought back what was originally intended for the garden (so says Bellmann’s widow, hence the “Ga” part of the name). www.horgenglarus.ch 5 Caribe | Ames Part of the Sala collection, the new Caribe outdoor furniture family consists of a chair, lounge armchair, high and low sidetables and a basket table. Utilizing the momposino weaving technique taught in regional schools in Colombia, German designer Sebastian Herkner wraps different coloured plastic strings around a frame of steel pipe and steel wire that is offered both galvanised and powder-coated. www.amesdesign.de 6 Tama Living | Walter Knoll New products for 2017 include a sofa (Tama Living, shown) and occasional tables (Oki and Joco) designed by EOOS, which is probably a phrase the industry is used to hearing, especially since the collaboration between the Austrian team and German manufacturer is celebrating its 20th anniversary this year. Craftsmanship and sensitivity to material still resonate in these lines; no doubt why the relationship is still going strong. www.walterknoll.de 7 Hoff | Petite Friture Hoff is the name of a new collection from Petite Friture that consists of two modular stools, sofas and armchairs, from which entire landscapes can be configured. The brainchild of designer duo Morten & Jonas, the interplay of various colours, textures and Kinetic-style silhouette make it a great fit for spaces inhabited by high-level creatives. www.petitefriture.com 8 Margo | Vitamin Design Perhaps a tad nationalistic, but Germans seemed to really love the Margo table, giving the Hamburg-based company a 2017 German Design Award and an Iconic Award 2017: Interior Innovation. Admittedly, the wooden table carries strong structural elements defined by clarity of line and clear, minimalist graphic expression (popular German hallmarks). www.vitamin-design.com

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9 Stanley | Magis Philippe Starck has always thought of himself as a director, and now he’s taking it literally by reinventing that Hollywood icon. Originally introduced in the late 18th century, Starck’s version of the traditional chair features a single scissor-cross structure supported by a fibreglass-reinforced polypropylene frame. Any parallels between the irascible Frenchman and the chair’s obvious namesake, however, are entirely open to debate. www.magisdesign.com 10 Sleep System | Birkenstock IMM always has a surprise or two up its sleeve, and this time it was seeing Birkenstock — that’s right, the company that brought you leather sandals and hippies — expand its product range to now include beds, slatted frames and mattresses, as part of a partnership with mattress manufacturer ADA. There’s some logic to this, it seems: blending recognizable materials like granulated cork, natural leather and wool felt with a specially designed shock absorbent natural latex layer means not just your feet but now your spine can be supported, too. www.birkenstock.com 11 Agio | Rolf Benz There are so many possible configurations for this new sofa from Rolf Benz, it’s like a living room’s Rubik’s Cube. Designed by Norbert Beck, the side elements can be folded upwards, so that they can be used as a backrest system for sitting cross-wise on the sofa. When folded completely outwards, the lying area expands to support the whole body. The back of each seat can be rotated individually by 39 degrees into a relax position, and the headrest element can also be adjusted. When the seat is turned forward and the side element moved away, one can also comfortably put up one’s feet. www.rolf-benz.com 12 Alva | VITA The new products from the playful Danish lighting studio are based around the Idea, a new 3W, 125mm LED bulb that evokes the simple design of the original Thomas Edison lightbulb. Providing clever and alluring ways to control the gradient-effect glow are the Alva pendant lamp and shade. www.vitacopenhagen.com 13 Heavy Metal Matt Black | Buster & Punch There’s not an ounce of pretension in this pendant lamp by U.K. outfit Buster & Punch. An LED bulb in a smokedgold crystal housing hangs from a matt black rubber cord, and swings with that East London garage swagger from which it was born. www.busterandpunch.com

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the goods

Hit the Lights

Compiled by Shannon Moore

Inspired by nature, history, sustainability and geometry, these lighting fixtures ditch the traditional in favour of rhythm, elegance and visual impact.

3-4-5 | Karice Based on the Pythagorean Theorem, Karice’s 3-4-5 LED Pendant is shaped like a right-angled triangle, suspended to appear as floating in mid-air. Finished in white, black or custom colour options, the 3-4-5 is at once modular and mathematical. www.karice.com

Lace | Margot Krasojevi´c Architects 3D-printed using recycled post-consumer plastics, Margot Krasojevic´ Architects’ Lace LED light is defined by its similarity to woven lace, the fixture — available in 3D-printed ceramic, polymer, silver and brass — contains a series of shapes that direct, diffuse and deflect light.

Prince | Eureka Lighting Combining 48 LEDs, the Prince by Eureka Lighting diffuses glare through its chrome and machined glass body. A 2017 Red Dot winner, the slim, linear fixture is especially striking when hung in succession, offering a dynamic rhythm of endless dimmable light. www.eurekalighting.com

www.margotkrasojevic.org

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Project: Omers Design: Ray Inc. (previously know as Raymond Chiappetta Associates Inc.)

Project: Royal Sun Alliance Design: HOK

Project: Metrolinx Design: Helen Moffett Associates Limited Photographer: Philip Castleton

Project: Sheppard Mullin Design: TPG Architecture Photographer: Chris Cooper

Svend Nielsen Ltd. is an established Designer/Manufacturer of the finest custom furniture and millwork. Drawing upon more than 65 years experience, we take great pride in crafting products that satisfy the most discerning eye. As a company we have a proven strength in working with designers and architects. We take your vision on paper and translate it into reality through a collaborative process in which our clients’ needs are seen as paramount.

Over the years we have demonstrated our ability to handle the most demanding projects, executing contracts on time and in a professional manner.

Custom Furniture, Millwork and Public Seating 55 Penn Drive, Toronto, Canada, M9L 2A6 Tel: 416-749-0131 Fax: 416-749-0414 nielsen@svendnielsen.com www.svendnielsen.com

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the goods

Dawn | ANONY Inspired by the moment when the sun softly illuminates the sky, ANONY’s linear suspension light, Dawn, is made of plexiglass panels that gracefully drape over an aluminum tube producing dynamic shapes and subtle shades of colour.

Available in anodized matte black or white finishes. www.anony.ca

RA Pendant | D’Armes Luminaires Known for its minimalist fixtures, D’Armes Luminaires’ latest RA Pendant continues the brand’s tradition of simple geometry and clean lines. Glowing like a lightsaber when lit, the 112cm-wide pendant is adjustable and suspended by silicon cables with oxidized brass accents. www.darmes.ca

Float Series Chandelier | Lightmaker Studio The new Float Series Chandelier, designed by Michael Stamler, combines a seemingly random collection of globes attached to a simple, structured stem. The globes, which come in brass or steel with mold-blown glass, provide a geometric rhythm perfect for rooms with low ceilings. www.lightmakerstudio.com

Le Royer | Larose Guyon Inspired by the Gilded Age in New France, Larose Guyon’s Le Royer collection — named after the French-Canadian folklore figure Pierre Le Royer — aims to combine history with elegance and versatility.

Available in black, white matte, copper or brass, the collection features illuminated round discs assembled in chandelier or wall-mounted formats. www.laroseguyon.com

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ISA_Ellington_CanInt_fullpage_ad.pdf 1 05/02/2017 9:56:14 AM

E L L I N G T O N S E R I E S | W W W. H AVA S E AT. C O M

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Inte Pho

the goods

Melting Pot | Axo Light USA Axo Light USA’s Melting Pot offers playful variations on the lamp shade, combining light and dark patterns, optical designs, stripes, squares and floral motifs in one eye-catching fixture and are produced as pendant, floor or wall lights. www.axolightusa.com

Laurent 11 | Lambert & Fils Revisiting the classic Bauhaus shape of the opaline hand-blown glass sphere, the Laurent 11 collection features minimalist surfaces and volumes, with delicate spheres shining against the rigid nature of their anchors. Laurent 11 was created exclusively for the Galerie Armel Soyer in Paris.

Aplomb Large | Foscarini Made of concrete, aluminum and polycarbonate and resembling a UFO through its disc-shaped silhouette, the new Aplomb Large fixture designed by Lucidi & Pevere was carefully crafted to achieve strength and visual impact. www.foscarini.com

www.lambertetfils.com

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Serena | FLOS Designed

by Patricia Urquiola for FLOS, the Serena table lamp is characterized by its thin, leaf-shaped body that can be adjusted to direct the intensity of light. Offered in copper, nickel and aluminum atop a black base, the Serena lamp is equal parts sculpture and light source. www.usa.flos.com

Myriad | Gabriel Scott Inspired by nature’s bioluminescent organisms, Gabriel Scott’s modular Myriad series combines the brand’s signature double-blown glass with satin metallic hardware.

Hanging like spring buds on tree branches, the lights pivot to create a delicate, symmetrical and dynamic silhouette. www.gabriel-scott.com

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LE

Interior Design by SSDG Interiors Inc. Photography by Ema Peter Photography

LED backlit lightboxes and HD digitally printed fabric!

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2018 source guide Product Guide for Interior and Architectural Specifications The product guide is distributed to all readers of Canadian Interiors and Canadian Architect magazines. Your listing will be seen by 8,450 interior designers and 12,000 architects in Canada.

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LEED Gold certification, a ‘competitive’ budget and timeline, multiple themes and usage stipulations – just another day at the design office.

by Leslie C. Smith Above: The Ron Joyce Children’s Health Centre achieved LEED Gold primarily through the engineering team, which set local, reused and recycled content guidelines, instituted energy-saving mechanics and technologies, and tightened the building’s thermal envelope. The interior design team’s contribution included zero PVCs, low-to-no-emission materials, and recycled content such as the office space’s Net Effect tiles from Interface. Below: An arts program, part self-discovery and part “positive distraction” for clients and their families, includes over 40 art installations from local artists, including this 17-ft.-long LEGO skyline, Kaleidoscope City, by Raymond Girard.

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Think for a minute how much you don’t enjoy visiting the hospital.

Then multiply that a thousand-fold for kids with long-term health issues. When it came to creating a four-storey outpatient centre for children, youth and young adults — the first of its kind in Canada — Hamilton Health Sciences had a long list of requirements for its designers, not the least of which was that the place be made as inviting and non-clinical as possible. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The recently opened Ron Joyce Children’s Health Centre (RJCHC), named after its patron, the billionaire cofounder of Tim Hortons, houses a variety of programs and health-care services within its 204,500-sq.-ft. environs. A stand-alone offshoot of McMaster Children’s Hospital, one of the top pediatric academic health sciences centres in the country, RJCHC welcomes myriad young people and their families from Hamilton and the surrounding Southwestern Ontario region in need of long-term services, recurring treatment and progress monitoring. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Utilizing both private and government funds, the Alternative Finance & Procurement project combined the Planning, Design & Compliance team of Montgomery Sisam and Perkins+Will architects, with the Design, Build & Finance team of Stantec Architecture, under the auspices of PCL Construction. Architect Deanna Brown and principal interior designer Ena Kenny, assisted by designer Zoee Johnson and intern designer Lia Karras, had to “hit the ground running,” according to Stantec’s Kenny, given the project’s relatively tight timelines and budget, as well as its ambitious LEED Gold aspirations. “We went through a huge pile of specs of what users wanted in terms of performance and programming, as well as the feel and look of the place.” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Four different programs, each on its own floor — Prosthetics and Orthotics, Developmental Pediatrics and Rehabilitation, Mental Health, and Autism Spectrum Disorders — were being brought together under one roof in a purpose-built space that had to appeal to visiting children, their siblings and their parents alike.

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Wayfinding was important, as was a cohesive theme to tie everything together. The designers came up with the concept of “Journey, Discovery and Connection.” Journey speaks to the sometimes lifelong issues these children face. Discovery lies in finding out how to be their best, in addition to learning about the surrounding city of Hamilton. Connection talks to both the in-house and broader outside community, as well as biophilia and the human desire to associate with natural forms.

-------------------------------------------------The designers interpreted biophilia in a variety of ways, from the use of natural colours and warm wood tones (“They offered a more sophisticated palette,” says Kenny, “not the regular ‘kiddie colour’ bold primaries”) to patterning, such as animal shapes in the upholstery, and repeating ovals and circles in furniture pieces and flooring tiles. Even outdoors, in the ground-level accessible playground and outside terraces on every floor, the colours were kept complementary, further unifying the centre’s look and feel. 26 theme panels scattered throughout the building identify natural life in the Hamilton area, along with information on the location of parks and other amenities, augmented by factoids about the city’s industrial past and vibrant arts future. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Visitors are treated to magnificent north-south views of Lake Ontario and the Niagara Escarpment, respectively. Enhancing the calming, natural light from 10-foot windows is light from a central well that extends full height through the two-storey Family Resource Centre and beyond. The staircase leading to this information hub is at once utilitarian and therapeutic, for clients undergoing rehabilitation or adjusting to a prosthetic limb. Like many other areas of the centre — the playground, the gym, even the hallways — ordinary space also doubles as a treatment place. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ena Kenny says staff and user reaction to the Ron Joyce Children’s Health Centre has been “overwhelmingly positive.” Best of all are the comments from the kids, who used to feel scared or depressed when going in for therapy, but now find they can actually enjoy it. - - - - - - - - - - - - - - - - - - - - - - - - - - - - •

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Photography courtesy of Hamilton Health Sciences

Opposite page: A white-on-white 3D mapscape of Hamilton decorates the main wall next to the open staircase leading to the central Resource Centre. Hanging down from the fourth floor is an eye-catching sculptural creation by Moss & Lam, featuring glimmering globes and animalistic shapes on a series of thin wires. Top: Lessening user anxiety was an important concern. The centre’s outdoor gardens and play areas, plus plenty of light and a nature-based palette inside greatly aid this cause. Above left and right: Everything in the four-storey building, including the gym, has a dual normal-therapeutic purpose. Even the necessary clinical areas provide “positive distraction” such as views through floor-to-ceiling windows, for kids undergoing treatment. “It was important that the spaces were uplifting and didn’t cause anxiety,” says principal interior designer Ena Kenny.

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Architecture Construction Design Engineering Property Renovation

Principal Supporting Associations

2017

November 29-30 Metro Toronto Convention Centre North Building

Your design connection.

Our design community.

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iidexcanada.com thebuildingsshow.com

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HealthyMeasures Nature and evidence form the foundation of one of North America’s largest mother and child health centres.

By Rhys Phillips

Photography by Stephane Brügger

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C

Canada was ground zero for a radical transformation of modern medicine and how healthcare facility design became a valued healing tool. In 1972, the McMaster Medical Centre in Hamilton, Ont. designed by Craig, Zeidler & Strong Architects employed futuristic structures, new spatial organization principles, patient and family friendly spaces, bright colours and other elements to improve both care delivery and recovery performance. A decade later, McMaster’s David Sackett and Gordon Guyatt introduced “evidence-based medicine” (EBM), “the conscientious, explicit and judicious use of current best evidence in making decisions about the care of the individual patient.” By 2002, Sackett had amended his definition to include understanding the recuperative significance of involving both the patient and care-giving family. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - This patientcentred collaborative system reflected McMaster’s original physical design as well as the team-based, family-centred practice also introduced back in 1972. About the same time, considerable evidence emerged suggesting existing facility design could itself be a major health hazard, thus consolidating the importance of more evidencebased facility design. J. Stickler defined this approach as “the use of scientific method to guide design decisions based on empirical knowledge.” For example, reconfiguring nursing stations to improve patient/ nurse interaction, reduce walking and decrease medication errors, as well as positioning hand washing facilities to reduce nosocomial infections and humanizing patient environments improved outcomes and shortened hospital stays. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - These same principles underlie the interior architecture of the new research and special care units at Montréal’s CHU Sainte-Justine Hospital. Designed in consortium by Menkès Shooner Dagenais LeTourneux Architectes and Provencher_Roy, the latter addition adds 261 single-occupancy beds, a 14-room surgical unit, high-risk pregnancy unit, labour ward, pediatric and neonatal intensive care unit and medical imaging facilities, making it one of North America’s largest mother and child health centres. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Located west of the existing hospital on the lower north slope of Mount Royal, the care unit is E-shaped with three wings that ensure each spacious, single-occupant care room along the exterior wall receives generous views to the picturesque mount. Its visible presence, says architect Jean-Pierre Letourneaux was “the inspiration for our ‘hypernature’ concept that brings nature in and spreads it throughout the building.” Such connections to nature, evidence-based medicine has found, are conducive to faster healing. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - At the south end of each wing, floor-to-ceiling windows with fritted tree trunk-like patterns, bathe the corridors with light creating almost the sense of walking in a forest. Against part of these end walls are family rooms that provide retreat spaces. The large flashes of rich colours animating rooms and corridors have again both aesthetic and therapeutic roles. Gone, says architect Claude Provencher, are the drab tones we associate with past hospital environments. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Each bedroom has a generous padded bench providing family caregivers a comfortable bed for remaining overnight. Letourneaux compares this favorably CANADIAN INTERIORS 5/6 2017

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Opposite page top: In one courtyard visible to young patients recovering in their care rooms, a wind animated mobile of multi-coloured shards shimmers in the sunlight or from night time illumination. Opposite page bottom: The south-facing E-shaped care block ensures childrens’ care rooms boast generous views to picturesque Mount Royal, the inspiration for the hospital’s “hypernature” concept. Visual connection to nature fosters faster healing indicates evidence-based medical research. Top: A white auditorium is piggybacked atop a larger black one. Together they form a chiseled, boulder-like volume representing “the mother rock,” the hard magma that forms Mount Royal, one of eight Monteregian Hills dotting the St. Lawrence Plain. Above: The white upper auditorium hosts presentations and shows for the children under a sculpted ceiling of rich, naturally stained wood. A west-facing glass wall overlooks the atrium but also provides tantalizing views of the brightly coloured exterior play area. Right: The atrium’s voluminous space sparkles under a reflective, aluminum-tiled ceiling invoking a cloud flecked sky. Green “branches” crisscross the floor, morphing into benches under an interior bridge supported by canted trunk-like columns. Patrick Berubé’s bright-coloured “totem” figures add a touch of whimsy.

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with uncomfortable nights spent in a chair he experienced attending his elderly mother in an older hospital. Similarly, the usual lack of a “filter” that could reduce intrusive entry of medical staff while patients are resting or talking with relatives has been corrected. Doors are glazed and shuttered. “Thus,” he continues, “the shutters can be turned just slightly to see if the patient is asleep or occupied, thus again making the environment more humane.” The incorporation of small, carefully detailed workstations along the corridors minimizes nurses’ movements, reduces medicinal errors and ensures better work lighting.

-------------------------------------------------The three, four-storey bedroom wings sit on a contiguous podium containing medical services, delivery rooms and surgeries and are spaced around open, landscaped courtyards, although bridges connect the wings for ease of ward circulation. One courtyard is animated by a mobile designed by Cirque du Soleil and composed of multiple shards of coloured acrylic. Shimmering in the breeze, it provides a dynamic, playful spectacle for the young patients. “They did a very delicate, beautiful job with the mobile,” says Provencher. When light hits these small polycarbonate bits it reflects sunlight everywhere during the day or illumination at night; it is moving, it is never static, it sparkles for the kids. Additionally, Dominique Blain’s origami-inspired glass murals that greet you when you exit the elevator “are like a puzzle of triangle shapes out of which children can discern a bird, a bear, etc.….the animals of the Boreal forest.” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The architects’ “hypernature” organizing concept finds its way into the facility’s wayfinding signage. The use of colourful graphics depicting plants and animals characteristic of Mount Royal’s eco-territory is intended to create an environment that is healing, welcoming and even playful. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The idea of present nature is most dramatically evident in the public indoor/outdoor spatial spine stretching along the core of the site. This public heart of Sainte-Justine includes an almost three-storey atrium conjoining the care and research blocks. It serves to welcome and orientate visitors to both buildings, but it is also defined on the west by a protected and heavily treed linear courtyard. Visible through the atrium’s massive west wall of glass, it steps upwards towards a children’s play area covered in pink rubber tiling. This urban retreat, as is the rest of the complex’s nature-defined landscaping, is the work of Montréal-based NIP Paysage. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The atrium’s voluminous space sparkles under a reflective, aluminum-tiled ceiling that invokes a cloud flecked sky; but, is also punctuated by eight large irregular pentagonshaped skylights to let the real sky penetrate. Its white floor is crisscrossed by green “branches” that both extend out into the courtyard and rise up to become benches under an interior bridge. This span, supported by irregularly placed and leaning trunk-like columns, provides access to the upper of two piggy-backed auditoriums. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The auditoriums’ chiseled, boulder-like volume, (“the mother rock,” says Letourneaux) is extruded to the outside through the atrium’s east façade. It acts as an enigmatic reference, says Provencher, to the hard magma rock that forms Mount Royal, one of eight Monteregian Hills dotting the St. Lawrence Plain. The larger black auditorium on the first level draws researchers and visitors for international seminars into the atrium’s public space while the smaller upper white auditorium is used for presentations and shows for the children. In the latter, a west facing glass wall offers views across the atrium and out toward the courtyard and play area. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - All these elements, whether functional or aesthetic, promotes healing indicative of evidence–based design. And if you want “evidence” say the architects confidently, just ask the users, patients, families and medical staff. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - • CANADIAN INTERIORS 5/6 2017

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Top: At each elevator lobby, Dominique Blain’s origami-inspired glass murals contain triangle-shaped animals from the Boreal forest ready to be discovered by the hospital’s young patients. Above: At the continuous podium level, CHU Sainte-Justine boasts some of North America’s best state-of-the art surgical and high-risk pregnancy units. Right: Brightly coloured nursing stations are tucked along wide service corridors marked by colourful, animal-themed wayfinding graphics. Walls of glass, fritted with tree-like patterns ensures abundant natural light.

Patient rooms are bright and colourful with views of Mont Royal and come equipped with overnight sleeping benches for family caregivers.

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Lay of the Land A library perched on the edge of the Niagara Escarpment takes its inspiration from the rugged glacial terrain surrounding it.

By Martha Uniacke Breen

Photography by Tom Arban

With one corner cantilevered out over the slope, and a long, flat silhouette that suggests a giant limestone slab dropped by a glacier, the new Waterdown Library and Civic Centre was conceived, in part, as an architectural response to the spectacular local topography surrounding it. Toronto-based RDHA saw the landscape as inspiration for what it calls “an extraordinary building, made of ordinary materials.” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - As RDHA design partner Tyler Sharp explains, a few years after Waterdown, Ont. was amalgamated into the swelling city of Hamilton, its small local library was no longer adequate for the expanded range of services the community required. The new design had to incorporate a range of diverse facilities — from police and municipal community services to a heritage society archive and a seniors’ recreation centre, along with a CANADIAN INTERIORS 5/6 2017

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new, bigger library — into a relatively modest 23,500-sq.-ft. building, and for an equally modest $6.8 million budget. What makes the building engaging is how the architects worked with these “givens,” and came up with a design that is, in a sense, an architectural portrait of its surroundings. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Waterdown lies on the edge of the Niagara Escarpment, an ancient core of deep bedrock covering much of west and central Ontario characterized by exposed granite, limestone cliffs and wild, rugged terrain. The building stands on a high point on the Escarpment, where the lay of the land drops a full 12 feet from the rear parking lot to the front entrance, and continues in a steep descent all the way to Lake Ontario, about five kilometres to the south. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Inside and out, the internal topography of the building relates to the natural one, descending in terraces or steppes from the library stacks at the summit, down

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through a series of centres to the seniors’ recreation area at the foot.

Some of the angles and grade changes — such as long, sloped walkways and steps that trace the gentle rise in the floor of the library section — are purely practical. But there are also high, slanted ceilings punctuated by skylights and clerestory windows, a sun-filled atrium, angled shade fins along one long side, and clearly visible from inside, concrete exterior retaining walls that follow the slope. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Despite the use of massive-looking materials like poured concrete, there is a pleasing lightness to the interior, with slim white retaining columns, polished concrete floors and an abundance of natural light pouring in through load-bearing laminated glass walls. Variations in ceiling heights play with scale and help to subtly define centres without the need for much enclosure: high and bright in general areas and the atrium at the top end, low and intimate in the children’s section. - - - - - - - - - - - - - - - - -

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Opposite, top: RDHA’s design cantilevers the building over the slope like one of the heavy dolomitic limestone outcroppings that dot the Niagara Escarpment. Opposite, bottom: The gentle grade of the site is accommodated by interior pathways that wind through the length of the buildings. Above: Douglas fir panelling, reclaimed by serendipity from the former library, and bright Paulin Orange Slice and Tulip chairs add a note of vibrant life under angled sunlight from clerestory windows in the reading area.

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Left: Sweeping, angled planes in the ceilings are a kind of metaphor for the steep cliffs and valleys of the landscape, visible all around through expansive glass walls that encircle the library. Top: Despite its size, there’s a surprisingly lightness, even delicacy, to the interior, with slim white support columns, structural glass wall panels and simple materials like polished concrete floors. Above: Sustainable landscape features include a parking lot shaded by flowering trees, bioswales that are part of a rainwater catchment system, and a green roof planted with hardy local species.

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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - While Sharp relates that budget was a constant consideration, he says that one of the most distinguishing (and cost-efficient) features of the interior was actually pure serendipity. “I happened to have been involved with the renovation of the old Hamilton Library a few years ago, and after it was renovated, I discovered that they had stored a large collection of Douglas fir panels on skids, which had been used as baffles in the old library ceiling,” Sharp recalls. “They might have been discarded, even though they were still in fine condition.” Sharp seized the opportunity to reclaim the old pieces, had them reconfigured as needed, and gave them new life as book stacks and wall cladding in many of the public areas. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - “I think it strikes just the right balance between architecture and the landscape; there’s a relationship with place, being on the Escarpment,” says Sharp.

“I’m an urban architect, who primarily works on city sites that are flat.

So it was quite an interesting challenge to work on this.” - - - - - - - - - • 5/6 2017 CANADIAN INTERIORS

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Clockwise from above: Set upon a landscaped podium, Canon Canada’s new headquarters building is wrapped in a silvery-white curtain-wall with vertical fins of fritted glass, appearing to float above a recessed base of black Quebec-sourced granite; In the central atrium, daylight gently washes over black granite cladding, travertine floors, maple-plank ceilings and tranquil rock gardens.; A feature spiral staircase connecting the ground level to the second floor provides organic movement within an otherwise symmetrical building volume; The most public program spaces on the lower levels, and more private, secure program on the upper levels.

Photography by James Brittain

A new office building in Mississauga celebrates Canada’s natural environment w

B a i A

a n n c

l c g t

while paying tribute to its Japanese roots.

By Shannon Moore

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The new Canon Canada headquarters by Toronto-based Moriyama and Teshima Architects delicately balances its Japanese influence with its Canadian context and home. The four-storey, 176,000-sq.-ft. office building was designed to mirror the company’s values of technical precision, order and innovation through an appreciation for openness and light. Custom glass fins line the building’s triple-glazed windows and define its exterior envelope, which appears to float above a recessed back of black Québec-sourced granite. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Inside, visitors and workers are led along an internal promenade lined with formal plantings native to the Brampton site, highlighted by cherry trees that pay homage to the company’s Japanese roots. Further in, privacy and collegiality are balanced in an open environment, with offices oriented around a central atrium. A spiral staircase connects conference rooms, a cafeteria, and a lobby on the first floor to labs, training rooms and a staff fitness centre on the second. Additional offices and executive suites occupy the higher floors. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - “The building grew out of Canon’s values of simplicity, symmetry and Japanese minimalism: very clean and orderly with lots of natural light in the interior,” says Brian Rudy, partner at Moriyama and Teshima Architects. “We realized fairly quickly that a minimalist aesthetic was appropriate to what Canon was trying to achieve.” - - - - - - - - - - - - - - - - - - - - - - - - - - - 5/6 2017 CANADIAN INTERIORS

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Clockwise from above: A

large central atrium space with an expansive skylight interconnects all levels of the building, with shared meeting rooms and collaboration areas placed around the perimeter of this central light well; Unhindered sightlines achieved through the inclusion of lower panel heights throughout open office areas was one of the strategies employed to allow natural light to fill the interiors; This was reinforced through the use of lighter coloured fabrics and finishes that enhance the bright and airy office building; The inefficiencies and dated interiors of Canon’s previous headquarter building demanded a more thoughtful and inspiring approach to their new interiors.

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- - - - - - - - - - - - - - - - - - - - - - Numerous sustainability strategies were incorporated in an attempt to achieve LEED Gold certification for the building, including daylight sensors that control brightness of LED lighting and the level of automated roller shades; mitigation of heat island effects through the use of a white roof and paving; high efficiency mechanical systems including heat recovery; solid end walls; and more. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The building’s exterior glass fins are frosted, helping to reduce solar heat gain while offering a practical solution to the building’s position at a 45-degree angle to the sun. Lastly, the building is set back on the site to create a formal garden space at street level and to hide surface parking, providing staff with an unobstructed view of their natural surroundings. “We tried to express Canadian values in the openness of the design; placing the building back from the street, surrounding it with a park, bringing green into the atrium and introducing wood and natural stones,” says Rudy. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Inside and out, the project paints a picturesque backdrop for a company whose environmental and sustainability values are ingrained into their corporate philosophy.

Through the integration of a warm, minimalist palette of materials and a strong connection to the surrounding landscape, the Canon Canada headquarters manages to reflect both its Japanese background and its new Canadian home. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - • 5/6 2017 CANADIAN INTERIORS

scene

2 1

What’s the Story?

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Text and photos by David Lasker

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Story’s Story

Toronto’s hospitality and entertainment companies INK Entertainment and ICON Legacy Hospitality launched their joint hospitality venture, Iconink (boasting Patria, Figo, Weslodge, La Société restos on their roster), with a launch party at Studio Munge-designed, multi-storey restaurant and lounge Storys, co-owned by Charles Khabouth of Stilife, Citrus, Guvernment, Ivory and Ocean fame. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ----------------------------------------------------------

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1—Studio Munge interior designers Erika van der Pas, Melanie Liaw, Tracy Chan, Shelley Tang and Jayme Million, all part of the Storys design team. 2—Julie Duong, social media director at forensic accounting firm LBC International, and INK head Charles Khabouth.

3—Maxime Bock, creative brand director, Studio Munge; and Jacques Lapierre, general manager, Bisha Hotel and residences. 4—Fred Thwainy, designer; Patricia Marcucci, account director; and Alec Donovan, associate creative director at Bruce Mau Design, from which the eponymous Bruce decamped years ago for Chicago.

4

Knocking Knock-Offs The DX Talks series presented “We Talk Fakes and Greats” with panelists including Herman Miller global brand director Sam Grawe, Toronto fashion lawyer and trademark agent Anjli Patel, and Toronto interior and furniture designer Jeffrey Douglas. Knock-offs, or—let’s be blunt—counterfeits, and why it’s worth investing in certified-original design, was the topic. - - - - - - - - - - - -------------------------------------------------------

1—Carol Sebert, president of custom rug design firm Creative Matters; and Gregor Herman, owner of the eponymous glassmaking studio, who created the blown-glass and stainless-steel chandelier at the Air Canada Centre’s Platinum Club. 2—Three presidents: Keilhauer’s Michael Keilhauer; Umbra co-founder Les Mendelbaum; and Herman Miller’s Sam Grawe, who is also president of panel sponsor Be Original Americas, a New York-based advocacy group for prosecuting design counterfeiters.

3—Panel moderator Shauna Levy, DX president and CEO; and panelist Jeffrey Douglas. 4—Paul Power, account executive, Salesforce.com; Ricky Mugford, design review specialist, capital projects group, Metrolinx; and Christopher Rowe, sales lead, Herman Miller Collection.

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Gillanders Diamond Scholarship

Gillanders threw a party at the Toronto Board of Trade to mark the firm’s 60 years in the interior construction industry and the launch of the Gillanders Diamond Scholarship. It will provide $1,500 to a second-year student and $2,000 to a fourth-year student at the Ryerson University School of Interior Design. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ------------------------------------------------------------------------

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1—In front of the 60th-anniversary wall decoration, Gillander’s Berto Ramos, president; James Elliott, project manager, special projects; and Mark Tomjenovic, VP. 2—Karen Fitzgerald and Brian Ramos, project managers Gillanders; Anthony Scarfone, project designer, Bullock Wood Design; and Martin Osborne, project manager, Gillanders. 3—Nathan de Haan, manager, corporate accounting, and Peter Nelki, corporate accountant, Oxford Properties. 4—Ryerson University Academic Coordinator, Stephanie Fibiger, Associate Director of Development, Sari Disenhouse, and Design Centre Resource Specialist, Monica Polo for the Ryerson School of Interior Design accepting Gillanders donation from VP Mark Tomjenovic and president Berto Ramos (courtesy of Gillanders).

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scene

2 1 Photos by Ryan Emberley photography

3

Putting “Art” in Party

The Artist Project celebrated its 10th year with a four-day fair hosted at the Better Living Centre in Toronto. The theme of this year’s fête was Birthday Party, and connected attendees with over 250 contemporary Canadian and international artists and their work. - - - - - - - - - - - - - - - - - - ----------------------------------------------------------------------------------------------------------1—James Shaw; Evan Sharma; Emily Haines 2—Eleni Kyri; Cameron Aldeo 3—Angela Wallace; Danielle Morley 4—Karen Gruson; Mariom Heintzman 5—Kariv Oretsky; Deanne Moser; Daniel Rechtshaffen 6—Mel Ashcroft; Robert Baines; Jacqueline Kendall

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AS

M&O PARIS SEPT. 8-12, 2017 PARIS NORD VILLEPINTE THE LEADING DECORATION SHOW CONNECTING THE INTERIOR DESIGN & LIFESTYLE COMMUNITY WORLDWIDE

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over & out

Colour me Corb

The Swiss-French master’s palette is becoming more readily available through product partnerships.

By Michael Totzke

Designer, painter, urban planner, writer and one of the pioneers of what is now called modern architecture, Charles-Édouard JeanneretGris — better known by his pseudonym, Le Corbusier (1887–1965) — cared deeply about colour. The colour schemes of his buildings were as important to him as their footprints, structures and materials. So much so that he painstakingly researched and developed his own Polychrome architecturale, or Architectural Polychromy, a standardized palette of 63 colours to use in his work. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -The Swiss-French master introduced the first 43 shades in 1931. “In my opinion they offer a method of approach which is accurate and effective,” he wrote at the time, “one which makes it possible to plan, in the modern home, colour harmonies which are definitely architectural and yet suited to the natural taste and needs of the individual.” Then, in 1959, he introduced 20 bolder tones.

His 63 pigments, based on those he found in nature, are divided into nine colour groups: White; Grey & Black; Blue; Green; Ochre & Yellow; Orange; Red; Red ochre & Brown; and Umber. Quite impressively, the colours harmonize in every possible combination, thereby providing a clear and consistent system for any architect or designer. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The Parisbased Foundation Le Corbusier has entrusted the Architectural PolyCANADIAN INTERIORS 5/6 2017

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chromy exclusively to Zurich-based Les Couleurs Suisse. It alone has the power to grant the license for manufacturers to use the system — Les Couleurs Suisse refers to them as “product partners” — which in Europe immediately carries prestige. This I witnessed firsthand at Cersaie in Bologna last September, the Gigacer booth buzzing with designers and architects enthused with the Italian company’s LSC Ceramics collection of porcelain stoneware in Architectural Polychromy.

---------------------------------------------------At IMM Cologne in January, similar buzz emanated from the booth of German company Dauphin Home HumanDesign Group (whose brands are Dauphin Home and Bosse Design). Here the attraction was Bosse’s Modul Space tubular furniture, its panels and fronts in 12 of Le Corbusier’s pigments. “Le Corbusier’s treasured collection of colours features a range of enduring and expressive shades,” says Steffen Reim, Dauphin Home project manager. “The colours not only boost the image of Modul Space, they also increase its architectural potential and thus broaden our clientele.” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Sixteen other “product partners” in Austria, Belgium, France, Germany and Switzerland manufacture everything from paint, carpets and wall coverings to kitchens, lighting and office furniture. Over 50 years after his death, Le Corbusier’s colours live on. - - - •

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