Canadian Interiors November December 2021

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November | December 2021 / V58 #6

Senior Publisher

Martin Spreer

416-441-2085 x4 Editor in Chief

Peter Sobchak Art Director

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Canadian Interiors magazine is published by iQ Business Media Inc. 126 Old Sheppard Ave, Toronto, ON M2J 3L9 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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Back issues > Back copies are available for $15 for delivery in Canada, $20 USD for delivery in U.S.A. and $30 USD overseas.

Please send payment to: Canadian Interiors, 126 Old Sheppard Ave, toronto, ON M2J 3L9 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-441-2085 x2 e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com

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Spirits were high during the first week of October as close to 20,000 professionals in the commercial interior design industry descended upon theMART, and manufacturers were more than happy to introduce new products that address major trends including sustainability, biophilia, neurodiversity, adaptability, and evidenced-based design.

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11/12/2021 RESIDENCE

PROJECT OF THE YEAR Network Child Care Centres 15 INSTITUTIONAL Maanjiwe nendamowinan Christ-Roi Elementary School Saint-Jean-Eudes School Library University College Revitalization

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HOSPITALITY Rundle Bar Café Kawa & Garo Bō Cuisine d’Asie Major Tom

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OFFICE Wallace Walk Studio Onespan Innovative Orthodontics Dr Voudouris First Gulf Head Office

38 House on Bracondale Hill 40 Waxwing Residence 41 Gallery House 43 44 45 46

RETAIL Joe Fresh Flagship All Eyes on Me (AEOM) Permission Alchemy DETAIL

48 Duo Café PRODUCTS

49 Swing like no other 50 Catty (Judges’ Pick)

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COVER – Network Child Care Centres, by uoai. Photography by Scott Norsworthy

Moderco, the number one operable wall manufacturer in Canada, and our Distributor Cométal are proud of our partnership with BGLA + Smith Vigeant Architectes Inc. on the Christ-Roi Elementary School project. moderco.com

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The disruption that COVID -19 has had on the design industry is still being felt, but that didn’t stop the best and brightest of Canada’s design talents from shining through. ing material from an impressive list of candidates: Catherine Chong, Chong, professor in the Bachelor of Industrial Design program in the Faculty of Applied Sciences & Technology at Humber College ITAL; Eiri Ota,, principal at UUfie; and Andrew Sun, Ota Sun, principal of Atelier SUN.

Things change quickly in our modern times, and those changes create waves that spread out in all directions, pushing things forward or out of the way. The challenge is to learn how to anticipate, match and then ride that wave, or risk being swept under. As you can imagine, the wave of which I speak is COVID-19, and like many other industries in Canada the interior design sector had to react quickly and make decisions: do we hold our breath and hope the wave passes over our heads, or do we learn to surf. While the intensity of the wave appears to be dissipating and things are slowly returning to a more recognizable state, there is still debate as to whether it has fully hit shore and everyone is safely out of the water yet.

Ultimately, a total of 23 winners were chosen, which include two Products and 21 Projects representing a cross-Canada spectrum.

When it came to selecting the Project of the Year, the judges debated at length until finally nominating Network Child Care Centres, a nonprofit childcare organization that provides high quality services and programs to children and families in locations across Toronto and the GTA. “Fresh and considerate are words that immediately came to mind when reviewing the Network Childcare Centre. However, it was the vibrant calmness of the space that distinguished the submission.

The thoughtful expression of care offered in the use of colour, placement, and simple use of materials, helped to balance function with beautiful clarity of space,” enthused Rolston. “The project can be likened to a prepared canvas, ready to be adorned and animated by a community of users invited to add a layer of texture, activity, playfulness…life, to a place clearly designed to meet their needs.”

The metaphor of the wave and its impact extends to the 24th annual Canadian Interiors’ Interiors’ Best of Canada Awards, the country’s only design competition to focus on interior design projects and products without regard to size, budget or location. Submissions from interior designers, architects, interior architects, decorators, and crafts persons were less in quantity than in previous years, but that can be expected.

What has not decreased is the impressive quality of the work being produced by Canada’s exceptional design talent. Perhaps unsurprisingly, the ratio of projects designed before the pandemic hit is much larger than those completed during during,, suggesting that there are many surfers still out in the water, finding their way back to shore. We look forward to seeing them in upcoming Best of Canada competitions.

The Best of Canada Awards also continues to celebrate the exceptional work of Canada’s interior product designers, with the honour of Judges’ Pick going to the Catty chair designed by EOOS for Division 12, a subsidiary of Keilhauer. “Catty has a look that makes people happy. Minimalist yet stylish, Catty is a fabulously discreet seat that feels light, giving an impression of barely there. The clever stackable function is versatile,” observed Chong. “A smart design makes use of simple bent metal which is inconspicuous but is built to last. The less-is-more approach to sustainable design and careful craftsmanship enhances its timelessness. Catty’s variety of colourful finishes inspire joy; its easy-on-theeyes design sets it apart from the other entries, hence our Judges’ Pick.”

As always, the two categories of Projects and Products require distinct judging exercises, which were held on separate days, both at the Teknion Toronto Collaboration Hub and with Teknion’s support. A stellar group of designers stepped up to tackle the daunting task of reviewing the submissions and selecting this year’s cream of the crop.

For Projects we recruited: Karen Mak, Mak, joint CEO of dkstudio Architects Inc.; Ian Rolston, Rolston, founder of Decanthropy; Toon Dreessen, Dreessen, president of Architects DCA; and Isabelle Talbot, Talbot, principal of Ray. On the Products side, three judges put their expertise to work analyz-

Congratulations to all 23 winners!

Projects judges (l to r): Toon Dreessen, Isabelle Talbot, Karen Mak and Ian Rolston

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— Peter Sobchak

Product judges (l to r): Andrew Sun, Catherine Chong and Eiri Ota

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Network Child Care Centres, Toronto uoai, Toronto Photography by Scott Norsworthy

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Variety and consistency: two important elements needed in the healthy development of children. They are also two important elements used by the design team when asked by a non-profit childcare organization licensed by the Ministry of Education to re-envision three childcare centres in downtown Toronto. Variety and consistency were needed because the settings differ significantly for each location: one is on the ground floor of a high-rise apartment tower; another within a split-level building adjacent to a church; and a third set within a 19th century municipal building. In all three, a consistent design set of spatial, material and lighting techniques were employed CANADIAN INTERIORS 11/12 2021

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that serve the functional needs of staff, and spark inspiration and play in the children who use the centres. Within children’s areas, colour is applied to floors, walls and ceilings to delineate “interior rooms” within larger existing spaces and conjure perceptions of threshold, passage and enclosure.

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Within these interior rooms new cabinetry housing sinks, counter niches and openings to other spaces is consolidated into object blocks. Select moments of varying scale appear carved from the blocks, highlighted using colour and lighting. These shifts in scale are

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PROJECT OF THE YEAR

“It is refreshing to be able to celebrate a project with a program and budget that would normally be overlooked. This project is very simple, yet really makes a successful effort to create fun interactive spaces for children with very basic means.

Playing and manipulating found spaces, the project creates clever proportions and uses colour to turn the mundane into something quite delightful. At first glance, the design seems simple and effortless, yet looking deeper there is a lot of thought that went into the project.” — Karen Mak, joint CEO, dkstudio Architects Inc

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PROJECT OF THE YEAR

“The inventive use of colour and texture delights the eye and captures the imaginative spirit of play in the building; using simple, consistent, blocks of colour enlivens the space and delights children and the jury. Carefully scaled elements reflect the needs of children and the functional requirements of a working, busy, place. The high ceilings, lighting and fixtures show that the architects created a space that truly works for all.” — Toon Dreessen, president, Architects DCA important as they invite children to inquire, investigate and consider space in new ways. Large format concrete tile and mirror is used within the staff counter niches, while areas dedicated to children receive colourful small format tile. This also creates an atmosphere of whimsy as children engage in everyday rituals such as handwashing.

Wherever possible, openings are introduced between children’s areas, circulation areas and staff rooms, allowing for glimpses and readings through and across spaces, inviting children to engage in intimate moments of exploration and discovery.

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“The design solution truly responded to the needs of caretakers and the children who will use the space. From scale to colours, every element was thought out from the perspective of the users with calming white backdrop and splashes of vibrant colours for visual stimulation,” says Isabelle Talbot, a Best of Canada judge and principal of Toronto-based Ray. “The easy-maintenance material selections and millwork design support and enhance the overall aesthetics in a simple yet very creative way. Network Child Care Centres is a project that elevates the design standards for all childcare facilities.”

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INSTITUTIONAL

Maanjiwe nendamowinan, Toronto Perkins&Will, Toronto Photography by Lisa Logan Photography The Anishinaabe term for “a meeting of minds” is an appropriate name for a building that houses departments of history, political science, sociology, dramatic arts, computer science, and psychology.

The second phase of a three-phase project to replace the University of Toronto Mississauga campus’ North Building encompasses 42,000-sq.-ft. of teaching, student study and amenity space, and a multi-functional gathering space. The design features a bold material expression with twin slabs of departmental towers clad in glazed terracotta, bridging interior and exterior. These volumes balance above a rusticated base of architectural concrete that houses classroom and student life functions. A set of articulated steel bridges and stairs are suspended in the main atrium inviting vertical movement and the mixing of the various faculties, researchers and students within the space. A central gathering space with folding partitions can be used for tiered amphitheater seating or flat space as well as large-scale formal event space.

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INSTITUTIONAL

Christ-Roi Elementary School, Montréal BGLA and Smith Vigeant Architectes Inc. in joint venture, Montréal Photography by Stéphane Brügger To meet the growing demands of Montréal’s Ahuntsic-Cartierville Borough, the school expansion added three new floors, which include nine classrooms, a kindergarten, a daycare service and a gymnasium built around a vast central staircase covered in natural light and colours and an open and dynamic entrance hall that creates a generous and friendly transition between the neighbourhood, the daycare service, and the schoolyard. A series of subtractions sculpt this ground floor volume to define significant and functional places, namely: the new reception hall and its large exterior forecourt; the daycare service connected to both the street and the schoolyard; as well as the gymnasium. Located in the centre of the new enlarged school, a central hall acts as a hub for traffic and links between floors, between the neighbourhood and the schoolyard.

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INSTITUTIONAL

Saint-Jean-Eudes School Library, Québec City BGLA architecture + urban design, Montréal Photography by Stéphane Brügger Located in the high school’s old chapel and containing many traces of a religious past, including paintings, confessionals and an altar fence, the original library suffered from very little natural light and was cluttered and considered very unwelcoming by the students, hence a low occupancy rate. The mandate specified expanding the library by adding a mezzanine, fitting out meeting rooms, and designing both a creative space and a computer room. To improve on the existing austere look and to energize the original volume, a “circle” motif was introduced to the space in the form of a suspended circular mezzanine; a curved staircase; a new round reception desk finished with Condor birch, a purpose-designed natural wood veneer; and colourful “working bubbles” carved out of the thick wall and covered in acoustic materials to aid students’ concentration. By repainting the library volume in white, the diffusion of natural light reduces the need for artificial lighting, thereby reducing electricity costs.

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INSTITUTIONAL

University College Revitalization, Toronto Kohn Shnier and ERA Architects, in joint venture, Toronto Images courtesy of Kohn Shnier This was a project with many design mandates, but most significantly, the library’s relocation and modernization had to accommodate, preserve, restore, and complement the legacy of University College, one of the University of Toronto’s most significant heritage buildings occupying pride-of-place at the top of Kings College Circle. To create universal accessibility in a building historically challenging to navigate, a judicious use of ramps was added at minor level changes, and a new elevator was installed. Supporting the main space of the library are a new reading room, a conferencing center, rejuvenated classrooms, student writing center, and a new café. To integrate new IT, lighting, A/V and mechanical systems in a way that “touches the existing fabric lightly,” the mezzanine was conceived as an oversized piece of furniture that houses significant infrastructure and the access requirements for future modifications while barely touching the historic plaster walls.

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H O S P I TA L I T Y

Rundle Bar, Banff, AB FRANK Architecture & Interiors, Calgary Photography by Chris Amat Being located within the iconic Banff Springs Hotel meant this project required a design that contributed to the prestige and grandeur of the hotel while honouring its nostalgic old-world charm. For Rundle Bar (named after nearby Rundle Mountain, the source of much of the stone used to build the hotel), inspiration was drawn from the notion of a living room with bespoke furniture groupings and intimate lighting pockets. A central showstopping bar anchors the space and ties into double-volume arches that were once part of the original building façade, now transformed into full height shelving with a custom bronze and wood engraving above. One of the original arches located adjacent to the grand bar was converted into a floor-to-ceiling bookshelf with a secret door leading guests to an intimate dining area, and the once underutilized mezzanine was reinvented as an opulent space with a dedicated cocktail bar and plush lounge seating.

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H O S P I TA L I T Y

Café Kawa & Garo, Montréal Smith Vigeant Architectes Inc., Montréal Photography by Jack Jerome As is a common refrain for family-run restaurants, interior design budgets are notoriously small. But that didn’t impede the design firm from finding ways to take a minimum number of elements and employ them for maximum effect. A generously fenestrated façade floods the room with natural light, making visible from outside the colourful diamond-pattern mosaics, a modern reinterpretation of Kabyle craftsmanship unfolding from floor to walls. A long glossy service counter of glass and white laminate highlights both the geometric patterns and traditional Algerian pastries and small dishes prepared on site. Cultural references include modern brass lights that recall the shape of oil lamps from Maghreb souks, and coloured mesh panels, similar to a moucharabieh, create spatial boundaries between different sections of the cafe without completely closing off the space.

Playing on contrasts, the dining area is made up of natural oak benches and tables and “floating” seats for easy maintenance.

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H O S P I TA L I T Y

Bō Cuisine d’Asie, Québec City Etienne Bernier Architecture, Québec City Photography by Jessy Bernier Nestled within Le Diamant Theatre (Project of the Year winner in 2020’s Best of Canada Awards), Bō benefits from being both streetfacing and an obvious destination for patrons exiting the theatre.

Taking its name from the Mandarin word for “wave,” everything here is designed in a rounded way that embodies not just the curves of the “B” to express the restaurant’s brand, but also physical representations of water, mist and steam escaping from the central kitchen. Seating areas are enveloped in marine blue and black textile materials that generate a mellow atmosphere and contrast sharply with the lightness of the wave-like ceiling feature, the clarity of floating pendant lights that recall rice paper and the custom lighting fixture surrounding the bar.

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H O S P I TA L I T Y

Major Tom, Calgary FRANK Architecture & Interiors, Calgary Photography by Chris Amat Located on the 40th floor of Stephen Avenue Place with striking panoramic views of Calgary and its surrounding landscapes, this vintage-meets-modern restaurant and bar employs a palette of subtle and well-considered details that harken back to the late 1960s, a time when elevated restaurants were a destination serving the ultimate cross-section of society. Indirect soft cove lighting throughout sets the mood and highlights the existing cast concrete ceiling geometry of the 1970s building. The classic bar inlaid with exotic stone and bronze detailing creates an elegant focal point, while plush bespoke seating, rich tones, warm leathers, and dark wood lure you in for cocktails and conversations in the spirit of Truman Capote, whose biting humour, quick wit, and ability to party harder than anyone else was an inspiration for the design team when crafting a watering hole to be at once elevated and approachable, playful and at ease, confident and gracious.

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OFFICE

Wallace Walk Studio, Toronto WORKSHOP, Toronto Photography by Scott Norsworthy In the shell of a newly built industrial unit, a workspace has been created that is inspired by both the Eames’ house and studio and the company’s ethos of care and consideration, with a mix of natural textures, unexpected colour arrangements, off-the-shelf metal components and abundant plant life that extends the adjacent West Toronto Railpath greenery inside. Service spaces including the staircase, washrooms and storage are contained within a two-story box, wrapped in rift cut white-oak veneer, punctured by frameless doors and minimal hardware. The custom-designed desks have the same edging with lilac-coloured linoleum tops and pinboards at windowsill height for some visual and acoustic privacy. As an extension of the plant theme, terracotta was introduced in the mosaic tile and light fixtures by Hand and Eye Studio in the kitchen and meeting rooms.

Passing GO trains inspired the dark green exposed ceiling, and a series of movable oak and mint-green fins modulate light and view at the full-height glazed wall in the large meeting room.

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OFFICE

Onespan, Montréal Inside Studio, Montréal Photography by Stéphane Brügger When looking to relocate its Montréal office, this U.S.-based cybersecurity company chose a 55,000-sq.-ft. space occupying two floors in the historic Windsor train station. Extensive demolition unveiled original brick walls, arches, fireplaces, and wood panelled doors that became dominant architectural attributes. To contrast these, a pop-art concept characterized by vibrant colours and bold shapes became a dramatic unifying factor. At the junction of an L-shaped plan, existing cavernous rooms were preserved and house the reception, boardroom and lunchroom. Recuperated traditional wood doors painted in bright colours paired with bold, geometric motifs on oversized area rugs (facilitated by commercial plank carpet tiles) distinguish the conference rooms, while floating glass cubes framed in vivid colours highlight the closed offices. A central lunchroom anchored by a concrete island acts as a meeting point, while overhead artificial beams hang in stark contrast to the classic architecture of the room’s perimeter.

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OFFICE

Innovative Orthodontics Dr. Voudouris, Toronto Bortolotto, Toronto Photography by Tom Arban The first thing that patients and visitors see when entering Dr. John Voudouris’s new 2,100-sq.-ft. orthodontist office is a custom sculptural light feature descending from the ceiling in topographic levels.

This fixture holds the protective glass barrier that marks the reception desk, itself a distinct piece of millwork that twists down off the wall in an arc and backed by a curving wall of frosted glass panels, making the space feel bright and open, while still incorporating measures for patient privacy. A palette of white paint, glass, and brushed metal — while familiar materials seen within clinical spaces — are used here as points of contrast with Voudouris’ art and photography collection. The design team incorporated diagrams of Vourdouris’ orthodontic patents onto glass partitions between the clinic’s dental chairs, and when viewed as an overlapping series, the panels give the clinic a sense of flourish against the clean lines of the rest of the space.

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OFFICE

First Gulf Head Office, Toronto Figure3, Toronto Photography by Steve Tsai Photography Located in the Globe and Mail Centre (which the client built), a new workplace for a staff of 180 needed to convey urbanity, creativity and visibility, for which unobstructed panoramic views of the city served as the perfect starting point. The idea of visibility continues prominently as one moves through the interiors: a balance of work settings including open seating, interior offices, and nonbookable privacy rooms allows staff to be more visible to each other, something notably absent in the former siloed work environment.

With the vision of putting the company culture on display, the community space and lunchroom — typically hidden behind doors — are placed at the forefront, adjacent to the reception and boardroom facility. A blend of materials and raw textures such as concrete and marble, mixed with natural woods and warm, plush tones compliments both the commercial and residential functions of the client, as does the hospitality lounge which features a double-sided fireplace like that of a hotel lounge.

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OFFICE

CANADIAN INTERIORS 11/12 2021

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Congratulations to all Best of Canada Winners Sherwin-Williams is proud to be the paint supplier of this year’s winning project, First Gulf Head Office

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RESIDENTIAL

House on Bracondale Hill, Toronto Drew Mandel Architects, Toronto Photography by Doublespace Photography This restored, renovated and re-invented designated heritage residence dating from 1924 also features two modern additions: a brick shingle-clad side extension and a one-story, rear glass box enclosure that heightens the visual connection and openness on the rear elevation that was previously dark and solid. Sliding panels of the glass box open to a new concrete terrace with steps into a pool.

Particular interest was given to updating the amenities of the historical house with responsible sustainable materials and building systems: the use of a grey water re-circulation system; recycled brick masonry (from demolished areas of the original structure); low VOC millwork finishes; local wood; in-floor heating; green roof and rain barrel water management systems. Modern interventions celebrate the existing heritage features and add new but familiar materiality, colour and texture in the form of wood, brick, stone, curves and arches, and a sculptural four-storey feature stair that weaves through the original house.

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RESIDENTIAL

Waxwing Residence, Toronto Ancerl Studio, Toronto Photography by Brandon Barre This three-level home is spread over 4,200-sq.-ft. on a forested ravine lot and defined by a front elevation of two wings connected by a transparent, glass bridge. One wing is like a black palisade, while the other is made of shiny and reflective titanium. The entrance level of the home dips down to the main living areas, and a vertically folding hangar glass door spanning the entire back opens to extend the home beyond the outdoor pool, dining and gathering area. The heart of the home is centrally located, with a panoramic fireplace open to the living area, outside patios and private dining room. This fireplace is incorporated into a multifunctional “Swiss Army Knife” of secret, concealed, or simply combined elements such as the entry to the basement, entertainment unit for the living room, a wet bar in the dining room, and a temperature-controlled wine cabinet, as well as movable walls for flexible connections between the office and living areas.

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RESIDENTIAL

Gallery House, Toronto dkstudio Architects Inc., Toronto Photography by Michael Muraz This unapologetically modern two-floor residence with matching two-level basement is designed for a couple with a passion for contemporary art. Amidst the solid volume of limestone, a warm palette of cedar frames the dining and living room suite above the ground, like a wall-hung painting. Sculptural Amisol lighting discs of aluminum and acrylic sail high above the double-height entry. The openconcept ground floor is organized around a sculpted oak timber staircase flooded with natural light, playing on a three-storey latticework oak screen framing the stair outfitted with display niches to showcase the owner’s pottery. Two east-west breezeways straddle the central stair, bookended by full-height glass walls that define the corridors and flood the interiors with sunlight. Open white perimeter walls boast an international art collection compiled over several decades. Multifunctional interior partitions complete with Indiana-clad fireplaces and bronze display niches act as spatial separations while providing moments for intimate and/or social gatherings.

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TURNING HEADS

EVERYWHERE

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R E TA I L

Joe Fresh Flagship, Toronto Burdifilek, Toronto Photography by A-Frame Studio / Ben Rahn

black velvet

The design strategy for this newly opened flagship store was to create a distinctive look and feel with one bold stroke. A row of customized bright orange translucent glass screens begins the colourful transition between exterior and interior. As shoppers enter, they are met by a juxtaposition of sculpted geometric volumes and planes, mingling with high gloss and matte surfaces, bold colours, and creative installations. A “signature orange” defines specific areas and provides a dual purpose of concealing functional areas, including a cube-shaped fitting room and a stock room, while warmer materials such as custom oversized tables and displays made of wood laminate and recycled rubber flooring create visual balance. Then of course, there’s the geometrically sculpted, life-sized orange giraffe dominating everyone’s attention in the kid’s zone. Hanging in suspension from a contrasting white ceiling, the giraffe gazes down at shoppers and infuses the space with an added sense of magic and playfulness, while also serving as a social gathering point.

4:15 PM

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R E TA I L

All Eyes on Me (AEOM), Toronto Reflect Architecture, Toronto Photography by Riley Snelling The design for this ultra-contemporary optometry company samples and references cultural and artistic influences, in particular the streetwear-influenced evolution of high fashion. A Cartier jewellery box served as a starting point in the design process of this 650-sq.ft. space, seen in fabric-lined walls and floating white shelves that sit above light-washed acid-edge mirrors. Off-white floors of scrapped white tiling were chosen to emphasize both a minimalist palette and a nod to 1980s excess. Browsing and engaging with the pieces, the clientele is guided through the rectangular space, anchored by a lounge area at the back where a muted point of sale doubles as a bar. In contrast to the retail area, the hidden clinic rooms just behind the lounge are designed with the utility of a lab coat in mind, finished in a crisp white aesthetic.

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R E TA I L

Permission, Toronto Reflect Architecture, Toronto Photography by Jeremie Warshafsky This “athleisure” retail concept began with the client: two sisters looking to bring high-quality, well-designed athletic leisure apparel to fit any womxn who wants wear it. The design team was asked to create an environment that would celebrate form and curves, with a little tone for everyone. While they were at it, the entire building was shored up, re-clad, and the residential unit above the store was redesigned to accommodate the two entrepreneurial sisters. The 930-sq.ft. space has three retail areas with a pop-up space at the back where brand collaborations can ensure the store is constantly evolving and always has something fresh for their community. The sheer-wrapped, mirror-clad change area features two changing pods capped by halo lighting fixtures and spacious enough for those trying on attire to check out how the pieces fit and get some opinions before strutting out to the street.

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R E TA I L

Alchemy, Toronto Studio Paolo Ferrari, Toronto Photography by Joel Esposito The client brief was clear: challenge the stigmas surrounding cannabis in a space that not only creates a destination for aficionados, but also a point of discovery for customers new to cannabis. The brand’s flagship melds high-tech ingenuity with natural materials to create a space akin to a fashion house or contemporary apothecary-like boutique, landing somewhere between a laboratory and a temple: a serene environment with energetic bursts rooted in escapism. The planning of the store creates retail zones where product is organized by type, giving the customer space to wander and discover without intimidation. The materiality continues the duality of tech and nature: utilitarian solid aluminum used for retail fixtures and a suspended ceiling conceals building services and provides added acoustics, while eco-resin is utilized to create the colour blocked accessories room and edibles display. The industrial durability and slight luminosity of Corian is used for the main display shelving and a solid ash central table and handmade terracotta tiles in the checkout area gives the space a wabi-sabi quality.

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Barrisol Stretch Ceiling System and Barrisol Light® System • InStarAGF, Toronto • Designed by DK Studio

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S I N G L E D E TA I L

Duo Café, Toronto DK Design Associates Inc., Stouffville, ON Photography by Eric Lau, Tricolour This sister boutique to Duo Patisserie in Toronto has been slowly but steadily growing a reputation for baking some of the city’s best croissants. So when it came time to design the 3,200-sq.-ft. café that features an on-site ice cream, chocolate, patisserie, and baking area with general seating, it seemed natural to pay homage to the thing that made them famous. Inspired by the delicacy of these famed viennoiserie pastries, the design blends different textures, layers, and handcrafted details in a walnut-toned space styled with a hint of luxury. This croissant motif is particularly dominant in the soft curves of the CNC-cut feature panel, which is included in Duo Café’s brand pattern and draws one’s attention to the beautifully displayed baked items. It also acts as a cheeky divider which allows guests to enjoy the food while they can see fresh artisanal pastries being brought out each time.

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PRODUCTS

Swing Like No Other hART Design Inc., Montréal

This contemporary piece of outdoor furniture is an architectural gesture that accompanies a nearby Corten steel shed structure with defined areas to work, rest and play, itself an extension for a house in Blomidon, Nova Scotia. Intended as a platform where one can enjoy beautiful views of Maritime landscapes, the design is composed of two steel triangles and explores themes of balance and weight, exhibited in the choice of steel as a material that allows for the thinnest lines but with maximum strength. A playful exploration of geometry, the side view exposes two triangles, mimicking popular swing designs found in suburban backyards in the 1970s. The main triangle is sturdier and acts as the main support system, while the secondary triangle is a thinner line and supports the steel bench.

Both triangular structures drape over the pole, like a strap. The swing’s minimalist expression appears as a thin line drawing in the landscape, and the bench portion is custom laser cut to reflect the surrounding topography.

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P R O D U C T S - J U D G E S’ P I C K

Catty EOOS, for Division Twelve, Toronto Photography by Brandon Titaro Designers of the Catty were challenged by a simple question, “What is the least amount of material required to create a chair?” Their answer is two curving steel tubes that form the backrest, and a smooth, thin plane of steel or wood veneer that forms the seat. Inspired by the classic lion tamer chair, Catty’s shape is created by two sets of lines that meet for only a moment before going off on their own once again. The lines of the back curve under the seat to form an endless loop, and with the armed option this same line appears to twist up and around in an organic fashion. The simplicity of this design and the flowing lines create a timeless yet fresh feeling of harmony. Catty can be customized to complement any design concept and is available in over 20 of Division Twelve’s finish options, which is expanded each year to include the Pantone Color of the Year. Seats are available in Natural White Oak or Red Oak stained to match any of the manufacturer’s Sandtex powdercoat finishes, or 100 per cent steel for rugged indoor and outdoor use.

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“Catty has a look that makes people happy. Minimalist yet stylish, Catty is a fabulously discreet seat that feels light, giving an impression of barely there. The clever stackable function is versatile. A smart design makes use of simple bent metal which is inconspicuous but is built to last.

The less-is-more approach to sustainable design and careful craftsmanship enhances its timelessness.” — Catherine Chong, an Awards judge and professor of Industrial Design in the Faculty of Applied Sciences & Technology, Humber ITAL

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T:9" S:8.2"

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