Canadian Interiors September October 2021

CDN $8.95 SEPTEMBER OCTOBER 2021

Wellness and the

Workspace

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The club has a new member.

By ingeniously capturing the big comfort of the classic club chair inside a small, modern footprint, Setle™ effortlessly embodies the best of the past and present. It beckons everyone to settle in and stay a while.

Setle

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© 2021 Keilhauer LTD.

Designed by Bendtsen Design Associates / Made by Keilhauer

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The paint your vision deserves.

See the Love

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B:11.5"

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Walls – Silver Marlin 2139-50, ben®, Eggshell Trim and Mantel – Silver Marlin 2139-50, ben®, Semi-Gloss Ceiling – White Diamond OC-61, ben®, Flat Colour accuracy is ensured only when tinted in quality Benjamin Moore® paints.

Colour representations may differ slightly from actual paint. ©2021 Benjamin Moore & Co., Limited. ben, Benjamin Moore, and the triangle “M” symbol are registered trademarks of Benjamin Moore & Co., Limited. 3/21

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AuralScapes® Dune™ Sound Absorbent WALL PANELS

September | October 2021 / V58 #5

Senior Publisher

Martin Spreer

416-441-2085 x4 Editor in Chief

Peter Sobchak Art Director

Roy Gaiot Contributors

Megan DeLaire, Beverly Horii, Leslie Jen, Lisa McDonald Online Editor

Christiane Beya Customer Service / Production Ventanas™ PANELS style: Walnut @2019 modularArts, Inc.

Laura Moffatt

Ansel™ PANELS @2021 modularArts, Inc.

416-441-2085 x2 Circulation Manager

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

Alex Papanou

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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AuralScapes® Flo™ Sound Absorbent WALL PANELS felt cover: Silver

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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

Topaz™ PANELS @2021 modularArts, Inc.

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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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Beauty Beyond Natural

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6@CosentinoCanada

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Ethereal series is developed with technology® and it contains a minimum of 20% recycled material.

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Teknion Future Smart

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At Teknion, we believe history offers narratives that apply to our own 21st century. Swept along by the pace of change, we can draw from a shared past to shape our collective future.

As a Future Smart society or business, we need to understand where we’ve been, as well as to imagine where we might go.

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History speaks if we are willing to listen. The resolve of women who campaigned for the right to vote set a milestone in the cause of equal human rights— inspiration to all who seek a path to equity and inclusion.

Vanderbyl

Oris

teknion.com

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09/102021 Features

19 WORKPLACE TURNS HABITAT Values like density and confinement are giving

way to flexibility and wellness in the post-pandemic workplace, where humanity and resiliency are more important than ever. By Megan DeLaire

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MADE PURPOSELY WHOLESOME Wellness can be supported through many design techniques, all of which are valuable when working towards a healthy workplace return.

By Beverly Horii & Lisa McDonald

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EITHER, AND, OR dkstudio Architects blends, blurs, separates and reconfigures the functions of a workspace that wears many hats. By Peter Sobchak

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A DOWNTOWN FOREST Painter Steve Driscoll brings a hint of the Northern Boreal forest into CIBC Square in downtown Toronto.

32 BE READY TO PIVOT In conversation with Johanna Hoffmann, CEO of Oomph

Group Inc., about getting your firm through the crisis by being nimble and finding creative ways to generate revenue. By Peter Sobchak

Regulars

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THE GOODS As companies re-evaluate their office footprints and prepare to amend the in-person work experience, adaptability will be the name of the game for at least the immediate future. 36 OVER & OUT New tome captures Omer Arbel’s love of experimentation and innovation.

COVER – The open concept design of the Sodexo Montréal project encourages equality, sharing, and movement.

Photo by Raphaël Thibodeau

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A Downtown Forest

For CIBC Square in downtown Toronto, WilkinsonEyre and Adamson Associates commissioned painter Steve Driscoll to bring a hint of the Northern Boreal forest into a tower of concrete, steel and glass.

Prestigious Preservation: Holt Renfrew Ogilvy Lemay renews Holt Renfrew’s flagship and largest store in Canada, occupying six floors in Montréal’s Ogilvy building.

Beauty In Contrast: Hillsburgh Public Library +VG Architects’ wraps a new addition around a 19th-century farmhouse in rural Ontario.

Wearable Ethos: Ecologyst Colin Harper Architect designs a new headquarters and manufacturing facility in Victoria, B.C. for the sustainable fashion brand.

Made in Little Italy: Residence Alma Atelier Barda designs a full renovation project in Montréal’s Little Italy District.

Visit the expanded digital edition at

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www.canadianinteriors.com

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inside

An Already Old “New” Normal

“When businesses look to adapt to a situation, they implement new processes, systems and structures and the only way of making sure these transitions are successful is employee engagement,” said Richard Holmes, Director of Wellbeing at Westfield Health, in an op-ed he wrote recently regarding post-pandemic returns to work. “Quite often, however, employers find that despite all the training and business-led improvements, their people remain resistant or unhappy to change.” Most would agree with this statement, but what is interesting isn’t its pandemic-related truth, it’s that this statement has been true for a long time.

Surveys and reports are coming in fast and furious these days from all corners of the commercial real estate world, analyzing worker sentiments about every facet of returning to the office. The overwhelming consensus to corporate reopening plans is a post-pandemic hybrid work model, where some employees are onsite while others work from home. While many companies had already started shifting

toward the hybrid model, the pandemic thrust that shift to the front of employee minds. So, what have sentiment surveys revealed? As pointed out by Megan DeLaire in our cover story, “JLL found that the less people liked their offices before the pandemic, the less enthusiastic they are about returning. Nostalgia for the office is highest among people who reported a high level of satisfaction with the office before the pandemic, and lowest in those who reported low levels of satisfaction.” Does this surprise anyone?

“With constant adjustments, from lockdowns to lifting of restrictions and being told we are returning to the office for the date to be pushed back time and time again, employees have been locked in a constant state of fear and confusion,” says Holmes. “This is echoed in the relatively small positive effect that flexible working is having on improving engagement levels of employees with their employers.” Surveys show much of the workforce feels disenchanted and has low expectations of their employers and want them to provide more well-being support over the next few months. This is where designers should step in, but not with new wow-factor razzle-dazzle design moves, but by refocusing on well-being solutions that were paying dividends even before the pandemic. As Nicolas Lapierre of L’Abri says, “I don’t think the pandemic is bringing as much change in new ideas.

It’s putting forward what we already knew were the best practices, but there’s a new importance given to those.”

09 Peter Sobchak

psobchak@canadianinteriors.com

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caught our eye

Wave Over Wave World Design Capital Valencia 2022 unveiled a new hyperfunctional installation that is intended to be a key meeting point for a variety of events that will be held during the city’s reign. Designed

by Valencia-based Clap Studio, the heavily modular space is located inside the Veles e Vents building of Valencia Marina (itself designed by David Chipperfield) and was inspired by variable forms of the Mediterranean Sea. Integrated spherical lamps which simulate suspended jellyfish light the space, and fire-resistant foam pieces made from recycled materials function as seat cushions. www.weareclap.com David Zarzoso CANADIAN INTERIORS 9/10 2021

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Lady in Red The 2021 edition of the Festival of Architectures Vives was able to run in its home of Montpellier, France in July, using projects selected from a September 2019 call for submissions. The festival’s mandate to “initiate a global reflection on architecture and its development in an existing urban context” was open to international teams.

For example, Red Bag Lady, a two-dimensional polycarbonate “cutout” representing how images are challenging the threedimensional world, came from two architecture graduates who meet in 2018 while working in Rotterdam.

Following their returns to Montréal and Berlin, the Festival became an opportunity to test their tongue-in-cheek discourse on the scale of object design. www.festivaldesar-

photoarchitecture

chitecturesvives.com

Lucky Charm One of five outdoor exhibits being shown as part of the International Garden Festival’s 22nd edition held in Grand-Métis, Qué. this year, Porte-bonheur comes from the France team of David Bonnard, Laura Giuliani, and Amélie Viale, who are making a statement about how doors that normally represent openness and a gateway to adventure are now firmly shut, limiting our freedoms (read: COVID-19). Here, visitors are invited to cross thresholds in defiance, moving towards a frame with no door, and therefore no limits.

Nancy Guignard

www.jardinsdemetis.com

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SVEND NIELSEN Custom Furniture

“Never say it can’t be done.”

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.

Photos > A-FRAME STUDIO

Designer > iNStudio | Project > Gowling

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

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As companies re-evaluate their office footprints and prepare to amend the inperson work experience, adaptability will be the name of the game for at least the immediate future.

Prata | Allseating Meaning “to speak” in Swedish, their latest collaboration with Carl Gustav Magnusson is a conference chair that utilizes a suspension mechanism concealed within its seat frame that automatically reacts to the weight of users so they can recline comfortably. As individuals usually approach conference chairs from the back, Magnusson designed the back to have a subtle yet visually inviting curve. www.allseating.com

Any Way You Want It

the goods

By Peter Sobchak

Nuez Lounge BIO | Andreu World With this lounge chair, Patricia Urquiola has not only extended the chair, armchair, table and bench family but jacked its sustainability properties to a new level. With a carbon footprint equivalent to wood, it is in fact created from a natural non-fossil thermopolymer generated by live microorganisms that gives it biodegradable and compostable properties. The textile coverings are made from recycled polyester using water bottles and plastic packaging, and the chair is designed so that all the materials and components can be easily separated and recycled, including shell, foam, fabric, wood or aluminum base. www.andreuworld.com

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M10 | Artome The old days of clunky Polycom conference calls are likely a thing of the past, while Zoom and video calls are here to stay, so office designers will need any technology that improves video conferencing. This portable plug-and-play solution for presenting, learning and video conferencing can be connected to a device with an HDMI cable or wirelessly, and can easily be moved from one space to another. Only a light-coloured wall or a screen is needed as a reflection surface. www.artome.fi

Mixu | Arper Designed in collaboration with Daniel Stromborg, product development design director at Gensler, Mixu comes in just three components: a base, a seat, and a backrest; each individual part of the chair can be mixed and matched in a range of different colours and materials including wood, metal, post-industrial recycled plastic, leather, and fabric upholstery to fit a range of both residential and commercial settings. www.arper.com

Jetty:Mod | Allsteel Designed by Bendtsen Design Associates, this modular sofa system of curvilinear and linear forms is available in a variety of upholstery, laminate, and metal finishes. The kit-of-parts can even be exchanged or added to over time, allowing designers to scale solutions to different heights and depths, work settings and activate, utilize, and adapt spaces for activity-specific needs. www.allsteeloffice.com

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the goods Cala | Diemmebi Inspired by the architecture of Santiago Calatrava, this stackable chair by German designer, Martin Ballendat, won a 2021 Red Dot Award for Product Design due to the extreme lightness yet durability of the seat and backrest, manufactured using injection moulded plastic with a cross-linked steel structure held together without the use of screws. The moulded part receives its interesting lattice design by the crossing of the two halves of the open-and-shut tool. www.diemmebi.com

Coffee House Collection | Integra Seating A new divider panel has been introduced for the Coffee House Collection. Available on all straight or curved high back units, the panel provides an added level of privacy, separation and acoustics, and have an option for stainless steel stand-offs which create a space between the seat, back unit and panels, resulting is an all-sides clean-out feature that makes it easy to wipe off and sanitize all around the unit. www.integraseating.com

Free Address 2.0 | Stylex Designed for open-plan schemes, this expanded modular furniture system defined by separation and storage includes higher sofa backs for more privacy and the ability for occupants to sit back-to-back while maintaining a safe distance. Taller table heights have been added to accommodate stools, along with more open cubbies and storage spaces (or “lockers”), and casters for greater flexibility and ease of use. www.stylexseating.com

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the goods Plot | Poltrona Frau Room dividers – popular in the 1950s – are making a comeback thanks to “resimercial” trends and the need for separation. This collaboration with Italian-Danish design duo, GamFratesi, for the brand’s Take Your Time collection is made of plaited leather with playful geometric motifs supported by a structure of aluminum tubing veneered with a moka ash finish and connected with metal joints with matt brass finish. www.poltronafrau.com

Mills Phenolic No-Site Restroom Partitions | Bradley Corp. With gaps between toilet partitions’ doors and pilasters becoming increasingly unpopular, Bradley re-engineered its phenolic partition line with a rabbeted edge on both the hinge and latch sides of the door.

This grooved edge closes off sightlines and provides flush finish construction for a refined look. Partition installation has also been improved with pre-drilled indicator latch holes that eliminate guesswork. And pre-installed threaded inserts on doors and pilasters speed up hinge installation. www.bradleycorp.com

Pitch Perfect | Interface The three new skinny plank carpet tiles created

by David Oakey all have names that echo the collection’s, and like musical notes are meant to work together: the boucle design of Obligato com­ple­ments its linen-like counterpart Diminuendo, while Intermedio is a transition tile that bridges the two.

The collection includes 100 per cent recycled content nylon and is carbon neutral across its full lifecycle.

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www.interface.com

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Vettore

Feel at home, wherever you work Designed by Toan Nguyen

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Workplace Turns Habitat Values like density and confinement are giving way to flexibility and wellness in the post-pandemic workplace, where humanity and resiliency are more important than ever.

By Megan DeLaire

Raphaël Thibodeau

The COVID-19 pandemic has achieved what many would have felt unthinkable before March 2020 by shifting millions of people worldwide from working in the office to working at home for more than a year.

Now, people who have managed to do their jobs from their homes are returning to offices in a state of flux, transitioning from spaces of the pre-pandemic world to those of a society deprived of human contact but obligated to keep some distance. Nobody knows what shape offices will take in the post-pandemic world,

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but a growing field of research suggests the most resilient offices will be able to balance the need for human connection and physical distance with flexibility, variety and a focus on holistic well-being.

that provide sound dampening and textures will gain importance in post-pandemic offices. It also emphasizes the importance of the workplace delivering a cultural hub that gives people a “meaningful place to come together and facilitates connections with a sense of purpose, freedom and fulfillment.”

“Workers say they are experiencing an increased amount of virtual fatigue, or burn-out, and are increasingly wanting to get back to the office,” reads the latest Worker Preferences Barometer report by real estate services firm JLL. “This suggests offices will be more important now than ever before as the centre of the work ecosystem and that outstanding office environments will remain a critical way to engage employees.”

While a human-centred approach might help companies attract and retain talent in a post-pandemic world, flexibility can help them sail through a period of compromise, expansion and contraction following the reopening of offices.

JLL surveyed 3,300 office workers around the world 15 months into the pandemic and found 61 per cent crave “real” human interactions. While most workers want to return to the office at least part-time, JLL’s research also found that the less people liked their offices before the pandemic, the less enthusiastic they are about returning. Nostalgia for the office is highest among people who reported a high level of satisfaction with the office before the pandemic, and lowest in those who reported low levels of satisfaction. About 45 per cent of the workforce feel disenchanted and have low expectations of their employers.

Throughout November and December 2020, professional services firm PricewaterhouseCoopers (PWC) surveyed 133 executives and 1,200 office workers in the United States on their post-pandemic work arrangement preferences and found most companies are heading toward hybrid work-from-home arrangements with little or no consensus between employers and employees on the balance of remote and on-site days. As companies work out arrangements that suit everyone, demand for spaces like meeting rooms, common areas and assigned workstations will change. Additionally, PWC’s survey found real estate portfolios are in transition, with 56 per cent of executives expecting to need more space over the next three years.

People surveyed pre-pandemic ranked working in a company that ensured their health and well-being fifth on a list of six workforce priorities.

People surveyed in March 2021 ranked it third, behind work-life balance and salary. “The imperative is clear: the office of the future will have to be human-centered, putting health and well-being at the forefront,” the JLL report reads. “This will benefit both employers and employees, through boosting organizational performance while offering highly attractive workplaces to key talent.”

So how can design professionals help offices flex with the changing priorities of workers and employees in a post-pandemic world? For one thing, PWC suggests offices embrace quality technology to support the remote workforce. “Companies that may have been slow to adopt technologies that support remote work…are playing catch-up,” the PWC report reads. “Optimizing the hybrid workplace requires accelerating investments to support virtual collaboration and creativity, as well as for scheduling and safety.”

As for the relationship between workplace design and employee wellbeing, Dr. Allan Hamilton offered some insight during a panel as part of the IDC Virtual Design Symposium in October 2020. He’s not an interior designer, but as an MD and professor of neurosurgery at the University of Arizona, Hamilton understands how the human brain handles stress.

He argued humans experience existential crises when we violate our nature, which is to be altruistic, compassionate and empathetic.

In The Case for a Thriving Workplace, Knoll champions scalable, modular spaces that are easier to reconfigure or relocate than those made of plaster and studs. “If the year 2020 taught us anything, it is that you cannot predict the future. However, organizations can prepare for it by being nimble and ready to adapt at a moment’s notice,” the report reads. “The same can be said for physical space.

Today’s workplaces need to be agile, resilient and easily adaptable over time.”

“We get thrown into imbalance, and when we lose that connection with nature, we become perpetually anxious and stressed,” said Hamilton.

Built spaces that promote biophilia — the innate human instinct to connect with nature and other living beings — and support social well-being and safety can help restore balance and ease anxiety. A fundamental shift that workplaces should embrace is from density-driven design to more communal, shared environments. “Being more inclusive, more diverse and looking at group identity tends to being a better equation both for architecture and for the peace of mind of the human brain,” says Hamilton.

Some companies will have the resources to experiment with all these solutions, but most clients and designers are bound by physical and financial constraints that will determine which they can adopt and which they can’t. In Canada, two workspaces at opposite ends of the continent are welcoming employees back to brand new offices built during the pandemic. Here are the features they have prioritized.

Contract furniture powerhouse Knoll wanted to know what qualities will make for resilient post-pandemic workplaces and came to the same conclusions as Hamilton after conducting more than 20 panel discussions, 30 roundtables and a survey of 81 workplaces across North America. “Psychological safety will be an important element at play,” the firm predicts in its report, The Case for a Thriving Workplace. “We’re considering how to design space that provides solutions for unknown levels of psychological safety.”

The report predicts design elements such as landmarks to assist in wayfinding, wide circulation paths, visual transparency and materials CANADIAN INTERIORS 9/10 2021

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Sodexo

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Last fall, French hospitality company Sodexo welcomed employees to its new office in an historic industrial building in Montréal. L’Abri and Vives St-Laurent, two firms based in Montréal, designed the turnkey project in early winter of 2020 and began construction that spring. L’Abri project lead Nicolas Lapierre said that when the pandemic temporarily shut the jobsite down a week into construction, the team discussed changing the design with Sodexo, but they ultimately stuck with the plan. Fortunately, the concept has risen to the

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Raphaël Thibodeau

Previous and this page The new Sodexo Montréal office occupies a large space within the Dompark complex, an industrial building built in 1908 directly on the edge of the Lachine Canal. The surface treatment reveals the original brick walls, mill floor, and wood structure, and the open plan takes advantage of high ceilings and large openings, with offices set up along large windows around the perimeter. Boxed volumes for meeting rooms and focus pods lined with felt, rugs, and curtains in warmer and darker colours punctuate the space with opportunities for different working environments.

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And-Co

challenges of the pandemic. “The concept that we had developed was already focused on the wellness and health of the users, and on flexible means and spaces for work,” says Lapierre. “So [it] proved really resilient when the pandemic hit.”

Susanne Mayer agrees. Mayer is a studio lead for architecture firm BVN Europe and one of the designers behind And-Co, a full-hospitality, shared office and networking hub currently under development in Vancouver’s Coal Harbour neighbourhood. Like the Sodexo office, And-Co was designed before the pandemic and has retained its original design. Being built in partnership with Arpeg Group of Companies, it will comprise four lower floors of furnished suites and common areas within a mixed-use high-rise.

People-centred The office balances bright, open common areas and wide circulation paths with enclosed spaces of varying sizes for quiet work, private phone calls and small meetings. With carpeted floors, felt-lined walls and dimmer lighting, the rooms provide a variety of not only spaces, but of ambiences. From the outside, these boxed volumes also serve as a wayfinding guide toward washrooms at one end of the office and the kitchen and dining area at the other.

“It was already designed to have a lot of the features that are now becoming more important to people,” says Mayer. “Around the world, I think [the pandemic] just has accelerated a lot of things people were interested in beforehand.”

A lounge area and professional kitchen offer space for people to connect and take nourishment together, while an in-house cleaning service means Sodexo’s employees can become acquainted with the regular staff who keep the office sanitized and hygienic. The space also features a new ventilation system and promotes biophilia by way of an abundance of plants and natural light. All workstations are situated near windows, and windows in meeting rooms let in light from the exterior. Artificial lighting throughout the office is informed by lighting studies to reduce eye strain.

People-centred And-Co will double as a shared workspace and cultural hub, featuring a forum with tiered seating for keynote speeches and workshops and a full-service dine-in restaurant. Suites cater to small businesses or large companies seeking to establish satellite offices. The project uses greenery and large operable windows that let in an abundance of sunlight and fresh air to promote biophilia, and a staircase with a multi-level void gives people a clear view of who is on and around the stairs, to avoid congestion.

A high ratio of workspaces to staff — including 30 adjustable-height workstations plus plug-and-play ports in most seating areas — leaves people room to spread out, with or without a hybrid workfrom-home arrangement. “They don’t have to restrict the number of staff that can come into the office as much as other companies, because there are so many different places where you can actually sit down and work comfortably,” says Lapierre.

The central core of the building serves as a wayfinding guide, leading occupants along wide circulation paths toward washrooms and other amenities. Depending on physical distancing needs, the pathway that encircles the central core can become one-directional to help manage traffic. Shared meeting rooms are plentiful and come in a variety of sizes to suit both individual and company needs, though And-Co also offers small, enclosed rooms and phone booths, as well as an outdoor terrace. “I think the thing lies in offering lots of choice and people being able to see what feels best for them and their team, rather than saying one size fits all,” says Mayer.

Flexible and adaptable The project aims to be resilient for years to come, with a modular, scalable construction and an emphasis on Internet of Things and virtual conferencing technology. Every meeting room is equipped for remote video conferencing with Logitech PTZ Pro 2 cameras accessible via a digital reservation system. Built into the project are so-called growth spaces; lightly furnished areas that can be reconfigured based on Sodexo’s needs.

They’ve even been pre-equipped with network cables. “We already passed all the wiring in the ceiling so eventually, if they want to transform those spaces either into a closed room or a more openplan workstation, they could,” says Lapierre.

Additionally, the project supports well-being with a complement of trainers, RMTs and physiotherapists, a gym, showers and dog-friendly areas. The inclusion of dog-friendly spaces, says Mayer, means surfaces at And-Co are designed to be easily cleaned and disinfected.

Flexible and adaptable And-Co tenants share a reception desk, meeting rooms and amenities like the wellness centre, gym, restaurant and forum. This model, says Mayer, provides flexibility for tenants who need space to work and collaborate but don’t necessarily want ownership of the other features associated with a traditional office.

The design team worked with Wx, a subsidiary of Sodexo, to install sensors on every seat in the office to monitor how staff use the space in order to reconfigure it for employees’ needs in the future. Likewise, Sodexo can reconfigure the space as its own real estate or density needs change. “This project has to be resilient for a very long time, and [it] has to allow that you can change how you operate in extreme times,” says Lapierre.

When the office opened in October 2020, capacity was limited to 25 per cent due to pandemic restrictions. Lapierre said there was a long waitlist to get into the space. Knowing how much people wanted to work there, he feels assured that the project’s priorities were right for a post-pandemic world. “I don’t think the pandemic is bringing as much change in new ideas,” he says. “It’s putting forward what we already knew were the best practices, but there’s a new importance given to those.”

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“This is one thing that has accelerated due to a pandemic in terms of, you don’t want to spend that much and you don’t want to lock yourself into a 10-year lease anymore.”

As for where And-Co will be in 10 years, Arpeg tapped Vancouver-based Kitspace to build a modular, scalable interior that can evolve as And-Co’s needs change, which, if PWC’s research is correct, they probably will.

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“I think resilience is one of the biggest words that came out of the pandemic,” she Mayer said. “Your teams might change. Your teams might want to work differently. Why don’t you construct a space that can be easily adapted to your needs?”

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Janis Nicolay Photography

This page Drawing heavily on shared office environment models seen at Soho House in Toronto or any of the NeueHouse locations in U.S. cities, And-Co is a purpose-built membership-based workspace within a larger mixed-use project being built in downtown Vancouver. Meeting rooms are equipped with Mersive Solstice Pods and Planar HB Series Huddle boards for advanced conferencing capabilities, each floor has a variety of lounges, common areas and four phone/work booths. Members can even have lunch delivered to their desk from the building’s restaurant via an app.

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Made Purposely Wholesome Wellness can be supported through many design techniques, all of which are valuable when working towards a healthy workplace return.

Approaches to workspace design focused on well-being, health, and inclusivity that were already in play prior to the pandemic have taken on new importance as we return to the workplace. The quest for work-life balance and wellness, expressed and experienced through the work environment, is top of mind as organizations define their new normal. A more human-centric space that meets users’ social and psychological needs is a powerful incentive for returning to the office, be it for work or team and culture building. What design considerations and means best contribute to these objectives? For IA Interior Architects, three approaches are strong contributors: biophilic design; feng shui; and inclusive design.

By Beverly Horii & Lisa McDonald

Biophilic Design

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Bringing nature into the workspace through any of the 14 patterns of biophilic design remains a powerful strategy. Today, their expression, more sophisticated and abstract than in the past, goes well-beyond

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Courtesy of IA Interior Architects

the introduction of plants and green walls. Case in point: to design the main lounge/café for a current on-the-boards-project for a Canadian headquarters, IA is drawing on the art of landscape architecture to fulfill the client’s request for a surprising and delightful venue that will attract staff back to the office. At the café entrance, pillars reimagined as trees, encased in parallel slats of bent wood, fan out as canopies at the ceiling. A clearly delineated circuitous garden path invites movement as it winds through a variety of organically shaped vignettes for dining and socializing. Distinct areas referencing outdoor venues — a night market patio; a picnic in the park; pergolas enhanced with string lights — are intentionally designed to accommodate the variety of seating preferences characteristic of a multiplegeneration workforce.

design. Focused on well-being and the relationship between a space or structure and its natural surroundings, feng shui aligns an array of factors including colour, material selection, images, shapes, and design elements to facilitate an optimum flow of energy and connection to nature. Used to inform the lounge/café design and determine design features within the floorplan, the principles of feng shui have been applied to multiple IA projects.

Architectural screens that both define and shield areas create a touch of mystery. At either end of the longitudinal lounge/café, gaming rooms provide space for shared breaks and comradery. Supporting the overall theme of “World Food Fare” for this interior space, an indoor food truck offers choices from a variety of culinary traditions, alternating the menu between countries. Information boards about featured countries profile the healthy qualities and nutrition of their cuisine.

Feng Shui

The IA Toronto studio’s expertise in the art and science of feng shui was applied to the design. Originating in ancient China and still popular there today, feng shui is the oldest form of evidence-based

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Recently, for the two-floor workplace in Toronto of a confidential biotech company focused on neurological diseases, a feng shui analysis determined the natural materials and colours used in various areas of the design. Two project features, among many, strikingly relate the interior to nature. A large grid of small irregular circles inspired by images of brain scans overlays a landscape photograph of a Canadian province. The effect is a surprising and subtle abstract of colour and texture. There are 10 such grids, one to celebrate each province and enhance conference room walls. The other feature, on the back wall of the stair connecting the two floors, is a mosaic made from three 9/10 2021 CANADIAN INTERIORS

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species of wood from Canadian forests, natural granite, and backpainted glass with LED strip lighting, inspired by looking into a canopy of redwood trees.

Inclusive Design

For workplaces in general, the importance of inclusive design cannot be overemphasized. There is now a renewed interest in shared social settings that speak to community and flexibility, as well as areas for collaboration. Clients are willing to spend more on these areas as the demand for personal space declines. Casual, warm, and inviting designs and furnishings are favoured to create a sense of well-being and inspire interaction. For hybrid workers who may only be in the office a few days per week, adding more phone and small meeting rooms accommodates heads-down work. A variety of space types allows for preferences, creating opportunities for mobility and choice, which many have grown accustomed to while working at home during the pandemic.

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At IA’s Toronto studio, biophilia, the application of feng shui principles, and a sensitive understanding of inclusive design inform processes as key approaches to nurture wellness and well-being at the workplace as we return to the office.

Beverly Horii, OAA, ARIDO, LEED AP, is managing director and principal; Lisa McDonald, ARIDO, LEED AP, is a workplace strategist associate at IA Interior Architects.

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A curated approach to furnishings and design elements can add interest, warmth, and a sense of well-being to the work environment.

For IA’s recent design of a new state-of the-art innovation hub, most furnishings are unique, whether custom or rescued from secondhand stores and repurposed or reupholstered. All were chosen to accommodate different body types and personalities from introverts to extraverts. The use of warm textiles and raw and refined textures complements the beauty of the vintage building’s original brick and timber structure.

But ensuring a variety of design gestures that support inclusivity across the workplace will require thoughtful and detailed attention.

For example, careful consideration of font size and contrast in graphics, signage, and published guidelines, as well as clear visual cues like the well-marked garden path at the on-the-board cafe, will be important for users who may lack visual acuity.

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dkstudio Architects blends, blurs, separates and reconfigures the functions of a workspace that wears many hats.

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It cannot be overstated how much of an anchor the Toronto Eaton Centre is to the downtown core. One of the city’s top tourist attractions, it carries the mantle of the busiest shopping mall in North America in terms of pedestrian counts with over 52 million annually, comparable to what Times Square in New York City sees. But unlike Times Square, which New Yorkers would argue is primarily congested with out-of-towners, the Eaton Centre is equally important to locals, functioning as a meeting point, shopping hub and coming-ofage landmark for youth.

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RUNWAY HOST BAR BOUTIQUE LOGO WALL CHANGE ROOM LOUNGE PRIVATE OFFICE OFFICE AREA STORAGE

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Locals will think they know almost every square foot of the mall like the back of their hands, even citing the office towers that bookend each side of the mall. But there is a tiny sliver of space most are probably unaware of: the Galleria Offices, hovering two storeys above the public concourse commotion yet below the vertically driven corporate office tower above. This curious interstitial zone with an equally curious tenant mix caught the attention of one of the rising stars in Canada’s fashion scene: enter Christopher Bates.

The Toronto and Milan-based fashion designer was looking for a flexible multi-use space where he could create, display, expand and market the clothing lines of Christopher Bates Studio, and saw potential in a 1,000-sq.-ft. box. He also needed a team to help him construct a nexus between fashion and architecture that uses design to amplify brand, so turned to Toronto-based dkstudio Architects (interesting side note: the two met at The Buildings Show in December 2019 when Bates was a panelist on the Interior Design Roundtable titled Cross-Pollination: Embracing Inspiration from Alternative Disciplines, organized and moderated by myself).

Previous page and this spread An arresting strip of white epoxy cutting diagonally across an exposed concrete floor, the “catwalk” runway is the defining feature that sets the stage for Christopher Bates Studio.

Tucked “backstage” is a changing room behind the massive logo wall, and a zigzag ceiling fixture by Vyvyd Lighting completes the effect.

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What dkstudio did to the space was a clever exercise of analyzing potential functions, separating the component parts of those functions, and then throwing them into a blender, such that the pieces all have multi-personalities but still fit together, like a sliding tile

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Larry Arnal

puzzle where every end-configuration works. Is it an office; a showroom; a creative studio; event space or warehouse? Yup. All of the above, whenever the need arises.

throughout with an exposed concrete floor, raw ceilings, and streetstyle metal mesh partitions. Angles and geometries add dynamism to the space and echo the bold hexagonal form of the brand logo.

Even more impressive is that this is accomplished without a traditional retail storefront. As one takes the short elevator ride to the floors of the Galleria Offices and walks down the undistinguished workplace hallway, the experience is akin to attending appointments at an accountant’s office or an osteopathy clinic. It is not until the door is opened that shoppers, here by appointment only, are hit with the Studio’s wow factor. They immediately step onto a glossy white runway, punctuated at the end with an oversized three-dimensional logo wall that forms the backdrop for the “stage” visitors now find themselves strutting down.

Almost everything in the Studio serves multiple duties, allowing for flexibility of use. The host station doubles as a cash wrap and a bar; work desks for associates double as product display surfaces; the lounge is a prime location for media interviews and events; and Bates’s private office employs a two-way mirror so he can keep an eye on everything. Other lighting tools are moveable as well, allowing for customizable scenes such as fashion shoots, private shopping experience, design charettes or launch parties and runway shows.

The Studio’s flexible design carries hallmarks of both high fashion and an urban industrial minimalism that relies heavily on a stark black and white palette balanced against a chiaroscuro play of light and shadow, amplified most vividly by the ceiling’s zigzag lighting that reflects on the white epoxy runway like a not-so-subtle visual metaphor of stitching on high-quality Italian garments. The urban presence is continued

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Opened in October 2020, the appointment-only system meant an observance of strict pandemic protocols was possible, and thanks in part to Bates’s reputation and some clever marketing the Studio has seen brisk traffic. Even still, nothing in the space is permanent.

In fact, almost everything is dismantlable, including the logo wall, ready to move when and if Bates feels the conditions are right, reflecting a strategic economy of means that mirrors Bates’s optimism and anticipation of near future expansion and growth.

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Clockwise from top left This six-panel piece is a digital print on laminated low-iron glass titled A Light Stolen From the Sun and is visible on the main floor lobby of CIBC Square in Toronto; in recent years Steve Driscoll has been experimenting with the materials he uses in the creation of artworks and has resulted in an increased use of glass; the painted artwork was displayed in actual scale to view at Angell Gallery for CIBC Square approval; a six-panel paintings in the 4th floor sky lobby is appropriately named The Canopy; and one of the six panels installed in the Main Lobby.

A Downtown Forest: Steve Driscoll at CIBC Square

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Photography courtesy of Steve Driscoll Studios

Toronto’s downtown core lacks the sprawling wilderness that Canada is known for. But for CIBC Square by Ivanhoé Cambridge and Hines — of which a 49-storey, 1,500,000-sq.-ft. office tower at 81 Bay Street is set to open, the first phase of a three million square foot downtown campus — the architectural team of WilkinsonEyre and Adamson Associates commissioned painter Steve Driscoll to bring a hint of the Northern Boreal forest into a tower of concrete, steel and glass.

Driscoll — a notable painter with works found in many collections, including the Four Seasons, TD Bank, BMO, Scotiabank and the McMichael Art Collection — says he is inspired equally by Gaugin and Go-Pro. Using a process that took over five years to complete, Driscoll created 12 enormous paintings that were then printed on glass, laminated and sandwiched together with another large glass piece then installed and back lit.

First, he painted the pieces with urethane tinged with oil paints on a plastic panel, which is his normal practice. Once the painting was complete Driscoll moved onto the digitization process, which involved using medium format cameras to take multitudes of close-up images of the artwork and then stitching all the images together to create one incredibly large file.

The image was then printed on extra-clear low iron glass using a large format UV inkjet printer capable of printing up to 1,500 dpi (dots per inch). The glass was then laminated on to a second piece of glass resulting in the artistic image being sandwiched between the two pieces. At six pounds per square foot, Driscoll needed to develop a hoist to transport the pieces and then lift the glass into place.

On the 4th Floor Sky Elevators, there is another six-panel, 16-ft. by 9-ft. LED back lit canopy of trees, and a moment where the forest tree tops meet the sky.

The complex will attain LEED Platinum Core & Shell certification, WELL Certification and WiredScore Platinum accreditation which will compliment the artwork given its environmental nature.

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Be Ready to Pivot

In conversation with Johanna Hoffmann, CEO of Oomph Group Inc., about getting your firm through the crisis by being nimble and finding creative ways to generate revenue.

Pivot

You have been advising practitioners in creative industries about the importance of having an agile, resilient practice – one that can withstand sudden changes, be they industry-specific or in the broader economy.

And if there is anything that fits that definition it is COVID-19. That said, although the pandemic has greatly affected many built sectors where designers look for work (particularly hospitality, retail and commercial), there had been seismic shifts occurring in building industries in ways that impacted A+D firms long before the pandemic hit. Can you explain a bit about what those shifts are and how they influence designers?

Construction is the biggest industry in the world, and the worst performing. Productivity and earnings are lower than in all other industry groups, risk is high, and cost and time overruns are standard. How buildings are financed, designed, and built has remained virtually unchanged, while other industries have been disrupted and transformed by the internet and digital technologies. But now technology has evolved sufficiently to make new ways of building possible, and we’re on the cusp of seeing a major transformation of the architecture, engineering and construction industries.

New technologies, products and processes like 3D printing, modular components, mass timber and light-gauge steel make it possible to build faster and cheaper than ever before. Environmental issues are also driving change, as is the case with cement, which is one of the

By Peter Sobchak

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global economy’s most carbon-polluting industries, responsible for about eight per cent of global carbon emissions.

While the rise of conglomerates and multi-nationals have created ripple effects that certainly disrupt small and mid-size firms, the sectors that they are gobbling up (institutional, healthcare, government, etc.) still need designers to design spaces. So, if you are a recent design school graduate would your employment prospects be threatened at all? Or is there still room for designers, it just means who the bosses are now has changed?

Beyond cost and environmental impact, the significance of these new materials is that they are driving change in the building process itself, which is evolving into more of an industrial type of process, with modular construction components manufactured off-site, in highly automated factories, then delivered just-in-time for on-site assembly, using automated processes – very much the way cars are made. This will have a profound impact for designers because it will change the sequence of work and the volume of bespoke design and construction details, because a lot of this will already be included in prefabricated products and modular components that now just require assembly.

Designers’ creativity, understanding of space and spatial relationships, their analytical and reasoning skills, ability to communicate complex ideas, attention to detail and sophisticated technical knowledge are exactly the skills that are needed most today. Architects and interior designers will continue to play a leading role, but the firms they work in, the materials they specify, the tools they use, and how they work will change.

These technology shifts go hand-in-hand with another huge shift, which is the appearance of a whole new breed of player in the industry. Until now, investment in the sector had been limited to ownership of real estate assets, but the design and construction industry itself had not attracted the same levels of investment as high tech, manufacturing, and consumer goods. That is now changing. The opportunity is so vast that it is attracting venture capital firms and hedge funds chasing deals in a virtually untapped sector. Their only objective is return on investment, and so they will revolutionize the industry’s long-standing business models, focusing on cost control, processes and vertical integration to maximize profits.

One way to understand the disruption that is taking place, and what the future holds for design firms is to look at how historically other creative industries have gone through a nearly identical sequence of events: first, you have the appearance of digital tools and a slow, gradual adoption of new technologies and the emergence of new types of companies; these developments are fuelled by venture capital; then comes a global shock, followed by a recovery, which fuels ever larger increases in venture capital investment: finally, the new technologies gain critical mass and rapid mainstream adoption.

For designers, these new players will have a similar impact to what the adoption of P3 had – altering the project hierarchy such that architects went from being the prime consultant to being subordinate to general contractors. Now, the search for maximum profits will drive the adoption of industrial approaches and new technology, which again will shift where and how designers participate in the process.

This is exactly what we’re seeing now in the design and construction world: traditional architecture firms still lead in most sectors and do all the prestige projects, but digital tools and processes have entered the design world, with BIM as a game-changing example; venture capital is now fuelling the production of new materials and construction processes and new types of vertically integrated companies, like Katerra; then we have the shock and COVID brings the world to a screeching halt; new companies like Katerra can’t sustain the shock and go under, but this is a hiccup as their innovative cost-effective solutions are apparent and point the way forward; economic recovery from COVID will bring even more venture capital into the sector and our industry is on its way to being changed forever.

What can’t be ignored are three other familiar trends that will now escalate. The first is adaptability. Already before COVID, project typologies were breaking down and blending. Large, mixed-use projects with offices, hotels, condos, theatres, and retail are now common.

Many healthcare and civic environments now have sophisticated hospitality, retail and lifestyle features. But COVID will now take flexibility to a whole new level, as everyone grapples with distancing requirements and variable occupancy due to remote work and learning.

For example, I imagine we’ll see a big demand for open spaces that can be continuously reconfigured with flexible partitions, and systems furniture that can easily be separated and reassembled.

In the evolving future, traditional architecture and firms will still get the top prestige projects like unique museums, hotels, restaurants, amusement parks, office and condo towers, as well and bespoke private residential. But most multi-unit residential, affordable housing, commercial, industrial, public and civic projects will increasingly go to firms familiar with the new technology that can offer a much faster, convenient and cheaper service and product.

Then we have consolidation and globalization which has led to everlarger architecture and design firms. What may surprise many is how Canadian firms are global leaders in this: WSP with 50,000 employees; SNC-Lavalin with 52,000, and Stantec with 22,000, and they rank globally at number seven, 10 and 11. These homegrown giants are investing heavily in research, new technologies and equipment, driving major changes here at home that will trickle down to even the smallest of firms. Lastly, we have more ancillary sector players moving in and taking work that was traditionally performed by design firms, such as global real estate brokers, who now provide workplace interior design and project management services on renovation projects to global hospitality brands, among others.

What does this mean for designers? Millennials and Gen-Z graduates are digital natives. They are lightning fast at adopting new technology, and much more flexible, adaptable, and entrepreneurial than previous generations. Don’t forget, Google, Facebook and many other tech giants were conceived in university dorms by kids barely out of their teens. So, I think digital babies will do just fine. I also believe that many of today’s design graduates will strike out on their own much sooner than ever before, develop whole new types of firms, new ways of working, and new designs that we can’t even begin to imagine today.

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clients, practical design solutions and flawless project management and administration are as important as the design itself, because these are the elements that shape their project experience and satisfaction, much more than design awards.

Equally important is research. When positioning your firm, you make assumptions about client needs. Many are based on your sector experience and previous work, but client needs are always changing, so to come up with messages that truly resonate, you need to test your assumptions. This is particularly important if you are looking to extend your practice into new geographic areas, extend your service offering, penetrate a sector in which you have limited experience, or are returning to a sector you haven’t worked in for a while.

It’s about understanding the big picture: the client’s industry, trends, competitive factors, and other parts of their operations, like human resources, finance, technical and security. The people who lead these areas are often part of the decision-making team and demonstrating that you understand their needs and how the spaces you design can make them more effective is often what gets them to support the choice of your firm. For private clients, it’s understanding their fears and concerns, which often centre around budget and process management.

COVID-19 is acting like a crockpot, intensifying the pressure smaller design firms have already been feeling and expanding the cracks that are already there. Certainly when we come out of the pandemic there will be casualties, and to survive firms are being told they must be nimble and “pivot.” What does that mean to you, and what is your advice to firms that want to come out of this still alive?

The trend now is to provide a turnkey, one-stop shopping service. Immersing yourself in your target market’s entire business can point you towards ancillary services that you can add, or that you can offer by teaming up with other companies. For instance, if you design retail or hospitality environments, being able to help clients with inventory, cash management, or security systems can be very valuable, especially for clients launching their first boutique or restaurant. Finally, don’t forget about competitive research, which is knowing your competitors and how you compare. In competitive bid situations and strategic pursuits, this helps you highlight your advantages and prepare messaging or content that counterbalances theirs.

In a more competitive and rapidly changing environment, the business side of the practice is more important than ever. Most design firms have good financial and human resource systems in place, but still lack a competitive brand position and a focused, proactive approach to business development. Brand position is expressed though key messages that are client focused, that explain who you are selling to, what you are selling, the value you provide, what you are best at, and why potential clients should believe it.

Another key component is marketing and business development (BD). Traditionally, professionals have operated under the assumption that if you are good, work will find you. This is a remnant from days when licensed professionals were strictly forbidden to promote their services, and design culture has evolved with a retained stigma around selling. But increased competition, and now COVID, have disturbed the traditional flow of referrals and walk-in business. Knowing how to sell and having an ongoing BD program, supported by marketing activities is now a must.

When you look at most design firm websites, you see generic descriptions of their approach to design, identical lists of services and sectors, along with team biographies and project images. Lacking a defined brand position, homepages feature information that is then duplicated on the Team and Project pages, with platitudes such as “licensed to practice in Ontario,” “we deliver on time and on budget,” or “owned by shareholding employees” all of which is irrelevant to clients. You can take the copy from almost any website, apply it to another firm and it still fits. I think one reason for this is that designers are trained to focus on their creative talent, aesthetic and technical expertise, with much less emphasis placed on the problem-solving aspects of their work and on project and client management processes. This is reflected on websites where you don’t often see descriptions of a project’s challenges with explanations of how the firm successfully addressed these. And you rarely see descriptions of the firm’s approach and processes to client, project, and administrative management.

Marketing tactics like public speaking and PR generate awareness and leads, which BD and sales convert into clients. Both elements must be seamlessly intertwined to reinforce each other, using the same brand and value messages that flow directly from your market research and brand positioning. This is where I see a gap in many firms: marketing or sales activities often not directly linked to a partner’s BD efforts, targeting prospects and stakeholders with content that highlights value, benefits and solutions with relevant thought leadership that supports relationship and trust building.

The only areas where design firms are right to highlight aesthetics and creativity are hospitality, retail, entertainment, and certain civic projects like museums, where clients need imaginative designs because they are integral to the marketing of the facility. However, for most

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Old timers still remember the real estate market crash of 1989 and the ensuing industry slump, during which hundreds of design firms went

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Having seen how many boutiques have found themselves almost out of business during downturns, I have come to believe that onesector boutiques that only provide a traditional design service should no longer exist.

under. Since then, we’ve had three other recessions: the 2000 DotCom bust; the 2008 global economic crash; and now COVID. By looking at firms that failed, those that survived but limped along taking years to regain their pre-shock levels, and those that thrived and used downturns to pivot, retool and leap ahead, we can draw many lessons.

First, have a nimble and flexible mindset. For decades, how firms functioned, were managed and went to market didn’t change, but now the only constant is change. Therefore, you must always be reassessing your competitive position, services and delivery methods and your firm’s culture and people management, which are now front and centre thanks to COVID and rapidly evolving socially consciousness movements. Next, don’t put all your eggs in one basket: boutiques that are focused on one sector only are extremely vulnerable. Having seen how many boutiques have found themselves almost out of business during downturns, I have come to believe that one-sector boutiques that only provide a traditional design service should no longer exist. You need what I call a stool with three legs, so that if one leg breaks off and another one is wobbling, the stool is still standing.

However, if you really want to practice in only one sector, then you must extend your service offering beyond the traditional scope to provide a ‘one-stop-shopping’ service. Lastly, strategic alliances are more important than ever. Team up with other design firms whose expertise amplifies yours or who are technologically advanced in new evolving areas, so you can deliver a comprehensive service and benefit from each other’s ability to procure work.

Having seen how many boutiques have found themselves almost out of business during downturns, I have come to believe that onesector boutiques that only provide a traditional design service should no longer exist.

To get through a crisis like COVID, you need to find creative ways of generating revenue by taking on work that may not be what the firm typically does, but is a stop-gap solution that provides cash flow until things turn around. For example, more and more firms are adding new services such as graphic, branding and multimedia design to their offerings. Many hospitality firms have also taken on private residential work, a segment which has flourished during the pandemic. As well, given the growth in mixed-use projects and the blending of typologies, hospitality and retail elements are now important features in education, healthcare and long-term living facilities. These are all areas into which interior design firms can expand, particularly given their inflows of funding beyond COVID. In the short-term, to drive revenue look for areas that have to adapt their facilities and space for COVID. What are schools, community organizations, clinics in your area and adjacent communities or towns doing to prepare for re-opening? Your space planning, project management and procurement skills are urgently needed now. Can you offer a “return to work/business” service with standard elements such as floorplan, flexible partitions, and so on for a fixed price to promote to businesses in your community? The work may be basic and more maintenance or emergency driven, but it’s revenue to help while the world and the economy recover.

A creative marketing and business development leader, Johanna is known for her ability to integrate inventive marketing tactics with business development strategies to drive results for AEC firms and organizations. Before Oomph Group, she held executive marketing and business development positions with global leaders B+H Architects, Forrec Inc. and Stantec.

To hear the complete conversation, listen to the Bevel podcast on our website or any of the popular streaming platforms.

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Photo courtesy of Phaidon

over & out

Material Thought

New tome captures Omer Arbel’s love of experimentation and innovation.

Phaidon has recently released a monograph on the work of Israelborn, Vancouver-based polymath Omer Arbel, revealing an extraordinarily diverse practice spanning architecture, industrial design and sculpture. After graduating with degrees in environmental science and architecture from the University of Waterloo and then working for architects in Spain and Vancouver, in 2005 he founded not only a studio practice under his own name, but also Bocci, a design and manufacturing company headquartered in both Vancouver and Berlin. These dual ambitions have resulted in a comprehensive catalogue of projects and products that “obscures the distinction between the traditional categories of art, science, design, architecture and performance,” say Stephanie Rebick, associate curator at the Vancouver Art Gallery, in the Forward. “More than objects and built structures, Arbel creates experiences that alter how we navigate our environments.”

chitectural work. Glass, copper, concrete, wood and wax are among the elements that comprise the material palette, for example 113 (above left), a series of copper vessels with an irregular and almost lace-like surface and edges, a result of molten copper poured into a blown-glass mold. Differing expansion coefficients cause the glass to eventually shatter as it cools, leaving behind a highly sculptural metal receptacle with a dark, oxidized interior finish. 14 (above right) was an early success for Bocci, a cast-glass pendant light hung in groupings on variable lengths of cable. Again a result of experimentation based on the intrinsic properties of the material in question, what was intended to be a flawlessly clear glass orb became a distinctively recognizable form of two fused hemispheres of clear glass bearing a prominent horizontal seam and an aqueous quality.

By Leslie Jen

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These are just two of the 22 projects featured in the book that illustrate the breadth of Arbel’s practice, presented in a seductive visual format that captures the compelling forms, textures and colours of the work, unequivocally driven by the spirit of invention and creating results that are always intriguing and frequently spectacular.

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Design: DLR Group Scope: Acrylic fin partitions with bronze mounting system Client: AC Hotel Grand Rapids

design / develop / deliver

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eurOptimum.com

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