Cimayjune13 by IQ Business Media

May/June 2013

Warm welcome Winnipeg’s immigrant centre Vancouver’s cutest pet shop At home in the Trump Tower Reports from Paris & Frankfurt

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May/June 2013

Official publication of the Interior Designers of Canada

COVER — 25 Winnipeg’s Manitoba Start, designed by 5468796 Architecture. Photo by James Brittain Photography

CONTENTS FEATURES LET’S BEGIN — 25 Manitoba Start provides orientation, career counselling and employement workshops to new immigrants. For the non-profit organization, fast-rising Winnipeg firm 5468796 Architecture creates an open, optimistic home. By Rhys Phillips HIGH LIFE — 33 Making a home on the 39th floor of Trump International Hotel & Tower Toronto. By David Lasker LEASH-FREE ZONE — 39 For the owners of Vancouver pet shop My Fluffy Friend, MCM Interiors creates a stylized indoor doggie park. By Leslie C. Smith

ISN’T IT ROMANTIC? — 43 Aspects of French Romanticism lived on at this past January’s edition of Maison & Objet in Paris. By David Lasker

DEPARTMENTS INSIDE — 10

WHO’S WHO — 48

WHAT’S UP — 12

LAST WORD — 50 Story time Toronto design firm Reigo & Bauer creates a library for kids. By Michael Totzke

SHOW BIZ — 16 Not the usual suspects The best of Frankfurt’s Ambiente 2013. By Peter Sobchak OUT & ABOUT — 22 Off the floor The night carpet took a walk. By Peter Sobchak

Following page 50

May/June 2013 VOL.50 NO.3

Publisher

Martin Spreer Editor

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80 Valleybrook Drive Toronto, ON M3B 2S9 Telephone 416-442-5600 Facsimile 416-510-5140

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Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year. Printed in Canada. The content of this publication is the property of Canadian Interiors and cannot be reproduced without permission from the publisher. Subscription rates Canada $38.95 per year; plastic wrapped $41.95 per year (plus taxes) U.S.A. $71.95 US per year, Overseas $98.95 US per year. Back issues Back copies are available for $10 for delivery in Canada, $15 US for delivery in U.S.A. and $20 overseas. Please send payment to Canadian Interiors, 80 Valley brook Drive, Toronto, ON M3B 2S9 or order online www.canadianinteriors.com For subscription and back issues inquiries please call 416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com, or go to our website at: www.canadianinteriors.com Newsstands For information on Canadian Interiors on newsstands in Canada, call 905-619-6565 Canadian Interiors is indexed in the Canadian Magazine Index by Micromedia ProQuest Company, Toronto (www.micromedia.com) and National Archive Publishing Company, Ann Arbor, Michigan (www.napubco.com).

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Up to the challenge What do the designers of a centre for new immigrants in Winnipeg, a pet shop in Vancouver, a hotel condo in Toronto and a kids’ library, also in Toronto, have in common? They all met a design challenge with grace and ingenuity. Fast-rising Winnipeg firm 5468796 Architecture had the biggest challenge of the bunch: how to turn a big awkward space – “with a unique, even chaotic floor plan,” and “a generous if intimidating 18-foot ceiling,” in the words of associate editor Rhys Phillips – into a warm, welcoming and cohesive home for Manitoba Start, a nonprofit organization offering myriad services for new immigrants? In one of his typically eloquent pieces (“Let’s begin,” page 25), Phillips outlines the process that ultimately resulted in a project that is “imaginative, confidentially transparent and filled with prairie sunshine.” Greg Oldenburg, who lives in a spacious apartment on the 39th floor of Trump International Hotel & Tower Toronto, was tasked with creating a home for his small family that would also serve as a gallery. Associate editor David Lasker not only interviewed the artist/designer/consultant and his wife but also shot the interiors (“High life,” page 33). Says Lasker, “Greg calls his abode ‘Walnut and White’: ‘walnut’ for the walnut custom cabinetry in the kitchen and master bedroom; ‘white’ for the polished Calacatta Oro marble slab floor in the common areas, the high-gloss cabinetry and the walls, where the neutral backdrop offers a gallery-like setting for objets trouvés and Oldenburg’s art photography.” The challenge for Vancouver-based MCM Interiors was to turn a former bar-lounge, graced with an unmovable central-support column, into a pet shop with – at the request of the clients – a playful indoor-outdoor theme. The title of associate editor Leslie C. Smith’s witty piece, “Leash-free zone” (page 39), tells the story in a nutshell: with the unsightly structural column having morphed into an abstract tree, My Fluffy Friend is pet shop as indoor doggie park. Finally, Merike Bauer of Toronto design firm Reigo & Bauer was asked to whip up a little magic: on a wee budget, change a big empty room in a church basement into a cozy and comfy library for kids. This she did – boldy, and cunningly, and beautifully – as I tell the story in our Last Word (“Story time,” page 50). c I Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

MAY/JUNE NeoCon at 45 For the staff at Canadian Interiors, attending NeoCon – the National Exposition of Contract Furnishings, held every June in Chicago – is like visiting, once a year, a dear, old friend who has moved far away: fun, familiar and full of surprises. Now in its 45th year, NeoCon attracts more than 40,000 design and architecture professionals to the Merchandise Mart, the much-loved Art Deco landmark at the junction of Chicago River branches, in the heart of the city. This is the place to catch up with friends – and catch up on trends – in the industry. North America’s largest design expo and conference for commercial interiors, NeoCon offers 100 CEU-accredited seminars and association forums, along with top-notch keynote speakers. This year’s lineup includes influential architect Bjarke Ingels, founder of BIG, now head of the Bjarke Ingels Group in New York and Denmark; Michael Vanderbyl, principal of San Francisco– based Vanderbyl Design, a multi-disciplinary studio; and Holy Hunt, president and CEO of her eponymous brand. When NeoCon debuted in 1969, it took up 222,000 square feet of space in the Mart. Today, it has spread out to fill more than one million square feet, over 10 floors. More than 700 showrooms and exhibitors offer innovative products and resources for corporate, hospitality, healthcare, retail, government, institutional and residential interiors. Following are five intriguing products making their debut this year. 12 CANADIAN INTERIORS May/june 2013

Keilhauer is introducing the K-Modern Collection, a snazzy series of large chairs, a sofa and two occasional tables, designed by Mark Kapka – to celebrate more-popular-thanever mid-century modernism. Five seating designs include a round-back large chair, with wood legs; a modern large chair, also with wood legs; a classic armchair, with wood base and legs; a classic club chair (in two sizes), with wood legs; and a tufted tuxedo chair and sofa, with wood or metal base and legs. An end table and coffee table complete the collection. Interface has created a pairing of two modular carpet tile designs: Duo and Trio. The palette of neutrals was inspired by the simplicity of undyed natural fibres like wool and linen; the texture is achieved with a balanced blend of nuanced pattern, movement, volume and void. Duo furnishes the pattern, palette and finish, while Trio adds a swath of colour accent in the same construction. Both are offered in the 25cm x 1m skinny-plank size – a format that allows myriad installation possibilities. From Teknion comes the Spectrum Lounge Collection, a versatile group that supports old and new planning options. Two- and three-seat sofas extend ad infinitum, with optional extended island end

Clockwise from right Classic armchair (top), tufted tuxedo chair (centre) and classic club chair (bottom) from Keilhauer’s K-Modern Collection; Versa Wallcovering’s Zephyr line; the Spectrum Lounge Collection from Teknion; the massive Merchandise Mart, NeoCon’s home in Chicago; Interface’s Duo and Trio, a pairing of modular carpet tile designs; and, from Chilewich, a woven collection (flooring, wall textiles, upholstery and window coverings) called Black, White and Green.

conditions. Designed by jeffrey Bernett of CDS in New york, Spectrum takes into consideration advances in technology that have significantly shaped today’s office environment; for example, end armrests are wide enough to support tablets and laptops, while loose armrests can be flipped to reveal a hard surface for writing and miniature desking. Chilewich’s introduction for 2013 is called Black, White and Green. The “black and white” is evident in four fresh weaves: Basketweave, Mini Basketweave, Bouclé and Lounge. Applications include wall-towall flooring, tile flooring, wall textiles, upholstery and window coverings As for the “green,” all

Chilewich woven textiles contain Microban; flooring is Green Label Plus certified; and upholstery fabric is certified by GreenGuard. Inspired by the famous California Zephyr passenger train, a new collection from Versa Wallcovering creates linear tracks on the wall. Zephyr has the appearance of an embossed texture: the fine lines angle, merge and diverge. Adding another dimension is a secondary background in pearl or silver, uncorking a pop of shimmer. A range of 18 colourways covers black, brights and neutrals. NeoCon runs at Chicago’s Merchandise Mart june 10–12. We hope to see you there.

What’s Up

Seeing red “We want to show people that design is not just about buildings and furniture, that it can be seen in every facet of our everyday life – from our red-soled shoes to the box they came in, the shop we bought them in to the vehicle we took to get there.” So says Shauna Levy, president of the Design Exchange, Canada’s Design Museum – who, since her appointment last year, has aimed to expand the DX’s scope and ambition. The “red-soled shoes” of which she speaks, of course, are those coveted, iconic, laboriously constructed items created by French luxury designer Christian Louboutin. This summer, the Design Exchange welcomes the master and his celebrated retrospective exhibition, which recently garnered record attendance at the Design Museum, London. Says Levy, “The Design Exchange is thrilled to offer Canadians the unique opportunity to look into the creative design process behind such a desired brand.” The exhibition immerses the visitor in the world of Louboutin. 14 CANADIAN INTERIORS May/june 2013

It features exhibits from his personal atelier, iconic designs and one-off creations, showcasing his unparalleled craftsmanship and use of unique materials. Examining the diverse sources of his creativity, the visitor will discover how inspirations – from far-reaching travels, film and architecture to performances by showgirls – are translated into fantastical designs. A section is devoted to the shoes Louboutin designed for the 2007 “Fetish” exhibit, produced in collaboration with acclaimed artist/filmmaker David Lynch. Curated by Donna Loveday, head of Curatorial at the Design Museum, London, the exhibition takes over the DX’s historic Trading Floor. It explores the artistry behind the distinguished red soles, celebrating Louboutin’s design method through to the creation of the finished shoe. Incorporating initial sketches, raw materials and recreations of the designer’s Parisian studio, the exhibition aims to reveal the unique fusion of fashion, artistry, engineering and sculpture in every shoe; it also shows how Louboutin is meticulously involved in every step, from initial prototypes, construction and factory production to the company’s innovative storefront planning and design. Says Loveday, “The focus of the exhibition is for guests to get up close and personal with every stage of Christian’s design journey, ultimately revealing how Louboutin shoes have come to represent style, glamour, power, femininity and elegance around the world.” Says the designer himself, “I am sure, by seeing the exhibition, the people of Toronto and the city’s visitors will see the passion and the excitement which is necessary behind any creative work and will hopefully share it with me.”

Stepping out Four views of the Christian Louboutin exhibition held at the Design Museum, London, in 2012; photography by Luke Hayes.

The DX is pleased to partner with Holt Renfrew, the nation’s destination for leading fashion and retail experiences and a Christian Louboutin retailer, to present the exhibition and welcome the iconic designer to Toronto. Flare, Canada’s fashion magazine,

will be joining the activity as the official fashion media partner of the exhibition, including an exciting on-site activation. “Christian Louboutin at the Design Exchange” will run from June 21 to Sept. 15.

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Show Biz

Not the usual suspects The best of Frankfurt’s Ambiente 2013 —By Peter Sobchak This year’s Ambiente left no doubt that consumption is “in,” with some 4,688 exhibitors presenting their latest products from the fields of furniture and home accessories. Being a consumer-products trade show, it was not surprising to see a lot of clones jamming the aisles at Messe Frankfurt – products with little new to offer other than minor variations of tried-and-tested clichés. But a closer inspection unveiled an inspiring collection of upstarts tucked between the clones. These experimental, forward-looking and often-surprising visionaries are rebuffing Chinese mass-production and globalism trends and instead heralding a return to creativity, craftsmanship and local manufacturing.

1-Catching flock Lina Patsiou is more than just a little fascinated by materials and production processes. The talented designer from London has been experimenting with the possibilities offered by the technique of flocking: a nylon fibre that can be sprayed on practically any surface. One result is her Fiberland creation, a chair upholstered with flock fibre residue accumulating on the frame while sitting in a flock-spraying booth during other applications. linapad.com

2-On nature’s time The Clock Circle, designed by Studio Kuadra for the Italian company Progetti, is a linear clock completely covered in a natural, moss-type lichen that can be used indoors, even in rooms without natural light. The moss itself is the proprietary invention of another Italian firm, Verde Profilo. progettishop.it

16 CANADIAN INTERIORS MAY/JUNE 2013

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Show Biz

1-On the job Not a single tree was felled in order to make Bauholz Design furniture. Instead, the German firm only uses planks reclaimed from scaffolding used in construction projects around the country. Every single plank is different in colour and surface texture, and all show different traces of use; therefore every piece of furniture, from desks to tables to seating, is custom-built and no two are the same.

3-Porous boundary French industrial designer Geraldine Husson uses micro-architectures to create seating hybrids that have shed all formal constraints. The multi-functional poufs, whose elastic material adapts to the shape of each individual user and sinuously flows around them, both impressed and concerned passersby at Ambiente, who weren’t sure what to make of this polymorphic creation.

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2-The sound of fun German product designer Meike Harde is making a career out of exploring different possibilities for upholstery construction and with Zieharsofika (a rough interpretation would be “Sofaccordion”) translates the aesthetic of a controlled arrangement of folds into a larger dimension using three simple components – conventional rubber foam mats, elastic bands and wooden stools. meikeharde.com

4-A place to rethink Under the premise of “recycle, reuse, rethink,” Portuguese furniture designer Margarida Valente transforms the paraphernalia of everyday life into new products – for example the Wow Chair, made of multi-coloured hair ties (another version, called the Bubble chair, uses 7,000 shower scrunchies). “The transformation of materials in order to reuse them and to give them new purpose is nowadays as necessary as it is responsible and creative,” she says. margaridavalente.com

18 CANADIAN INTERIORS MAY/JUNE 2013

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Show Biz

1-Delicacies for the eye In the mind of Raili Keiv, if industry and tradition got together over a few beers, it would inevitably descend into an argument with an unclear winner. This is evident in the delicate, classical crockery the young designer from Estonia found at flea markets and then combined with the obtuse building material concrete, thus turning a field of tension into new forms and functions. railikeiv.genresis.com 2-Unadulterated nature In German, the word “ehrlich” means honest and straightforward, and this coat rack by O-Living is true to its name. Its character as a branch from a tamarind tree on a base made of shell-bearing limestone is refreshingly lacking in pretension, yet still eye-catching and purposeful. o-living.de 3-East meets West JIA, whose name is derived from the Chinese word for “home,” is a young firm 20 CANADIAN INTERIORS MAY/JUNE 2013

that despite being from Taiwan is bucking the Asian stereotype of copycatting Western products, and instead tries to fuse Eastern and Western cultures in products that create a modern language of Chinese contemporary design. Its stoneware Steam Poacher, designed by Office for Product Design and winner of the fair’s own Design Plus competition, is a simple yet clever solution that honours one of the most iconic and essential cooking techniques in the Chinese culinary lexicon. jia-inc.com 4-Traditions rethought For several years, Junjie Zhang, the brains behind the new brand Sozen, has been researching and experimenting with different techniques with the most ubiquitous of Chinese materials: bamboo. The results are the first line of vases and lights, such as Tree (shown), that integrate bamboo and everyday products like porcelain in an elegant, almost Zen-like harmony. sozen.cn

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floor The night carpet took a walk. —By Peter Sobchak

Clearly not afraid of bold statements, Korhani Home debuted its fall/winter 2013 home carpet collection on Mar. 20, not at an industry trade show, but at the epicentre of Canadian fashion: 2013 World MasterCard Fashion Week. The act of having models strut down the runway in garments made of rugs – yes, rugs! – was done in an effort to encourage “the changing of one’s home decor each season, along with one’s wardrobe,” and is the fifth time Korhani has launched lines at Fashion Week. The runway show was structured around the three themes of this season’s collection: Nocturnal, Allure and Celebricity/VIP Only. 22 CANADIAN INTERIORS May/june 2013

Nocturnal With deep shades of gloomy burgundy and dusty grey highlighted by moonlight pale accents, this collection is reminiscent of the night sky and evokes, according to Korhani, “the mystery of the unknown” and “secrets that reveal themselves only after dark.”

Photos by George Pimentel

Allure This collection has a soft colour palette of dusty rose and shaded nude. With an Art Nouveau style formed by flowing lines, it â&#x20AC;&#x153;pays homage to the seductive era of the dream factory film divas.â&#x20AC;?

Celebricity/VIP Only The final collection of the show projects an exclusivity of a futuristic members-only club in Manhattan, Berlin or Shanghai, dazzling with bold prints in expressive and vibrant colours.

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Letâ&#x20AC;&#x2122;s begin Manitoba Start provides orientation, career counselling and employement workshops to new immigrants. For the non-profit organization, fast-rising Winnipeg firm 5468796 Architecture creates an open, optimistic home. â&#x20AC;&#x201D;By Rhys Phillips

Calm, cool and collected The given space, with its unique, even chaotic floor plan, offered both challenges and opportunities. In the end, the architects delivered a design that is imaginative, confidentially transparent and filled with prairie sunshine.

Photography by James Brittain Photography

MAY/JUNE 2013 CANADIAN INTERIORS 25

Winnipeg’s Portage Avenue is a storied Canadian street. Smack in the middle of the country, its arrow-straight east-west orientation has been a dynamic metaphor for how the nation has evolved. Its fortunes declined precipitously when the prairie city lost its role as grain merchant to the world and transportation hub for the nation. With Winnipeg’s recent economic renaissance, however, Portage’s creative reawakening has produced a lively adaptive renovation of two side-by-side, long-vacant heritage buildings. Above the street, apartments boast polished-aluminum box balconies impishly extruded from the neo-classical heritage facade. The street level – as well as two additional floors of the narrower of the two structures – houses the new home for Manitoba Start, a non-profit organization providing orientation, career counseling and employment workshops to new immigrants. Imaginative, confidently transparent and filled with prairie sunshine, the 22,500-square-foot facility is the work of Winnipeg’s fast-rising firm 5468796 Architecture, which last year was tagged as one of the world’s best young “vanguard” firms by Architectural Record. The client’s program of varied services, says architect Colin Neufeld, demanded equally varied spaces: from typical offices to private counselling, lounging and informal gathering spaces to formal classrooms. At the same time, “they wanted a cohesive, flowing space that was understandable and navigable without English literacy skills.” The given space offered both challenges and opportunities. Its unique, even chaotic floor plan presented only one glazed side, albeit 120 feet of uninterrupted visual connection to Winnipeg’s preeminent avenue. It offered a generous if intimidating 18-foot ceiling on the main floor, as well as a parallelogram structural geometry presenting an orthogonal grid intersecting the street and rear lane. In terms of ambience, Neufeld says, “they needed this space to flow, be understandable to a variety of people, feel welcoming and warm, but also modern and professional.” It also had to reflect environments participants would encounter in the workplace. Finally, this multifunctional space needed to embody “ethnic acceptance while not claiming any specific cultural references.” To achieve this set of subtly complex objectives, the architects first tucked in and realigned the street facade as a floor-toceiling wall of faceted glass. This both 26 CANADIAN INTERIORS MAY/JUNE 2013

See and be seen The floor plan presented only one glazed side, albeit 120 feet of uninterrupted visual connection to Winnipeg’s preeminent avenue. The architects tucked in and realigned the street facade as a floor-to-ceiling wall of faceted glass (above and opposite top). To tame the main floor’s 18-foot ceiling, a mezzanine level was inserted (opposite bottom). The broad stairs accessing this level, awash with southern light, serve as casual amphitheatre-like seating.

MAY/JUNE 2013 CANADIAN INTERIORS 27

expanded the sidewalk into a modest plaza while offering pedestrians views of the centre’s activities. To tame the towering ceiling, a mezzanine level was inserted on the ground level of the smaller building. The broad stairs accessing this level, awash with southern light, serve as causal amphitheatre-like seating providing views of open meeting areas, the comings and goings at the centre’s freestanding reception “box,” as well as action outside on the busy sidewalk. Toward the front of the mezzanine, a rotated shaft of richly hued maple plywood containing stairs and an elevator penetrate a large square opening to the two floors above. The rotation of volumes plays a central role in giving the space kinetic energy and informality, but also legibility. Like objects artfully tossed onto a largely flat prairie landscape, glass, maple and white-painted MDF box-rooms are placed at 30 and 60 degrees off axis. These enclosed volumes, with various levels of transparency, also help define multiple and uniquely angled “leftover” open spaces for informal meetings, relaxing or casual conversations. “This angular geometry,” says Neufeld, “also helped us create flow and connectivity around all of the structural obstructions,” but was also carried into a hexagonal geometry that emerged as an oft-repeated expressive vocabulary. Hexagonal shapes exist at the macro floor-plan level, while also expressed in elements such as the ceiling’s fluorescent tube lighting fixtures and the wayfinding graphics on walls. Frequent use of hexagonal perforations in otherwise opaque maple walls provides “peek-a-boo” openness, while similar fritted patterning on the glass walls of some classrooms reverses the process, allowing light transmittance yet still reducing distractions for students inside. Some partition walls, created by layering different combinations of solid and perforated white-MDF and maple plywood, produce filigree screens of shape-shifting patterns and perforations. Says Neufeld, “The repeated pattern establishes a coherent spatial arrangement and cohesive branding for the organization,” all feasible within the centres modest $1.7-million budget. Manitoba Start’s new home offers new immigrants a nifty metaphor of Canada’s cultural goal of transparency and openness while also highlighting the positive role they continue to play in Manitoba’s evolving culture and economy. c I

28 CANADIAN INTERIORS MAY/JUNE 2013

The shape of things to come Hexagonal shapes exist at the macro floor-plan level, while also expressed as the ceiling’s fluorescent tube lighting fixtures (opposite top) and wayfinding graphics. Frequent use of hexagonal perforations in otherwise opaque maple walls provides “peek-a-boo” openness (above), while similar fritted patterning on the glass walls of some classrooms reverses the process, allowing light transmittance yet still reducing distractions for students inside (right).

MAY/JUNE 2013 CANADIAN INTERIORS 29

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Who’s Who

High life Making a home on the 39th floor of Trump International Hotel & Tower Toronto.

— Text and photos by David Lasker

Above all A quirky, unexpected window turns the corner in the kitchen, giving dramatic views of Scotia Plaza, Brookfield (formerly BCE) Place and Commerce Court. A crystalized white-glass countertop rests atop custom walnut cabinets. May/june 2013 CANADIAN INTERIORS 33

Who’s Who

A blank canvas Greg Oldenburg’s photo titled Purple Eye casts its gaze over the kitchen’s Miele appliances and oak flooring (below); he found the eight-globe Sistemalux pendant in a country antique store. The living-dining area (opposite and inset), with its neutral palette, serves as a gallery-like setting for artworks by Oldenburg and others. A coffered ceiling visually breaks up the big room into intimate spaces; Caesarstone-topped low custom cabinets, flanking the fireplace and mirror, serve as overflow seating. The floor is polished Calacatta Oro marble. Adding warmth and a touch of glamour are Zac Ridgley’s sculptural Spiral Nest lighting and a massive 39-light crystal chandelier.

Greg Oldenburg, who lives in a 1,861-square-foot apartment on the 39th floor of Trump International Hotel & Tower Toronto, is a man of many talents. No relation to ’60s Pop artist Claes Oldenburg (he of giant “soft” hamburger fame), he grew up in Sudbury, Ont., the son of an architect who taught mechanical drafting in the local high school. Greg holds a diploma in engineering and has worked most of his life in three-dimensional problem solving. He was a project manager at Eventscape, the Toronto firm that custom manufactures for designers and architects worldwide, building almost any form with a tubular 34 CANADIAN INTERIORS May/june 2013

aluminum skeleton sheathed in almost any material, from resins and acrylic to titanium sheets. His work ranged from the oversized white ribbon swirling through the Corus Quay lobby in Toronto to giant maple leafs on display at the International Olympic Committee museum in Lausanne, Switzerland. Now, he has his own consultancy, Oldenburg Inc., focussing on residential fit-outs for new condo projects. Says Greg, “I’m quite connected to a variety of highly skilled, specialized fabricators and trades.” Two such contacts are lighting designer Zac Ridgely of Ridgely Studio Works and furniture designer Nick Day,

who shared a booth this past January at Toronto’s Interior Design Show. Which brings us to the apartment, located smack dab in the middle of Toronto’s financial district. A gaggle of Ridgely’s wiry, humorous pendant lights bob above the dining table; Day built or helped Greg build many of the apartment’s custom furniture built-ins. Greg not only designed the interiors, he also provided most of the art. “We wanted to keep the apartment neutral and add colour through artwork. We used my photographs to create a gallery feeling.” His photographs are like a Rorschach test:

Who’s Who

“Most of my photos are of things you would know clearly if you step back 10 feet. I’ve developed a style based on geometry and removing the context of the subject.” For instance, Extended Family Tree, on the Scotia Plaza-facing wall of the living-dining area, portrays a totem pole – or is it a pine tree? – reflected on the surface of a lake and rotated 180 degrees. Sharing the apartment with Greg is his wife, along with her daughter by a previous marriage. Lisa Abe-Oldenburg, a partner at Bennett Jones LLP IT Law Group and co-head of the firm’s Payment Solutions Group, works a block away at the internaMay/june 2013 CANADIAN INTERIORS 35

Who’s Who

We are family In the daughter’s bedroom (below left) white oak stairs access the loft bunk bed, which exploits the height of the generous ceilings. Railings of lead-free Starfire glass, lacking the usual greenish tinge, maximize the openness and views. In the master bedroom (below right) is an Oldenburg photomural of apple blossoms, which served as a backdrop at the couple’s wedding. He designed the custom walnut furniture: a platform king bed integrating storage and end tables, and a wardrabe with sliding doors inset with black-painted glass panels. An acrylic-box grid holds the hallway library (inset). The storage cabinet below opens with custom nickel-plated door pulls.

tional law firm’s office in First Canadian Place. She loves the Trump’s location, “which is in the centre of the financial and legal district of Canada. I work for a lot of banks, so many clients are right here.” Lisa purchased the apartment five years ago, before the tower was built. “I had a vision of how I would like to design it and Greg brought that dream to life.” At the time, she was living in Mississauga and wearying of the commute; she wanted to simplify her life. The couple would take walks through downtown Toronto. One evening they strolled past the Trump’s future location, at Bay and Adelaide streets, and pondered the advantages of living there, “owning a piece of the Toronto skyline and living in the tallest residential building in the country.” (At 908 feet and 65 storeys, Trump International Hotel & Tower Toronto features 261 hotel guest rooms and suites, plus 118 luxury residences.) “One thing that everyone tells us when they arrive,” Greg says, “is the feeling that they are in a much bigger place then they would have imagined. That’s because the primary focus when we moved in was to create as much additional space as possible with the built-in storage. For instance, the cabinets flanking the fireplace blend in, 36 CANADIAN INTERIORS May/june 2013

they’re not overbearing, and act as an informal seating area. And the kitchen easily holds 20 people.” “We have access to so many common spaces here that the apartment feels so much bigger,” Lisa adds. “It’s a lifestyle with so many amenities: a spa; fitness centre; saltwater pool; concierge; and the proximity to Billy Bishop [airport], because I do a lot of flying to Ottawa, Montreal and New York. I can pick up the phone and call room service for ice when we are having a party here. The concierge takes your bags up and down, and groceries, too, and you’re not allowed to tip them.” Says Greg, gesturing to the nearby skyscrapers, “We have more space around us, visually, than people who live in a house of the same size. At night, it’s very quiet except for the occasional siren. It’s almost like country living in the city.” “It’s a lot more private at night on the weekends than people think,” Lisa says. “You can walk around on weekends when all the offices are closed and there’s nobody here except for people in the hotel, and tourists. Sometimes we open the windows to get fresh air. It’s a lot fresher up here than down on the street, I can tell you that.” c I

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For the owners of Vancouver pet shop My Fluffy Friend, MCM Interiors creates a stylized indoor doggie park. — By Leslie C. Smith A dog’s life A simple, bright colour scheme and creative play areas offer echoes of kindergarten.

Photography by Ema Peter

MAY/JUNE 2013 CANADIAN INTERIORS 39

My Fluffy Friend, a pet boutique in Vancouver’s upscale Kitsilano neighbourhood, was designed specifically with dogs in mind. (This only makes sense, as cats as a rule don’t enjoy shopping trips, nor 950-square-foot spaces frequented by canines.) Perhaps we should say with doggie parents in mind, since the store’s simple, bright colour scheme, aboveground displays and creative play areas offer echoes of kindergarten, and what setting could be more appropriate for their “kids”? Indeed, the store’s owners approached local design group MCM Interiors because of the work the firm did for the children’s ward in B.C.’s Langley Memorial Hospital. The retailers liked the playful indoor-outdoor theme used and wanted the same sort of thing for their new shop, which opened in January. But the task required a healthy dose of imagination: the chosen location was a former bar-lounge that had been painted pitch-black for effect and was graced with an unmovable central-support column. “The initial concept was a park-like setting for the dogs,” says Dale Kosowan, who designed the project together with fellow associate Sally Han. “The eyesore of a structural column we turned into an abstract tree with green, yellow and orange MDF rings representing foliage and a ‘trunk’ clad in maple laminate. We repeated these curved rings and the maple in the wall shelves and cash desk.” The dropped light platform above the 40 CANADIAN INTERIORS MAY/JUNE 2013

desk, as well as the open mechanicals branching out along the space’s 16-foothigh ceiling, add to the effect of a stylized forest canopy overhead. Other hyper-natural elements include fake grass and coated pebble mats connected to the store’s mini-agility course; hanks of dried grass embedded in the cash desk’s lit acrylic panelling; and tattoo stickers of grass, trees and birds affixed to the sky-blue puppy training room at the back of the store. The rest of the walls and ceiling are neutrally painted, to make the shop’s colourful merchandise pop, especially in the islanded display cases. “The clients wanted an interactive space for both dogs and dog owners,” Kosowan says. “So we left plenty of room for the pets to roam freely, and display was delegated to the walls.” As My Fluffy Friend specializes in creating and selling various types of meat

jerkies, this also makes sound practical sense. The store’s childlike hues might be lost on colour-blind dogs but their noses know meat when they smell it, even through thick plastic wrapping. Raising the product well above their heads avoids the issue of canine shoplifting. Another issue that sometimes can’t be avoided at least can be easily taken care of, thanks to a floor of durable grey-painted concrete and two handy Whoops Stations supplied with pick-up bags, cleaners and Purell. The boutique boasts two more unusual facets designed to be owner-friendly: a pair of treadmills in the rear that can be rented out for rainy-day exercising (an all-too-frequent concern on the Wet Coast), and a couple of mushroom-shaped bars on the cash desk for the tethering of leashes, thus freeing up customers’ hands to dig deep into their wallets. c I

Wanna go for a walk? My Fluffy Friend’s cartoon logo of the dog as king (opposite) has its colours repeated through the shop, notably in the abstract tree that turned “an eyesore of a structural column” into a striking main feature (below). Dried grass embedded in the cash desk’s backlit acrylic panel, by 3-Form, adds to the stylized park environment.

MAY/JUNE 2013 CANADIAN INTERIORS 41

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Isn’t it romantic? Aspects of French Romanticism lived on at the January edition of Maison & Objet in Paris. —Text and photos by David Lasker

Arriving in Paris a day early to attend Maison & Objet, the big home-furnishings show held at Parc des Exposition near Charles de Gaulle Airport, I played tourist and visited the Pantheon. There I paid my respects at the tomb of the founder of French Romanticism, Jean-Jacques Rousseau. He attacked private property; held that the established social and political order was oppressive; and celebrated the “noble savage” (not his phrase) who was happy and uncorrupted in his closeness to nature. Et voilà: those ideals still resonate today, to judge from some of the booths packing Hall 8, home to now! design à vivre, the show-within-the-show of hip new work. From the embarrass de richesse of fabulous ﬁnds, here’s a selection.

Wood gone wild Individualism: nature rebelling against the established order. Rouseau’s concepts worked themselves out in witty ways at the Drugeot Labo booth. Rebelle starts out as a handsome, immaculately finished dining-room table made of solid oak from sustainable French forests, perched on Carrara marble feet; suddenly, its flat wood plane “rebels” and transforms into flailing ribbons or nautilus tentacles. “The idea,” explained Pierre Rochepeau, owner and designer of the Brittany-based firm, “is to show that wood lives and is difficult to domesticate. In the beginning, the table is flat because it has been disciplined and cowed by man’s technology. Then, suddenly, it explodes.” (Elsewhere in the booth, bookshelves look like they want to up and run away. “These break the traditional code of shelving, which is very straight,” Rochepeau told me. “We wanted to be original and unstructured, yet functional. They look like they will fall down, but they won’t.”) drugeotlabo.com

MAY/JUNE 2013 CANADIAN INTERIORS 43

1—Marble or wood? Philippe Boisselier is a member of the Board of Interior Architects of France. His Appoints furnishings collection for French supplier Elpe (wasn’t that the name of a Beatles movie?) includes a bench made of Carrara marble. It evokes a sawhorse, its feet consisting of two triangular marble planes. The wavy grey veins in the creamy white stone are reminiscent of wood grain. Notwithstanding the visual punning that extends to surfaces as well as shapes, this bench is an object of serene dignity and elegance. elpe.fr 2—Never too thin… First produced in 1807 in Liguria, Italy, the Chiavari chair is lightweight, simple and stackable. Italian architect and Domus magazine founder Gio Ponti abstracted and updated it as the Superleggera chair for Cassina in 1957. Now Portugal’s Branca Lisboa’s Aya and Skin chairs (Skin is shown) add

plain and fancy variations to the theme. Says company founder and designer Marco Sousa Santos, “I have dinner every day in the Ponti chair. I invented a superstructure [an articulated undercarriage] to make Aya more interesting. The Skin chair looks very architectural, but part of it is covered in foam, so when you sit on the chair, it doesn’t hurt your back.” branca-lisboa.com 3—Up, up & away Goodbye beanbag chair; hello, Baloon chair. An unending procession of smiling faces, no matter how tired or jaded the visitor, made their way to the booth of Paris-based Youknow, which founder-designer Florence Jaffrain had filled with bright-red samples of her Baloon ottoman. Baloon is filled with polystyrene beads that conform to the curves of the body, providing support regardless of position or posture. The ottoman’s light weight allows kids, big and

small, to move it around easily. No one could resist fiddling with the bit at the top, proportioned to resemble the bellybutton-like extrusion that remains after a balloon is tied. youknow.fr 4—Two seats in one Let’s hear it for the sleek, contemporary tailored sofa. A particularly handsome example is the Duo modular seating system from the French firm Arfa. New for the show was a big end element, available in left- and right-facing versions and intended for use in waiting rooms and reception areas. The element is higher on the outside, for short waiting periods, and lower on the inside, for long waits, where you want to sink in to the sofa, relax and maybe catch a few winks. So clever! arfa.com

2 1

PLEASE BE SEATED

44 CANADIAN INTERIORS MAY/JUNE 2013

1—Paper thin They always know what time it is at Dix Heures Dix. The French lighting supplier’s new Papier pendant LED lamp, designed by Fabrice Berrux, plays the materials-substitution game with good-natured, minimalist wit. An aluminumcomposite panel, available in two sizes and with a red or white silkscreened interior finish, is folded to resemble a big sheet of paper. dixheuresdix.com 2—One man’s trash… “Reduce, reuse and recycle” was overdue for a send-up: the Trash Me lamp, by American designer Victor Vetterleined for & Tradition, does it to perfection. “The idea is to recycle a well-known material, though not used before in our industry, and combine it with a classic form,” the Copenhagen-based company’s Trine

model, but bigger, note the tweaked proportions – and thereby lies a lesson in how appearances change with scale. “We shortened the shade a touch,” product manager Ed Lamwarne told me. “Otherwise, it would have looked too long.” And evoked a hair-dryer hood, this reporter asked? “Yes.” anglepoise.com

Krogh Hakansson informed me. “It’s funny and it has a low retail price, so it’s a consumer product that can reach everybody.” The lamp is made of paper pulp from old egg cartons. The evident lack of any effort to smooth the unprettified texture or the joint down the middle where the two moulded halves come together adds a humorous, ironic note. andtradition.com

4—The light fantastic The super-sharp screens on smart phones are powered by organic light-emitting diodes (OLEDs). At the booth of the French firm Blackbody, they were making a lighting fashion statement, used as a grid in reading lights. The main event, however, was a very large pendant lamp comprising dozens of suspended OLEDs. Viewed from below, it’s a starry night. Viewed from the side, it’s a gaggle of mushroom valves, those tapered plugs atop a cylinder in an automobile engine that let the pre-combustion gasoline vapour in and the after-combustion exhaust out. blackbody-oled.com

3—Blowing up a classic Roald Dahl, of Charlie and the Chocolate Factory fame, liked to be photographed beside the Anglepoise drafting lamp in his studio. So when the late novelist’s museum commissioned a giant-size version of the British design classic, the company made two extras, keeping one and auctioning the third (which went to director Tim Burton). Now you can buy it in Canada for $3,600. If it looks the same as the familiar desk

1 2

LIGHT THE LIGHTS

MAY/JUNE 2013 CANADIAN INTERIORS 45

1—Basin instincts The Silenzio washbasin, designed by Domenico De Palo for Italian bath-fixture manufacturer Antonio Lupi, is like a Rorschach test. Does it look faintly sinister, like a horseshoe crab’s eye, or sexual, like the red “lips” of Salvador Dali’s Mae West sofa? The LED-illuminated Corian sink, once encased by the drywaller, seems to want to emerge from the wall. With a new coat of paint, you can dress the “naked” sink in new clothes. antoniolupi.it 2—Tops in tables Philippine Lemaire was an architecture student at St. Etienne, near Lyon, when for her graduation project she created a series of four ganged solid, sawn-oak tables evoking lily pads – which can be configured as a long, narrow console table or a square, curvy-edged and very leggy dining table. Lemaire entered Itasy into the annual Cinna competition for lighting and small furniture, sponsored by Maison Française magazine, whose winners are showcased at Maison & Objet. This brought it to the attention of international furnishings giant Ligne Roset, from whom it will be available in walnut as well as oak and in a smaller version that works as a side table. ligneroset.com

3—Par for the course De Stijl is always in style. Take a bunch of rectangles and restrict the palette to the primary colours of red, yellow and blue, plus black and white. These elements were introduced circa 1917 by the Dutch de Stijl group, starring furniture and architecture by Rietveld and paintings by Mondrian. At the booth of the Italian firm Sculptures Jeux, company designer and co-founder Bernard Vuarnesson revived the aesthetic with his Par4 table; Vuarnesson has an engineering degree from the Ecole Supérieure du Bois, in Nantes, France, and his skill at woodworking shows in this imaginative piece. Available in coffee- and dining-table heights, the versatile table has a solid wood structure and four removable and reversible tops. With the tops extended, it looks like a disassembled Rietveld Red-Blue chair. sculpturesjeux.com

patinated finishes (shown is the Kata planter). Applied with a loose, uneven quality, like laying a wash while painting a watercolour, these finishes add warmth to the cold material. The translucent, layered look shines with glints of the raw, natural metal peeking through. decastelli.it

4—Finishing school The De Castelli booth was filled with metallic chests, wardrobes, etageres, bookcases and slope-angled cubical planters that looked contemporary yet ancient, thanks to their complex, 2

SURFACING

46 CANADIAN INTERIORS MAY/JUNE 2013

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Who’s Who FROM BAUHAUS TO KLAUS’S HOUSE

Klaus, the venerable store, showroom and party central for modern furniture in Toronto, threw a big bash, spilling over three storeys of the landmark store on King Street East and out into a tent in the back. The event was held to honour Dutch design guru Marcel Wanders, co-founder of furnishings supplier Moooi. 1—Rebecca Nienkämper, office manager for her photographer husband, Blaise Hayward, in New York; her mother, Beatrix, wife of Klaus; Dutch designer Marcel Wanders; Rebecca’s sister Ottalie, who handles marketing at the family firm; and her father Klaus, president and founder of Nienkämper Furniture & Accessories. 2—Therese Gould, senior designer at Comley van Brussel Design; Elizabeth Kecki, area sales manager, Artemide; Javed Khan, design intern, the Design Agency; and Catherine Menard, account manager at Klaus. 3—Architect Michael Amantea; Umbra co-founder Paul Rowan; Amanatea’s wife, Giovanna, chartered accountant at Schwartz Levitsky Feldman; and architect (and Best of Canada winner) Cindy Rendely. 4—Fil Marinkovic, VP business development at engineering firm Strudet; Brett Littlefair, project manager at Allez Development; actress Alexandra Lalonde; and Klaus proprietor Klaus Nienkämper II. 5—Sara Duck, managing editor at Home Decor & Renovations; hubby Jason, owner, exterior maintenance company Skypole; Joyce Rashid, mother of design stars Karim and Hani; Michael Conway, architect at Hariri Pontarini Architects; and Asad Islam, manager, cash and treasury management, RBC.

The world is their oyster

—Text and photos by David Lasker

RAW PROMISE Opening night of “RAW in[sid]” – the annual exhibition of work by fourth-year students graduating from the Ryerson School of Interior Design (SID) – showcased students’ raw talent as well as a raw-oyster bar from the indispensible Rodney’s.

1—Sia Mahdieh, director of interior design, Nino Pulsinelli Design; interior designer Mike Niven; Tina Marcello, business development, A&D, Drechsel Business Interiors. 2—Bradley Marks, senior team leader, Figure3; Warren Gyulay and Diane Paz, principals, 1point0 Interior Design Consultants; and Miguel Magana, intern architect, and Matthew Adams, intern, Open Architects. 3—Ryerson University’s Sheldon Levi, president; Megan Trumble, fourth-year student; Lois Weinthal, School of Interior Design chair and Barbara Vogel, assistant chair; and Gerd Hauck, dean of Faculty of Communication and Design.

48 CANADIAN INTERIORS May/june 2013

SAYONARA TO SEARLE After eight years at IIDEX Canada, Matthew Searle, marketing director for the trade show, decided, he says, “to embark on a new career journey.” Tracy Bowie, VP at IIDEX manager Informa Canada, and other colleagues threw a cocktail party in his honour at the offices of Interior Designers of Canada (IDC). 1—Rhonda Bell, bookkeeper; Matthew Searle; Canadian Interiors editor Michael Totzke; Molly Hill, senior associate, Mondor Design Associates; and Pamela Young, senior editor at Applied Arts. 2—Hedie Unger, Hospitality Canada director, IIDEX; Trevor Kruse, principal, Hudson Kruse Design; Leslie Jen, associate editor, Canadian Architect; and Scott Christie, creative director at ad agency Interbrand. 3—Betty Vuong, architectural designer at Partisans; and IIDEX’s Sabrina Daly, special projects, and Mimi Shao, marketing and sales co-ordinator. 4—Will Morris, CEO, Informa (which manages IIDEX), taking over from the retiring Steven Levy; Tracy Bowie, VP, Informa Canada; Jeremy Vandermeij, incoming director of marketing and sponsorship, IIDEX; and Susan Wiggins, CEO, IDC.

APDIQ IS TOPS In February, L’association professionelle des designers d’intérieur du Québec (APDIQ) held its first ever Design Exchange CEU Day and Table-top Show. The event drew 26 exhibitors and more than 100 guests, who enjoyed an afternoon of learning, networking and viewing new product at the Loft Hotel in Montreal. (Photos by Vincent Bautes, VV Photography) 1— One of 26 exhibitors grabbing the guests’ attention. 2—From Tandus Flooring (Platinum Sponsor): account executives Sylvie Gagnon and Suzanne Guinard. 3—Table-top event in full swing. 4—Sylvie Leville, business development A&D, Teknion; Ann-Marie Legault, APDIQ Design Exchange chair; and APDIQ president Denis Chouinard.

May/june 2013 CANADIAN INTERIORS 49

Last Word

Toronto design firm Reigo & Bauer creates a library for kids. —By Michael Totzke

Story time

50 CANADIAN INTERIORS MAY/JUNE 2013

Once upon a time, there was a big empty room in the basement of a church.1 This basement was like none other – with high ceilings and lots of light, and an enchanting warren of rooms and corridors serving as a school for children.2 Along came a young woman both clever and true3, determined to turn the room into a wonderful library for the kids. To accomplish this, she reasoned, I must think of myself as a little person. Listening closely, she heard herself express wishes three: “I want a floor to flop on”4; “I want nooks and crannies”5; I want nice bright colours.”6 These she attended to in short order. A thrifty sort7, and knowing a good thing when she saw it, the wise young woman kept the existing leaded-glass windows, but added some lights8 and glass doors at the entrance for a sense of occasion.9 Plus, some furniture when the floor wouldn’t do.10 And so it came to pass that the forgotten room became a spot the children loved best, a place to dream of “happy ever after.” ———————————————— 1 St. Clement’s Anglican Church in mid-town Toronto, built in 1939, serving the Yonge-Eglinton neighbourhood. 2 St. Clement’s Early Learning School, founded in 1955. Its mandate ranges form nursery school to Grade 2. In 2012-13, there are 160 children attending. 3 Merike Bauer of Toronto-based Reigo & Bauer, founded by Merike and her husband, Stephen Bauer, in 2005. The design firm is known for its crisp and clean residential projects. St. Clement’s Early Learning School is its very first foray into other areas of design. 4 Reztec Rubber Flooring, a blend of pre- and postconsumer waste rubber, durable and easy to maintain and clean, providing a soft surface for story time. 5 Tough, high-pressure laminate shelving, to break the floor plan into different subjects/zones. “All of the millwork was custom designed by us and made by O’Sullivan Millwork,” says Merike. “The laminate itself is by Abet Laminati.” 6 Merike chose four contrasting colours, more interesting than primary colours. 7 Reigo & Bauer made the most of a small budget, sourcing and recovering vintage furnishings with fun fabrics. 8 Says Merike, “I found lights like I remember – literally ‘old school.’” 9 See Contents on page 7 for a glimpse of a window and a view of the doors. 10 Chairs and step stools from Loll Designs, which specializes in modern outdoor furniture made from recycled milk containers.

Photos by Tom Arban

dimensions V O L . 2 /2013

Data to design: making the case for evidence-based design / Des données au service du design: l’exemple du design fondé sur des données probantes Interior designers look to evidence-based practices to remedy ailing facilities. Les designers d’intérieur examinent le design fondé sur des données probantes pour réinventer les bâtiments surannés.

P Y D F R E M N T O P L D E A S W N C H G F K N O W L E D G E A U I N S A L O P M N G H S F G D T R A E D B N M S W Q F R T T Y D S B V R O S N M X C A B Z X E T S A G A N B H G E I O N I K L O I B Q U A L I T Y E A S A Z X C V B N O P L J N G F Y E E Y D S B V R O S N M X C A B Z X E T S A G A N R H G E I O N N L O I B F R D V C S W E A S A Z X C V B N O P E J N G F Y T T H U I N S A L O P M N G H S F G D T R A E D B S M S W Q F R T T Y D F T E M T T O P L D E A S W N C H G F S E M Y H U A D N T Y D P B V E B D N M X C P R O C E S S N B H A E I O N N T H U I A S A L O P M N G H S F G D T R A E D B N R S W N R T T Y D U D R E M N T O P L D E A S W N C H G F S N M C H U A Q F T Y A S B V R O S N M X C A B Z X E T S A G A N B H G E T Y D S B V R O S N M X C A B Z X E T S A G A N B H G E I O T Y D F R E M N T O P L D E A S W N C H G F S N M Y H U A D N O N N T H U I N S A L O P M N R E Q U I R E M E N T S B N M S W O N N T H U I N S A L O P M N G H S F G D T R A E D Y I Q E C V M I P P

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8. data to design: making the case for evidence-based design des données au service du design: l’exemple du design fondé sur des données probantes Interior designers look to evidence-based design to help remedy ailing facilities. Les designers d’intérieur examinent le design fondé sur des données probantes pour réinventer les bâtiments surannés.

4/5 on a professional note… sur une note professionnelle… 6/7 in conversation with… en conversation avec… 14/15 on your behalf… en votre nom… 16 industry members/ membres d’industrie

11. managing working relationships la gestion des relations de travail Interaction with colleagues can make or break an office atmosphere—and even your career. L’interaction avec les collègues peut améliorer ou nuire à l’atmosphère au bureau, voire détruire votre carrière.

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idc board of management conseil d’administration David Gibbons, President/Président (ON) Ada Bonini, 1st VP/Première vice-présidente (BC) Donna Assaly, Past President/Ancient président (AB) Adele Bonetti, Director/Secretary/Secrétaire/directeur (AB) Clinton Hummel, Director/Treasurer/Directeur/Trésorier (ON) Aandra Currie Shearer, Director/Directrice (SK) Anne-Marie Legault, Director/Directrice (QC) Dede Hiscock, Director/Directrice (NS) Denise Ashmore, Director/Directrice (BC) Kimberley Murphy, Director/Directrice (NB) Stephen Lamoureux, Director/Directrice (MB) Peter Heys, Director At Large/Directrice (ON) Rachel Clarida, Director At Large/Directrice (BC) Dorothy Stern, Director, Education/Directeur, formation (ON) Meryl Dyson, Director, Industry/Directeur, industrie (BC) Nicole Cormier, Director, Intern/Provisional/Directrice (NB) Trevor Kruse, IIDEX Canada Liaison/Liaison avec IIDEX Canada (ON) David Hanson, Chair, Board of Governors/Président du Conseil d’administration (BC) Susan Wiggins, Chief Executive Officer/Directrice générale (ON)

dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Directrice générale, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly (AB) Lise Boucher (MB) David Chu (SK) Ron Hughes (ON) Johane Lefrançois-Deignan (ON) Carolyn Maguire (NS) Susan Steeves (BC) canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Scott Christie christie-stewart.com French Translation/Traduction française : Pierre-Éric Villeneuve

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Georgi A. Ito Administrative Assistant Tony Sienes Manager, Accounting Meghan Smith Director, Business Development Sue Gravelle Director, Professional Development Barbora Krsiakova Member Services Coordinator Debora Abreu Manager, Marketing Enrique Gaudite Marketing Coordinator/Coordonnateur du marketing Julia Salerno Manager, Communications Rachael Factor Communications Coordinator Candis Green Communications Coordinator/Coordonnatrice des communications

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

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on a professional note… sur une note professionnelle…

Change can be challenging, but with change comes new opportunities. At a recent Board meeting, we reflected on IDC’s programming and considered what more we can do to ensure that we are meeting the needs of our members. We concluded that we are pleased with our current range of programming and services. That being said, the one thing we hear most often is that you receive too many emails from the Association, and you don’t have time to read them all. Trust us, we get it and don’t want you to work more hours than you have to. This continues to be a huge challenge for us all, and we assure you, we are working on ways to ease the burden on your inbox. Our emails bring you opportunities. Take the time to scan the headlines to determine whether there’s something in the body of the email that’s of interest to you and/or your business. Lots of great ideas emerged at the meeting about what else we can do for our members, and we chose to focus on those that would benefit the profession today as well as in the future. First and most important, we need to work with each provincial association to ensure that the work you do is acknowledged and accepted by municipal building officials across Canada. We now have national admission standards, national professional development standards and national liability insurance standards. What we don’t have are national standards of acceptance as interior design professionals. Currently, Nova Scotia is the only province that has full recognition of the profession through Practice Act, and we question why every Canadian province and territory doesn’t. We accept that as a challenge that must be addressed head on. We must ensure that interior design is recognized and respected as a profession nationally for those members who have spent years establishing their business, for those just starting out on their own, and for those who are just beginning on their career path to professional standing. Respect and recognition is our ultimate goal for you.

David Gibbons, President/Président Susan Wiggins, Chief Executive Officer/Directrice générale

Le changement implique des défis, mais avec lui vient des possibilités nouvelles. Lors d’une récente réunion du conseil d’administration, nous avons réfléchi à la programmation des DIC et nous avons considéré ce que nous pourrions faire de plus pour nous assurer que les besoins de nos membres sont comblés. Nous avons conclu que nous étions satisfaits de la programmation et des services offerts. Cela dit, il a été souvent mentionné que les membres recevaient plusieurs courriels de l’association, mais qu’ils n’avaient pas le temps de les lire. Nous comprenons et nous ne voulons pas que vous travailliez plus que vous le faites déjà. Cela continue de représenter des réels défis pour nous tous et nous vous assurons que nous voulons améliorer cette situation. Nos courriels vous offrent des possibilités. Prenez le temps de lire les titres généraux pour déterminer si certains éléments des messages envoyés vous concernent, vous et votre entreprise. Plusieurs idées pertinentes ont été évoquées lors de la réunion pour déterminer ce que l’on pouvait faire pour nos membres. Nous avons considéré celles qui avantageraient autant la profession d’aujourd’hui que de demain. Nous devons en premier lieu travailler avec chacune des associations provinciales pour nous assurer que votre travail est reconnu et accepté par les instances municipales officielles partout au pays. Nous avons présentement des normes nationales d’admissibilité, de développement professionnel et d’assurance responsabilité. Ce que nous n’avons pas encore, ce sont des normes nationales d’acceptation des designers d’intérieur professionnels. La province de la Nouvelle-Écosse est présentement la seule à avoir la pleine reconnaissance de la profession grâce à son Acte de pratique, et nous nous demandons

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To I DC’s e m e rgin g p rofessio na ls — I nte r n / Provisional members within the first five years of your careers—we will continue to strive for national professional recognition for you now and in the future, because you are the future of our profession. How can you help? Stay the course. Follow the path to professionalism by completing your internship and writing (and passing) the NCIDQ exam. We are working on something very exciting that we think will inspire you (and your colleagues who haven’t yet become IDC members) to make it to the end goal of full professional membership. Remember what we said earlier about reading the headlines of our emails? Watch your inbox for more details. Finally, over the coming months, we will review the range of services available for business owners. Most of our product offerings to date have focused on individual practitioners, when in fact, most of our members are small business owners, with fewer than three employees. We know the demands of running a business can be daunting. We want to come up with services tailored to making the task of running your business easier, so you can focus on doing what you love to do: practising interior design. We are excited about the changes we have decided to implement in the coming months. Changes we

“We’re making changes to benefit practitioners and business owners that will open the door to new opportunities.”

pourquoi ce n’est pas le cas pour chaque province canadienne et chaque territoire? On doit confronter directement ce défi. Nous devons nous assurer que le design d’intérieur est reconnu et respecté au niveau national comme profession pour les membres qui ont passé plusieurs années à établir leur entreprise, pour les individus qui débutent dans la profession et pour ceux et celles qui amorcent les étapes difficiles de la certification professionnelle. Le respect et la reconnaissance sont notre objectif ultime. Nous continuerons notre lutte pour l’obtention de la reconnaissance professionnelle au niveau national, pour vous, les professionnels débutants des DIC, les membres stagiaires et provisoires actifs depuis les cinq dernières années seulement, parce que vous êtes le futur de la profession. Comment pouvez-vous aider? Il faut d’abord compléter le cours, devenir des professionnels chevronnés en complétant votre stage et en réussissant les examens du NCIDQ. Nous sommes en train de réfléchir à des solutions qui vous stimuleront (et tous vos collègues qui ne sont pas encore membres des DIC) à atteindre l’objectif ultime de devenir des membres professionnels de plein droit.

feel will benefit practitioners and business owners—both emerging and established —and open the door to new opportunities. Our goal is to ensure the advocacy and programming work we do on your behalf is relevant, helpful and impactful. What we do must be sustainable, for the future of interior design in Canada. Have suggestions? Want to get involved? Our contact details can be found on the contents page. We look forward to hearing from you.

Follow IDC on twitter: @idcanadatweets

« Nous faisons des changements qui avantageront les praticiens et les propriétaires d’entreprise et qui permettront des ouvertures et des possibilités nouvelles. »

Vous souvenez-vous ce que nous avons dit au sujet de la lecture des titres de vos courriels? Surveillez votre boîte de courriels pour en savoir plus. Dans les prochains mois, nous évaluerons les types de services disponibles pour les propriétaires d’entreprises. La plupart des produits offerts étaient concentrés pour satisfaire aux besoins des praticiens individuels, alors qu’un pourcentage important de nos membres sont propriétaires de petites entreprises ayant trois employés et moins. Nous savons à quel point le fait de gérer une entreprise peut être éprouvant. Nous espérons fournir des services adaptés qui faciliteront la gestion de votre entreprise pour que vous puissiez vous consacrer à ce que vous aimez faire : pratiquer le design d’intérieur. Nous sommes contents des changements que nous mettrons en vigueur dans les prochains mois. Ils seront avantageux pour les praticiens et les propriétaires d’entreprises qui débutent ou qui sont établis depuis longtemps, en leur offrant de nouvelles possibilités d’affaires. Notre but est de nous assurer que la promotion et le travail de programmation que nous faisons en votre nom sont adaptés, utiles et qu’ils aient un véritable impact. Ce que nous faisons doit être durable pour le futur du design d’intérieur au Canada. Vous avez des suggestions et vous voulez vous impliquer? Vous trouverez nos coordonnées sur la page des personnes-ressources de ce magazine. Nous espérons avoir de vos nouvelles.

Suivez les DIC sur twitter : @idcanadatweets

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in conversation with… en conversation avec… Dimensions speaks with IDC Intern/Provisional member, Karlie Stewart. Karlie works at Strata Design Corporation in Saskatoon. Dimensions échange avec Karlie Stewart, membre stagiaire des DIC. Karlie Stewart. Karlie travaille pour la firme Strata Design Corporation, à Saskatoon. By / Par Julia Salerno

How did you decide to pursue a career in interior design? I wanted to do something that was not your typical “desk” job. I wanted a career that was challenging and always changing; one that provided many opportunities to continually learn and grow professionally and artistically. I also knew that I needed to be involved in a career where I could express myself creatively on a daily basis. This is exactly what my work as an interior designer allows me to do. Once enrolled in school, what surprised you most about the profession? I was most surprised by the intensity and timeline-driven nature of our profession. It was unexpected because I initially didn’t understand the significant role and responsibility the design profession entails. Now that you’re working in the field, what has been one of your favourite projects thus far? My favourite projects are often reflected in my interest to work with engaging clients on diverse design solutions. Whether it’s an office, restaurant or a residence, working with someone who is passionate and excited about their space is always a treat. I appreciate our ability as designers to directly affect people within their built environment. Simply sitting back and observing people interact and enjoying themselves in a space that I have designed is one of the most humbling experiences. It’s a truly amazing feeling! What path have you followed to get to where you are today? I wouldn’t say that I’ve taken one particular path to get to where I am today in the profession. Rather, it’s been more of a combination of timing and people who have helped me along in my journey. I’ve embraced change, asked a lot of questions, and

Name: Karlie Stewart Design School: Mount Royal University Year of graduation: 2009 Favourite design tool: Trace paper and markers  Least favourite: AutoCAD

Nom : Karlie Stewart École de design : Mount Royal University Année de graduation : 2009 Outil de design de prédilection : Trace paper et marqueurs Outil de design le moins apprécié: AutoCAD

Comment avez-vous pris la décision de poursuivre une carrière en design d’intérieur?

Je voulais faire quelque chose qui n’était pas l’habituel travail de bureau. Je voulais une carrière changeante, qui représente des défis et qui m’offre l’occasion d’apprendre et de grandir professionnellement et artistiquement. Je savais aussi que je voulais une carrière où je pourrais m’exprimer et créer au quotidien. C’est exactement ce que mon travail comme designer d’intérieur me permet de faire. Une fois inscrite à l’école, quelle est la chose qui vous a le plus étonnée au sujet de la profession?

J’ai été surprise de voir l’intensité et à quel point l’importance des délais à respecter est au coeur de la profession. C’était étonnant parce qu’au départ, je ne comprenais pas le rôle important et la responsabilité associée à cette profession du design. Maintenant que vous travaillez dans le domaine, quel a été le projet que vous avez apprécié le plus jusqu’à aujourd’hui?

Mes projets favoris sont ceux qui me permettent de travailler avec des clients sur diverses solutions de design. Qu’il s’agisse d’un bureau, d’un restaurant ou d’une résidence privée, le fait de travailler avec des gens passionnés et stimulés par leur espace est toujours un atout. J’apprécie qu’en tant que designers nous puissions avoir un impact réel sur les gens dans leur environnement bâti. Le fait de pouvoir observer les gens interagir ou apprécier l’espace que j’ai créé est l’une des expériences d’humilité parmi les plus gratifiantes. C’est une sensation extraordinaire.

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established relationships while getting involved with my local association (IDAS). I have a very dedicated and patient mentor who has been with me from day one of my design career, to whom I am very thankful. My relationship with my mentor has been pivotal to my development as an interior designer. I’m fortunate to have strong support from my family, friends and my current employer. It makes a big difference when you have a support system to help you along the way, especially when faced with unexpected bumps in the road.

pressure on yourself, study hard and try your best. If you stay determined and dedicated you will eventually get the result you’re trying to achieve! Where do you hope to go from here? My future professional goals are to contribute to communities and social groups that may not have the means, but have the need, for design services. I want to embrace opportunities to connect with others and create change through design. I believe that design is something to be shared and everyone should have an equal opportunity to enjoy it.

Continue the conversation: Facebook.com/StrataDevelopmentCorporation

How did you prepare for writing the exam? What advice do you have for other Intern/Provisional members who are preparing for the exam? I recently wrote all three parts of the NCIDQ exam, but only passed the first two sections. I plan to rewrite part three in the near future. I prepared through extensive studying, using the suggested text for reference and completing numerous practice exams, in which I timed myself in a testlike environment. I found it very helpful to join a study group with fellow members of my association. It was beneficial to get together and know that others were going through similar experiences in preparing for writing the exam. It’s important to not put a ton of

Karlie’s advice to other Intern/Provisional members:

Le conseil de Karlie aux autres membres stagiaires ou provisoires :

“ I believe design should be shared « Je crois que le design est quelque chose qu’il faut and everyone should have an equal partager et tout le monde doit pouvoir en jouir. » opportunity to enjoy it.”

Quelle trajectoire avez-vous privilégiée pour en arriver où vous êtes aujourd’hui?

Je ne dirais pas que j’ai opté pour une trajectoire en particulier pour arriver où j’en suis professionnellement aujourd’hui. Il s’agit plutôt d’une combinaison de plusieurs facteurs, sans oublier les gens que j’ai rencontrés et qui m’ont aidée dans ma carrière et le moment où les choses se sont passées. J’ai accueilli le changement, posé plusieurs questions et maintenu des relations tout en demeurant impliquée au niveau local de mon association (l’IDAS). J’ai un mentor dévoué et patient. Cette personne m’a soutenue depuis les débuts et je lui en suis très reconnaissante. Cette relation avec mon mentor a été déterminante dans mon développement comme designer d’intérieur. Je suis aussi chanceuse d’avoir le soutien de ma famille, de mes amis et de mon employeur actuel. Cela fait toute la différence d’être entourée de personnes qui vous aident dans votre parcours, surtout lorsqu’il y a des épreuves difficiles à surmonter. Comment vous préparez-vous à passer les examens? Quels conseils avez-vous pour les

membres stagiaires ou provisoires qui se préparent à passer les examens?

J’ai récemment complété les trois sections des examens du NCIDQ, mais j’ai seulement réussi les deux premières sections. Je devrais refaire la section trois dans un avenir rapproché. Je me suis préparée en étudiant beaucoup. J’ai utilisé les textes recommandés et me suis exercée en passant les nombreux examens préparatoires, en reproduisant les consignes et les environnements des examens. Le fait d’étudier en groupe avec d’autres membres de mon association a aussi été bénéfique. C’était encourageant de se rencontrer et de savoir que d’autres personnes vivaient les mêmes expériences que moi en préparant leurs examens. C’est aussi important de ne pas trop se mettre de pression, d’étudier autant que possible et de faire de son mieux. Si vous restez déterminé et passionné, vous obtiendrez les résultats que vous souhaitez! Quelles sont vos ambitions futures?

Mes objectifs professionnels futurs sont de contribuer aux communautés et aux groupes sociaux qui n’ont pas les moyens financiers mais qui ont besoin de services de design. Je peux profiter des occasions de rencontrer les autres et de créer des changements grâce au design. Je crois que le design est quelque chose qu’il faut partager et tout le monde doit pouvoir en jouir. Pour continuer la conversation: Facebook.com/StrataDevelopmentCorporation

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data to design: making the case for evidence-based design des données au service du design: l’exemple du design fondé sur des données probantes

Interior designers look to evidence-based design to help remedy ailing facilities. Les designers d’intérieur examinent le design fondé sur des données probantes pour réinventer les bâtiments surannés. By / Par Julia Salerno

P Y D F R E M N T O P L D E A S W N C H G F K N O W L E D G E

A U I N S A L O P M N G H S F G D T R A E D B N M S W Q F R T

T Y D S B V R O S N M X C A B Z X E T S A G A N B H G E I O N T I K L O I B Q U A L I T Y E A S A Z X C V B N O P L J N G F Y E E Y D S B V R O S N M X C A B Z X E T S A G A N R H G E I O N N L O I B F R D V C S W E A S A Z X C V B N O P E J N G F Y T T H U I N S A L O P M N G H S F G D T R A E D B S M S W Q F R T T Y D F T E M T T O P L D E A S W N C H G F S E M Y H U A D N T Y D P B V E B D N M X C P R O C E S S N B H A E I O N N T H U I A S A L O P M N G H S F G D T R A E D B N R S W N R T T Y D U D R E M N T O P L D E A S W N C H G F S N M C H U A Q F T Y A S B V R O S N M X C A B Z X E T S A G A N B H G E T Y D S B V R O S N M X C A B Z X E T S A G A N B H G E I O T Y D F R E M N T O P L D E A S W N C H G F S N M Y H U A D N O N N T H U I N S A L O P M N R E Q U I R E M E N T S B N M S W O N N T H U I N S A L O P M N G H S F G D T R A E D Y I Q E C V M I P P dimensions 08

Physical environments can have a measurable influence on our well-being, and that’s especially true for health care design. Patients are vulnerable, families are stressed, and staff is under the microscope to perform exemplary care with limited resources. Increasingly, interior designers are looking to evidence-based design practices to inform their design decisions. Evidence-based design (EBD) is the process of using credible data as a basis for design decisions. It seeks to determine the impact that certain design solutions have on such outcomes as patient stress, patient and staff safety, staff productivity, and the quality of care provided. The idea is that interior designers adapt the research to meet the requirements of the facilities they’re working on. “Evidence-based design is a rigorous process that involves multiple components,” says Rosalyn Cama, author, principal of the interior design firm CAMA Inc., and Chair of the Board of Directors for the Center for Health Design. “It starts with your

Les environnements physiques peuvent influencer notre bien-être. C’est particulièrement le cas lorsqu’il s’agit du design adapté au milieu de la santé. Les patients sont vulnérables, les familles, stressées, et les employés sous la loupe, contraints à donner les meilleurs soins avec le minimum de ressources. Les designers d’intérieur ont de plus en plus recours au design fondé sur des données probantes pour prendre leurs décisions finales de design. Le design fondé sur des données probantes utilise des facteurs crédibles. Il cherche à déterminer l’impact qu’ont certaines solutions de design sur des facteurs comme le stress, la sécurité des patients et des employés, la productivité des employés et la qualité des soins. Pour les designers d’intérieur, l’enjeu est l’adaptation des résultats de leurs recherches pour satisfaire aux exigences des bâtiments sur lesquels ils travaillent. Rosalyn Cama est auteure, présidente de la firme CAMA Inc., et présidente du conseil des gouverneurs du Center for Health Design. Elle affirme: «Le design fondé sur des données probantes est un processus rigoureux qui implique plusieurs facteurs. En premier lieu, il y a votre habileté à réunir plusieurs informations importantes au sujet de vos clients : qui sont-ils, quels sont leurs besoins et qui utilisera l’espace? » Elle précise : «Une fois que vous avez établi ces

ability to gather important information about your client.” Cama says, “once you’ve established that baseline knowledge, you can then hone in on key words in the literature to help you come up with a design solution.” Cama uses the example of reducing the spread of hospital-acquired infections to better explain evidence-based design. “After looking at our client’s behaviours and needs, we determined that single-bedded rooms were necessary. Being that they’re a costly investment, there was much resistance, so we built a business case using research.” According to Cama, “designers fail in that they think they can fix a problem without looking at the supporting literature. Research liberates a deeper level of thinking for a given problem to inform how you design.” In researching her case, Cama discovered, “if we placed the washroom on the headwall it reduced patient falls, and if the rooms were on the eastern side of the building there would be more exposure to morning light, in turn reducing the length of patient stays.”

Cama said that placing a hand washing station in each room improves conversations between caregivers and patients, bedside time, and helps reduce the spread of infection. Furthermore, “by rotating the station just 45 degrees, caregivers can begin the greeting process while washing their hands, without having to turn their backs to patients and their families,” she says. “An opportunity for innovation opens up when you look at the evidence.” Lori Penner, interior designer with Smith Carter Architects and Engineers in Winnipeg, says evidencebased design validates approaches to project design. “EBD gives clients and users confidence that they’re making an informed design decision. It’s an approach that medical professionals understand and accept because they’re familiar with it in their own field of practice.” Penner and her team applied evidence-based design to their work at a diagnostic imaging facility, where they looked at strategies to reduce patient anxiety, while maintaining infection prevention and control standards.

données de base, il est alors possible d’investiguer les mots essentiels dans la littérature disponible dans le domaine pour vous aider à trouver une solution de design.» Madame Cama utilise l’exemple de la réduction des infections attrapées dans les hôpitaux pour expliquer le design fondé sur des données probantes. Selon elle : «Après avoir examiné le comportement de nos clients et leurs besoins, nous avons décidé que des chambres avec un seul lit s’imposaient. Étant donné que cela représente un investissement important, l’opposition au projet était féroce. Nous avons monté un dossier étoffé en utilisant la recherche sur le sujet.» Cama précise : «Les designers se trompent quand ils croient qu’ils peuvent résoudre un problème sans examiner la littérature sur le sujet. La recherche vous présente un niveau plus profond du problème, ce qui détermine comment vous créez le design.» Cama a découvert dans ses recherches que «si l’on place la salle de bains sur le mur de tête, cela réduit les chutes des patients, et que si les chambres sont du côté est du bâtiment, les patients ont plus de lumière du matin. Cela réduit la durée de leur convalescence.» Cama mentionne que le fait de mettre un lavabo pour se laver les

mains dans chacune des chambres favorise la conversation entre les patients et les préposés aux soins et cela aide à la réduction de la propagation des infections. Elle précise : «En changeant la position du lavabo de 45 degrés, les préposés aux soins peuvent rencontrer les patients en se lavant les mains, sans tourner le dos aux patients et à leurs familles. La possibilité d’innovation apparaît lorsque vous examinez les faits.» Lori Penner est designer d’intérieur pour la firme Smith Carter Architects and Engineers, à Winnipeg. Elle mentionne comment le design fondé sur des données probantes valide les approches de design de projet. Elle affirme : «Le design fondé sur des données probantes donne confiance aux clients et aux usagers. Ils croient avoir pris la meilleure décision de design. C’est également une approche que les professionnels de la médecine comprennent et acceptent puisqu’ils sont familiers avec ce concept dans leur propre domaine.» Penner et son équipe ont utilisé le design fondé sur des données probantes dans leur travail dans un bâtiment où l’on offre des services d’iconographie diagnostique. On y examine les stratégies pour réduire l’anxiété des patients, tout en maintenant la prévention des infections et le contrôle des normes.

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Ottawa-based interior designer, Anne Carlyle combines qualitative and quantitative methodologies to her application of EBD. “This ensures design thinking benefits from not only the best information available, but also from front-line users,” says Carlyle. Carlyle’s experience-based techniques include placing 25 people in wheelchairs for lunch to see what it’s like to navigate through the cafeteria, and placing film over one’s eyes to see what it would be like to navigate through the facility if visually impaired. Evidence-based Design Accreditation and Certification, or EDAC for short, is drawing interest with a growing number of interior designers looking to become certified. “Early into its acceptance, clients were asking for EBD services, but didn’t know what that meant. Certification removed much of that ambiguity,” says Cama about the birth of EDAC. Joyce Loney-Brenes, senior interior designer and medical planner with IBI Group in Toronto was certified last year. “The level of interest in EDAC and evidence-based design has taken off in the past year, and will likely grow as clients in many different sectors see its value.” She credits EDAC with teaching her different types of processes for conducting research and applying findings, as well as attracting new business.

“The design industry faces stiff competition for fewer projects. Governments can no longer fund new projects and are engaging in alternate models, like public/ private partnerships,” she says. “Organizations must prove their proposed project is ‘future-proof,’ cost effective, operationally efficient, and supports a sustainable health-care system.” According to Loney-Brenes, hospitals are beginning to use EBD as a strategic tool to rationalize cost and move their projects up the ladder. As a result, “EDAC-certified design professionals are becoming highly sought after and have a competitive advantage.” EBD can be applied to other sectors, like institutional and workplace design. “I think it’s only a matter of time before the application of evidencebased design becomes more widespread as other industries recognize its tangible benefits,” says Loney-Brenes. Evidence-based design is what keeps Cama thinking differently about the sustainability of design. She uses a new buzzword, “biophilic design,” to predict what’s next for EBD. “Biophilic design is about understanding who

we are as a species and bringing our innate connection to nature into our structures. It points the way to creating healthy and productive spaces.” “Evidence-based design empowers interior designers to improve the human condition and redefine the way we create habitat and structure. With more research, we can harness that knowledge and own the findings that come with it to take us to the next level of human habitat.”

Anne Carlyle est une designer d’intérieur de la région d’Ottawa. Elle utilise une combinaison de méthodologies qualitatives et quantitatives lorsqu’elle applique le design fondé sur des données probantes. Elle précise : « En plus de la recherche, nous guidons les équipes de projet selon diverses activités allant des visites de sites à des questionnaires, des exercices d’accessibilité à des ateliers intensifs. Cela nous assure que la réflexion sur le design favorise non seulement les meilleures informations disponibles, mais témoigne aussi de la maturité des usagers de première ligne.» Les techniques fondées sur les données probantes utilisées par Mme Carlyle incluent le fait de placer 25 personnes dans des fauteuils roulants lors d’un repas pour examiner comment ceuxci circulent dans la cafétéria. Un autre exercice implique qu’on recouvre l’oeil de personnes pour évaluer les difficultés de circuler dans un bâtiment lorsque les individus ont une visibilité réduite. La certification et l’accréditation de l’EDAC (Evidence-based Design Accreditation and Certification) intéresse plus que jamais un grand nombre de designers d’intérieur qui souhaitent obtenir la certification. Rosalyn Cama souligne, au sujet de la mise sur pied de l’EDAC : «Les clients ont exigé les services de l’EDAC dès ses débuts, sans trop comprendre ce que cela voulait dire. La certification a mis un terme à beaucoup d’ambiguïté.» Joyce Loney-Brenes est designer senior et planificatrice médicale de la firme IBI Group de Toronto, certifiée l’année passée. Elle affirme : «Le niveau d’intérêt pour l’EDAC et pour le design fondé

sur des données probantes a pris de l’ampleur dans la dernière année et continuera de grandir puisque les clients de divers secteurs reconnaissent sa valeur.» Elle reconnaît comment l’EDAC lui a appris à utiliser plusieurs types de processus pour faire des recherches et se servir des résultats, et comment attirer de nouveaux clients. Elle ajoute : «L’industrie du design fait face à une compétition plus féroce et à une réduction des projets. Les gouvernements ne financent plus les nouveaux projets et envisagent des modèles alternatifs, comme les partenariats privé et public. Les organisations doivent quant à elles démontrer que le projet qu’elles proposent sera rentable, économique et efficace du point de vue des opérations dans le futur, et comment il s’inscrit dans le système de la santé durable.» Selon Loney-Brenes, les hôpitaux commencent à utiliser le design fondé sur des données probantes comme un outil stratégique pour rationaliser les coûts et rehausser leurs projets. Cette démarche résulte dans le fait, dit-elle, «que les professionnels qui ont la certification EDAC sont de plus en plus recherchés et ont l’avantage d’être plus compétitifs.» Loney-Brenes précise : «Le design fondé sur des données probantes est applicable dans d’autres secteurs,

notamment dans le design pour les institutions et les espaces à bureaux. Plus tôt que tard, je pense qu’il deviendra plus commun et que les autres industries reconnaîtront ses avantages tangibles.» Rosalyn Cama pense différemm ent l’idée du développement durab le du design grâce au design fondé sur des données probantes. Elle utilise le terme «design biophile» pour énoncer ce qui sera la prochaine étape. Le design «biop hile» s’attarde à ce que nous sommes comme espèce et à nos relations les plus intimes à la nature dans nos structures. Cela permet la création d’espaces sains et productifs.» «Le design fondé sur des données probantes enrichit les designers d’intérieurs et leur donne le pouvoir d’améliorer la condition humaine, en plus de redéfinir les façons de créer des habitats et des structures. Avec plus de recherches, nous pouvons en profiter et nous approprier les résultats qui en découlent pour nous permettre d’atteindre un niveau plus élevé d’habitation humaine.»

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For more information on EDAC, visit healthdesign.org/edac Pour en savoir plus sur l’EDAC, visitez le healthdesign.org/edac

Continuer la conversation: @idcanadatweets @ibigroup @CAMAInc

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managing working relationships la gestion des relations de travail

Interaction with colleagues can make or break an office atmosphere—and even your career. L’interaction avec les collègues peut améliorer ou nuire à l’atmosphère au bureau, voire détruire votre carrière. By / Par Leslie C. Smith

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The stern father, the harried mother, the bickering siblings, the squabbling couple… office “families” can in many ways mirror real-life families. And when they’re dysfunctional, workplaces can turn toxic. Donna Johnson, a relationship therapist from Winnipeg, says she sees many similarities between a family and an office, since each forms a system with its own unique set of dynamics. “In a work environment, financial or situational constraints might make you stay in a system that isn’t meeting your needs. This can also be linked to isomorphism, where you subconsciously recreate the dysfunctional familial pattern you grew up with.” Professional and personal happiness stem from creating a proper balance of work-life activities,

Un père sévère, une mère tourmentée, des frères et des soeurs en conflit, un couple qui se querelle… Les familles au bureau sont souvent à l’image des familles de sang. Et lorsqu’elles sont dysfonctionnelles, le milieu de travail peut devenir toxique. Donna Johnson est thérapeute des relations de couple, à Winnipeg. Selon elle, il y a beaucoup de similitudes entre une famille et un milieu de travail, étant donné que chacun forme un système comprenant ses propres dynamiques. Elle affirme : «Dans un environnement de travail, les contraintes financières ou situationnelles peuvent vous faire rester dans un système qui ne correspond en rien à vos besoins. Cela peut aussi être une forme d’isomorphisme où vous recréez inconsciemment les modèles familiaux dysfonctionnels, qui sont souvent ceux de votre enfance.» Les bonheurs professionnels et personnels viennent de cet équilibre entre les activités et la flexibilité des heures de travail, la possibilité de s’exprimer sur les choix des projets et des membres d’équipe, en

including flexibility in working hours, having a say in the choice of projects and team members, and garnering true satisfaction from one’s job. None of this happens in a vacuum. “Management style is key,” she adds. This is something the international engineering and architecture firm Stantec has long recognized. Peter Salusbury, Edmonton-based vice-president of People and Practice, says his company spends a great deal of time on people skills training that covers such factors as empathy, listening, and exploring different solutions to a problem—and it’s paid off. “Our organization is different from most large firms in that we’re spread out over 190 offices across North America. Most of these are small-to-medium, community-centred entities. The simple answer for us is having engaged local leadership so employees don’t feel like they’re lost in a big machine. I think that goes a long way to create functional work environments.” Respect for what others do is a fundamental rule echoed by Salusbury, Johnson, and Jennifer MacNeill, an account

executive with Interface Canada. Based in Upper Stewiacke, N.S., MacNeill has 30 years’ experience on the supply side of the design business. “Mutual respect is very important,” she says. “This ranges from simple, common courtesies to a larger respect for each other’s professional abilities, what each person knows and can bring to the table.” Respect is also an integral part of office life at MAC Interior Design in Halifax. According to co-principal, Dawn MacLachlan, it forms the basis of both her close working relationship with coprincipal Kara MacGregor and with MAC’s eight-person staff. In describing dealings with juniors, MacLachlan says she takes the role of “mother hen” seriously, doling out increasing empowerment as staff members grow in strength. “We sit newbies in the ‘nest’ right beside us—it’s immediate mentorship. Generally, there’s a point where you see the skills are in place and they’re ready to move forward more on their own.” Of course, sometimes things just don’t work out. Andrea Raimondi, president of Calgary’s similarly-sized

plus de maintenir une vraie satisfaction par rapport à son propre travail. Rien de cela n’est possible dans le vide. Elle précise : «Le type de gestion utilisé est la clé.» La firme internationale d’ingénierie et d’architecture Stantec reconnaît cela depuis longtemps. Peter Salusbury, le vice-président de People and Practice basé à Edmonton, dit que sa compagnie a passé beaucoup de temps à former les aptitudes des gens en leur montrant à valoriser l’empathie, l’écoute et l’exploration de divers solutions d’un problème. Et cela en a valu le coût. «Notre organisation est différente de la plupart des grosses firmes, car nous sommes dispersés dans plus de 190 bureaux à travers l’Amérique du Nord. La plupart sont des entités petites ou moyennes centrées sur leur communauté. La plus simple méthode pour nous est le fait d’avoir confronté le leadership local pour que les employés ne se sentent pas perdus dans une grosse machine. C’est une recette gagnante quand vient le temps de créer des environnements de travail fonctionnels.» Le respect du travail des autres est un principe fondamental que partagent Salusbury, Johnson, et Jennifer MacNeill, une gestionnaire de la firme Interface Canada. Madame MacNeill a 30 ans

d’expérience comme fournisseure dans ce secteur des affaires du milieu du design. Elle dit : «Le respect mutuel est très important. Cela implique autant les politesses les plus banales que le respect des aptitudes professionnelles de chacun, ce que chacun sait et peut apporter à la discussion.» Le respect est aussi une partie intégrante de la vie au bureau de la firme MAC Interior Design, à Halifax. Selon la coprésidente, Dawn MacLachlan, il forme la base de sa relation étroite avec sa partenaire Kara MacGregor et avec les huit employés de la firme. Lorsqu’elle parle de ses relations avec les employés juniors, elle affirme qu’elle prend le rôle de la «mère poule» au pied de la lettre, en attribuant plus de pouvoirs aux jeunes employés au fur et à mesure qu’ils acquièrent de la maturité. Elle précise : «Nous avons les nouveaux employés près de nous et le mentorat est immédiat. En général, il y a un moment où l’on voit émerger leurs aptitudes et ils sont prêts à faire les choses par eux-mêmes.» Naturellement, les choses ne fonctionnent pas toujours. La présidente de l’entreprise Ingenium Design Group, Andrea Raimondi, fait de son mieux. Elle dit : «La dysfonction attire la dysfonction et ainsi de suite. Dans l’équipe la plus fonctionnelle, la personne dysfonctionnelle

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Ingenium Design Group, puts it best. “Dysfunction seems to attract dysfunction. The more functional you are as a team, the more a dysfunctional person will stand out. Someone who misses details, doesn’t pull their own weight or doesn’t follow through is either not in the right position or not that passionate about their work.” An office family, unlike a real family, does have the marked benefit of being able to select its own members. However, in Raimondi’s case, her husband Carl is a project manager, her senior designer’s sister works as a design assistant and, until his death three years ago, her architect-father acted as a prime resource in client management. “The difficulty is separation of work and home life,” says Raimondi. “The upside is there’s no real hierarchy here. If I’m adamant about something and it doesn’t work on the drawing level, I don’t get my way, even though I’m the owner.” Ottawa’s Creative Friction, consisting of interior designers Richard Newbury and Celeste Irvine-Jones, takes the family dynamic down to its two-person core. But, says Newbury, he and his partner have never referred to each other as their “office wife” or “husband,” nor is there any friction in their working union. Rather, having known each other from school days, they were such good friends that people were concerned they would be

compromising their relationship when they started working together. “In fact,” Newbury says, “it solidified it, created more depth.” Give-and-take is vital to a smooth working relationship, he maintains. Even more important to their work “family” is putting their real families first. “Ten years ago, my mother was very sick and I basically signed myself out for a quarter. We don’t get too jazzed up about things like that, or if someone gets a week more holiday, because nothing is ever even-steven. After 19 years together, I’d have to say that it’s all equal, but it’s not equal every day. Thinking otherwise would be a recipe for disaster.”

se démarquera. La personne qui oublie des détails ou n’arrive pas à suivre est possiblement à la mauvaise place ou n’est pas la plus passionnée par son travail.» La famille au bureau, contrairement à la famille de sang, a l’avantage précieux de pouvoir choisir ses propres membres. Cela dit, dans le cas de la firme de Mme Raimondi, son mari, Car, est directeur de projet, sa sœur est une designer experte et travaille comme assistante au design et, jusqu’à sa mort il y a de cela trois ans, son père architecte était la personne-ressource la plus importante dans la gestion des clients. Mme Raimondi remarque : «La difficulté est la séparation entre la vie à la maison et celle au bureau. L’avantage est qu’il n’y a pas de hiérarchie ici. Si je veux absolument quelque chose et que cela ne fonctionne pas au niveau des dessins, je dois l’accepter, même si je suis la propriétaire de la firme.» Richard Newbury et Celeste Irvine-Jones de la firme Creative Friction, basée à Ottawa, pousse la dynamique familiale à son maximum. Newbury précise que «lui et sa femme ne pensent jamais à l’autre personne comme « l’épouse ou le mari du bureau », et qu’il n’y pas de friction dans leur union professionnelle.» Il dit plutôt que les gens pensaient que cela allait nuire à leur relation quand ils ont commencé à travailler ensemble, parce qu’ils se connaissaient depuis l’école et qu’ils étaient les meilleurs amis. Newbury ajoute : « En fait, c’est tout le contraire, cela a solidifié notre relation et lui a donné plus de profondeur.» Il maintient que le partage est vital au bon fonctionnement de toute association. Il est surtout

important pour lui de mettre sa relation familiale devant celle au travail. Il précise : «Il y a dix ans, ma mère était très malade et je me suis pratiquement retiré pendant un trimestre. Nous ne nous formalisons pas pour ce genre de chose, ou si l’un d’entre nous prend une semaine de vacances supplémentaire, car les choses ne sont pas aussi tranchées. Après les 19 ans que nous avons travaillé ensemble, je dirais que tout est équitable mais que ce n’est pas égal tous les jours. Je crois que penser les choses autrement serait dangereux.»

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Pour continuer la conversation : @idcanadatweets

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on your behalf… en votre nom…

I nterior Designers of Canada encourages lifelong learning for its members. Our mandate is to ensure that you have access to a wide-range of quality professional development opportunities. We currently deliver an average of 70 continuing education opportunities—excluding ones delivered at IIDEX Canada—across the country each year, and whether learning takes place in a classroom or online, members receive timely and relevant education from highly qualified speakers. IDC routinely looks for ways to expand and improve its member services. One way we do so is by surveying the membership. In early January, we sent out a professional development survey to both firm employees and employers. The survey set out to gauge member preferences about course topics, the times and days courses are offered, and the types of courses you prefer, such as lunch and learns, tours, and webinars. In addition to the above questions, employers were asked about their budget allotment for professional development and about paid leave for staff to attend educational offerings. “It’s important for us to evaluate your level of satisfaction with our continuing education program,” says IDC’s Director, Professional Development, Sue Gravelle. “Knowing and understanding your professional development preferences means we can deliver tailored education that meets your learning needs.” The main function of IDC’s Director, Professional Development is to seek out and manage the deliver y of continuing education. Sue, along with IDC’s Member Services Coordinator, Barbora Krsiakova, work closely with the provincial associations and Continuing Education Committee to ensure quality education is delivered coast-to-coast. Just over 100 members responded to the survey. The findings tell us that it’s time to tweak our program. Here’s what you told us:

Les Designers d’intérieur du Canada encouragent à la pérennité la formation continue de leurs membres. Notre mandat est de nous assurer que vous avez accès à des occasions de développement professionnel de qualité. Nous offrons annuellement à travers le pays en moyenne 70 séances de formation, en plus de celles offertes dans le contexte du salon IIDEX Canada. Dans des classes ou en ligne, nos conférenciers hautement qualifiés invitent nos membres à des formations pointues et orientées vers les questions qui les préoccupent. Les DIC ne cessent de chercher des manières d’élargir et d’améliorer leurs services aux membres. Sonder les membres est l’une des façons de le faire. Au début du mois de janvier, nous avons envoyé un sondage de développement professionnel à nos membres employeurs et employés. Le sondage cherchait à connaître les préférences des membres à propos des sujets des cours offerts, des horaires et des formules de cours qu’ils préfèrent, à savoir les séances du midi, les visites guidées ou les webinaires. En plus des questions évoquées ci-dessus, on demandait aux employeurs quel budget ils allouaient au développement professionnel et s’ils payaient pour que leurs employés participent à des journées ou des ateliers de développement professionnel. La directrice du développement professionnel des DIC, Sue Gravelle, souligne : «Il est important pour nous d’évaluer votre degré de satisfaction de notre programme d’éducation continue. Le fait de connaître et de comprendre vos préférences en ce qui concerne le développement professionnel nous aide à orienter les formations pour qu’elles comblent vos besoins d’apprentissage.» Le rôle principal de la directrice du développement professionnel des DIC est de rechercher et de gérer les livraisons de la formation continue. Sue Gravelle et la coordonnatrice des services aux membres, Barbora Krsiakova, travaillent étroitement avec les associations provinciales et avec le comité de l’éducation continue pour assurer que des formations de qualités sont offertes d’un océan à l’autre. Un peu plus de 100 membres ont répondu au sondage. Les résultats mentionnés ci-dessous nous indiquent qu’il est temps de modifier notre programme : n Les employés ont besoin de formations offertes les vendredis soir, les samedis et sur les heures du midi. Les employeurs préfèrent les formations le matin et sur l’heure du midi. Ils nous font savoir que cela a plus ou moins d’importance quel jour de la semaine les cours étaient offerts.

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n Employees

need learning of fered on Friday evenings, Saturdays, and at lunchtime. Employers prefer morning and lunchtime course offerings, and ranked the day of the week on which courses are offered as less important to them. n Employees want courses that pertain directly to them as practitioners, like design trends, code, sustainability, and accessibility. Employers prefer courses that pertain to them as business owners, like project management, presentation skills, responding to RFPs, and marketing. Employers also want courses that cover code, sustainability, and accessibility. ponses, and the center indicates similarities found in both member groups. “We understand that busy work schedules can often get in the way of your professional development. Based on your feedback, we’re making changes to our program that move towards learning at different times of the day and on different days of the week, with improvements to the types of courses and delivery methods of the education we offer,” says Gravelle. “Working with the provinces, we can now focus on reshaping our continuing education program

n Les

employés veulent des cours pertinents pour eux comme praticiens : les tendances du design, le code du bâtiment, le développement durable et l’accessibilité arrivent en tête. Les employeurs veulent des cours orientés vers leurs besoins de propriétaires d’entreprise : gestion de projet, présentation des aptitudes, marketing et la rédaction des réponses aux demandes de proposition ( DDP). Les employeurs veulent voudraient également des cours sur le code du bâtiment, le développement durable et l’accessibilité.

Les types de cours les plus appréciés sont les formations en classe, les séminaires qui exigent une participation des individus ou les visites guidées. Une préférence est partagée par les deux groupes : la conférence d’une journée ou le symposium comme méthode préférée pour livrer les formations. Le diagramme ci-dessus indique les similitudes et les différences formulées dans les réponses des deux groupes de membres sondés. La couleur grise correspond aux réponses des employés et la couleur verte aux réponses des employeurs. L’espace partagé du centre indique les similitudes dans les réponses des deux groupes sondés. Sue Gravelle ajoute : «Nous comprenons que les horaires chargés au travail sont parfois en conflit avec les dates et les heures des formations de développement professionnel. Selon les commentaires recueillis, nous proposons des changements à notre programmation. Nous espérons combler les besoins

to better suit your needs. Be sure to watch your inbox for our bi-weekly Professional Development Bulletin, and visit IDC’s online calendar of events to see what’s being offered in your city.” Need us to act on your behalf? Let us know. We’re here to help.

Trend Courses

Lunch Time Code

Business Courses

Friday Night

Sustainability

Morning

Weekends

1 Day Conferences

Classroom

Webinars

Participation based classroom

Grey indicates employee responses Green indicates employer responses Center indicates similarities found in both member groups

en offrant des formations à différentes heures du jour, sur plusieurs jours de la semaine, sans oublier les améliorations concernant les types de cours et les méthodes de livraison envisagées. En travaillant avec les provinces, nous pouvons modifier notre programme de formation continue pour mieux satisfaire à vos besoins. Surveillez votre boîte de courriels pour lire notre publication bimensuelle, le Professional Development Bulletin et visitez le Calendrier des événements en ligne des DIC pour consulter les formations offertes dans votre région.» Vous avez besoin de nous pour agir en votre nom? Faites-le-nous savoir. Nous sommes là pour vous aider.

Tendances Cours

Dîner Code

Cours d’administration

Vendredi soir

Durabilité

En matinée

Fins de semaine

Conférences d’une journée

Salle de classe

Webinaires

Ateliers

Le gris indique les réponses des employés Le vert indique les réponses des employeurs Le centre indique les similitudes entre les deux groupes membres

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

Industry members *Membres de l’industrie

With thanks to our industry members for their continued support. Nous tenons à remercier nos membres de l’industrie pour leur soutien continu. IDC/IIDEX Partner Partenaires des DIC/IIDEX Hunter Douglas LP. Interface Knoll North America Corp. Levey Wallcoverings Shaw Contract Group Tandus Flooring Teknion Caesarstone Canada Williams-Sonoma Inc. Designer Marketplace IDC National Member Membres nationaux des DIC Caesarstone Canada Hunter Douglas LP. Knoll North America Corp. Shaw Contract Group Steelcase Canada Ltd. StonCor Group Tandus Flooring Williams-Sonoma Inc. Designer Marketplace Tier III Niveau III 3M Canada - Architectural Markets Ames Tile & Stone Ltd. Formica Canada Inc. GLOBAL GROUP Haworth Ltd. Milliken & Company INSCAPE Kravet Canada The Mohawk Group Tier II Niveau II Benjamin Moore & Co. Ltd. Cambria Natural Quartz Surfaces Dauphin North America Julian Ceramic Tile Inc. Kohler Canada Co. Allseating Ceragres Tile Group Contrast Lighting M.L. Inc Crown Wallpaper & Fabrics Mabe Canada (GE Monogram) Mapei Inc. Hettich Canada L.P. Metropolitan Hardwood Floors Inc. Miele Limited MARANT Construction Ltd. Momentum Group Odyssey Wallcoverings Steelcase Canada StonCor Group Stone Tile International Inc. Three H. Furniture Systems TORLYS Smart Floors Robert Custom Upholstery Ltd. Royal Lighting Allsteel Beaulieu Commercial

Tier I Niveau I Convenience Group Inc. Cooper Bros. International Creative Custom Furnishings C/S Construction Specialities Canada CTI Working Environments Cubo Design Inc. Delta Sierra Construction & Millwork Ltd. Denison Gallery Design Living Centre Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. DOM Interiors Toronto Dominion Rug Sales Ltd. Drechsel Business Interiors de-ziign Elite Finishes Inc. Coopertech Signs and Graphics Ensuite, The Envirotech Office Systems Inc. Erv Parent Group Ethan Allen Daltile Canada Dasal Architectural Lighting European Flooring Group Fleurco Products Dell Smart Home Solutions Flux Lighting Inc. Grand & Toy Herman Miller Canada Inc. DPI Construction Management High Point Market Authority JCO & Associates Joel Berman Glass Studios Entertaining Interiors Environmental Acoustics Johnsonite Jones Goodridge Kraus/Floors with More Krug FloForm Countertops Light Resource Fontile Kitchen and Bath Forbo Linoleum Inc. LightForm Gautier Metro Wallcoverings Inc. MOEN INC. Greenferd Construction Inc. Grohe Canada Inc. Grosfillex Inc. Monk Office Interiors M-Tec. Inc. Heritage Office Furnishings Ltd. Nienkamper Furniture and Accessories Inc. Novanni Stainless Inc. Octopus Products Ltd. The Office Shop Oloir Interiors Olympia Tile International Inc. Para Paints Holmes & Brakel Humanscale Indigo Books & Music Inc. POI Business Interiors Pravada Floors Prima Lighting Robert Allen Fabrics Canada Interior Consciousness Island Window Coverings Ltd. Isted Technical Sales The Sliding Door Company The Sullivan Source Inc. Tierra Sol Ceramic Tile TOR The Office Resource Tremton Construction Inc.

Tri-Can Contract Inc. Tripped On Light design inc. Kaarma by Weavers Rug Gallery Kobe Interior Products Inc. Keilhauer Kinetic Design Products Ltd. Kitchen & Bath Classics (Wolseley) TUBS The Ultimate Bathroom Store Turkstra Lumber Company Ltd. Wilsonart Canada Window Works Ltd. Workplace Essentials La Scala Home Cinema + Integrated Media Leber Rubes Inc. Legend Kitchen Gallery Inc. Leonardi Construction Ltd. Leon’s at the Roundhouse LSI Floors M.R. Evans Trading Co. Ltd. Mac’s II Agencies Maharam Mannington Commercial Marble Trend Ltd. Marco Products (W Group) Martin Knowles Photo/Media Mayhew Miller Thomson LLP Office Source Inc. Pentco Industries Inc. Powell & Bonnell Home Inc. Prolific Marketing Inc. Roman Bath Centre Salari Fine Carpet Collections Sherwin Williams Showcase Interiors Ltd. Silk and Style By Dann Imports Silverwood Flooring smitten creative boutique SOFA - Source of Furniture and Accessories Sound Solutions 1997 Inc. Spectrum Brands | Hardware & Home Improvement Stonequest Inc. Streamline Sales & Marketing Inc Stuv America Summit International Canada Sustainable Solutions International SwitzerCultCreative Symmetry Lighting Taymor Industries Ltd. The Brick Commercial Design Centre Midnorthern Appliances The Pentacon Group Trigon Construction Management Tusch Seating Inc. Valley Countertops Industries Ltd. Vandyk Commercial Co. Ltd. Vantage Controls Vesta Marble & Granite Vifloor Canada Ltd. W Studio Decorative Carpets Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. IDC Media Partner Partenaires des médias des DIC Canadian Interiors HOMES Publishing Group IDC Print Partner Partenaire d’imprimerie des DIC Entire Imaging Solutions Inc.

*As of April 26, 2013 *À partir du 26 avril 2013

SOURCE OF FURNITURE

+ ACCESSORIES

WALK IN WITH YOUR DESIGNER. WALK OUT WITH YOUR DESIGN. Talk abouT inspiraTion.

Your imagination comes alive as your designer walks you through 30+ showrooms of living, kitchen, appliance, dining, bed, bath & accessories in traditional, transitional and contemporary styles. SOFA is 200,000 sq. ft. of show space, plus meeting rooms, a restaurant and wifi.

Mi casa, su casa. Plan and equip your space at your own pace. Roll out your floorplans, run through swatches, measure and test-drive everything before you decide. SOFA redefines the process of outfitting a home. Consumers are welcome when accompanied by an accredited interior designer or decorator. Don’t have one yet? We can help with that, too.

Tues.–Thurs. 10–4 n VIP Concierge Appointments: 905.678.5626 SOFA 6900 Airport Rd., Mississauga (inside the International Centre)

Member of: IDC, CDECA, IDRC, NKBA, TSA, RDI

Tour SOFA now: www.visitsofa.com/video