Interior Design March 2019

MARCH 2019

breaking through the big idea issue

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031.9 CONTENTS MARCH 2019

VOLUME 90 NUMBER 4

ON THE COVER Designer-artist Arne Quinze hand-paints one of his welded-aluminum sculptures in My Secret Garden, Valencia, a public-art installation in Spain.

Photography: Dave Bruel.

FEATURES 136 BEST IN SHOW

by William L. Hamilton

164 CRUISE LINES

by Judy Fayard

Jouin Manku’s soaring Every breed is a winner public spaces anchor at the American Kennel the new Celebrity Club’s Museum of the Edge.

Dog and headquarters in New York, both by Gensler.

172 MATTERS OF 146 A LL THE

RIGHT NOTES

by Alexandra Cheney

PERCEPTION

by Georgina McWhirter

Public art installations in Europe and Asia engage the eye—and the mind.

Nieto Sobejano Arquitectos designs a lyrical music center in Laulasmaa for Estonian 182 GOOGLE’S FLIGHT composer Arvo Pärt.

by Edie Cohen 154 UPDATING

AN ORIGINAL

by Stephen Treffinger 172

Archstudio transforms an early 20th–century Beijing building into a one-of-a-kind hospitality venue.

A search for a larger Los Angeles office leads to a storied aircraft hangar, reinvented by ZGF. 192 WELCOME TO

THE STONE AGE

by Edie Cohen

Paleo goes sybaritic at Simone Micheli’s five-star Aquatio spa hotel in southern Italy.

COURTESY OF ICD

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CONTENTS MARCH 2019

86

VOLUME 90 NUMBER 4

big ideas 87 Bold moves rule the list.

departments 25 HEADLINERS 31 DESIGNWIRE

by Annie Block 36 BLIPS

by Annie Block, Wilson Barlow,

and Athena Waligore 44 PINUPS

by Wilson Barlow 56 SKETCHBOOK

by Norman Foster 65 MARKET

by Rebecca Thienes, Mark McMenamin,

and Wilson Barlow 200 BOOKS

by Stanley Abercrombie 202 CONTACTS

03

GUSTAVO GONZÁLEZ BELLÓN

207 INTERVENTION

by Athena Waligore

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Helene E. Oberman EXECUTIVE EDITOR

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Thermostatic Shower Valve

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e d i t o r ’ s welcome Follow me on Instagram

brave, bold,

thecindygram

We proudly celebrate the fifth anniversary—hooray!—of our Big Idea issue, which reports on mission-critical work with a higher-than-thou degree of conceptual worth.

I am delighted to declare we pulled off another resounding success, offering a veritable world-over community of top-notch designers—all of them hell-bent on delivering their level best to solve big issues with even bigger ideas, whether immediate (Nendo’s emergency mobile battery) or momentous (a Cactus-designed New York research facility for Mount Sinai’s Institute for Next Generation Health­care) or not so vital but yummy anyway (the first liquid-nitrogen ice-cream shop in the Bronx, by Asthetíque).

Such solutions make for world-class storytelling, something we (humbly) do quite well ourselves. I’d go so far as to say that, where inspiration is concerned, our Big Ideas may rate as design superfood, certainly powerful enough to theme the whole issue. However, in addition to inspiration, we also prize execution—the province of our feature stories. From Archstudio’s transformation of an early 20th– century Beijing building into a sui generis hospitality

big ideas venue to Google’s L.A. compound, a former airplane hangar reinvented by ZGF—and with thrilling stopovers, such as Simone Micheli’s spa cave in Southern Italy and Patrick Jouin’s brand of super-posh cruising, our March ideas are big and broad and, quite literally, all over the map.

But for a quick finish, let me ferry this topic to another side I feel strongly about. More and more, we are confronted with “new” ideas in our “civilian” lives. New directions, new realities, and new prospects are incessantly opening up our future and, frankly, the view can be pretty scary. Or downright gruesome, when one learns of thingies such as CRISPR, for example. (You may think it’s some sort of Klingon name-calling, but it’s the foundation of gene editing. Eugenics anyone? See what I mean? Total dystopia…) Yet I have only to look at our work, the brand of the future we, as a category and industry, propose to feel relieved and reassured. Simply cracking open the magazine, seeing the lifestyles and choices we support and file behind, offers a clear statement that our lives will only get better. Let’s all be ambassadors of design and advocates for better living. Now that’s the best idea, wouldn’t you agree?!

Love,

MONICA CASTIGLIONI

MARCH.19

INTERIOR DESIGN

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JUST AS YOU IMAGINED Where texture, warmth and color strike a perfect balance.

A place where you’ve always belonged. Where life’s richest moments are meant to take place.

eldoradostone.com

“Each new project represents a new magical experience for me, to enhance the vital dimension and encourage emotional expansion”

h e a d l i n e rs

founding principal: Simone Micheli. office site: Florence, Italy. office size: Eight architects and designers. current projects: Soul Art Hotel in Naples, Italy; Çorumgaz in Çorum, Turkey; a hotel in Mandawa, India. honors: International Design Award; Codega Award. role model: Giovanni Klaus Koenig for his industrial design. the lure of travel: In far-flung destinations, Micheli discovers new cultures and meets future clients. the comforts of home: He relaxes with his wife and two teenage sons. simonemicheli.com

ROSSANO MANISCALCHI

Simone Micheli Architectural Hero “Welcome to the Stone Age,” page 192

MARCH.19

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Jouin Manku

Archstudio

“Cruise Lines,” page 164 partner: Patrick Jouin. partner: Sanjit Manku. firm site: Paris. firm size: 42 architects and designers.

“Updating an Original,” page 154

current projects:

Restaurants in Paris, Bangkok, and Singapore; a castle in Bordeaux, France. honors: Interior Design Best of Year Awards; NYCxDesign Awards; European Design Awards. role model: Pier Luigi Nervi for his structural research and drawing ability. zen: Jouin enjoys the solitude of mowing his lawn at his house outside Paris. zoom: Manku likes to drive fast in his Porsche 911. jouinmanku.com.

founder, project architect:

Han Wenqiang. firm site: Beijing. firm size: Nine architects and designers. current projects: A residence and a shop in Beijing. honors: Interior Design Best of Year Awards; IIDA Global Excellence Awards; American Architecture Prize; Taiwan Interior Design Awards; Asia Pacific Interior Design Awards; China Interior Design Award. role model: Pritzker Prize–winning firm RCR Arquitectes for its work and office atmosphere. blank slate: Han clears his mind with meditation. brain fuel: He was inspired by a recent trip to Spain. archstudio.cn

ZGF Architects Gensler “Best in Show,” page 136 principal, design director:

EJ Lee, IIDA.

current projects: EmblemHealth and 1199SEIU National Benefit Fund offices in New York; Johnson & Johnson Human Performance Institute office in Orlando, Florida. principal, creative director: John Bricker. current projects: Ford Foundation Center for Social Justice in New York;

Cadillac House in Shanghai; Verizon at the Hub on Causeway in Boston. honors: Interior Design Best of Year Awards; IFMA NYC Awards for Excellence. office site: New York. office size: 750 architects and designers. role model: Zaha Hadid for her visionary imprint on architecture. body: Lee regularly practices Bikram Yoga and Hot HIIT. sole: Bricker has a growing collection of Maison Margiela and Adidas NMD sneakers. gensler.com

“Google’s Flight,” page 182 principal: Kristi Paulson, AIA. current projects: Medical office and scientific research buildings and a museum, all in Los Angeles. partner: James Woolum, IIDA, AIA. current projects: California Air Resources Board in Riverside; a tech office in Redwood City, California; a University Health System tower in San Antonio. honors: Interior Design Best of Year Award; IIDA Healthcare Design Award; AIA AAH Healthcare Design Award. office site: L.A. office size: 77 architects and designers. role model: Ann Wilson, one of the greatest rock voices of all time. culinary arts: Paulson cooks as a creative counterpoint to design. fine arts: Woolum saves his money to buy pieces by the likes of Robert Rauschenberg and Damien Hirst. zgf.com

H E A D L I N E Rs

“All the Right Notes,” page 146 founding partner: Fuensanta Nieto. founding partner: Enrique Sobejano. office site: Madrid. office size: 23 architects current projects: Museo Sorolla in Madrid; a sports and cultural center in Reignier-Esery, France. honors: Alvar Aalto Medal; Aga Khan Award for Architecture. role model: Their students at the Universidad Europea de Madrid and Universität der Künste Berlin for their passion. meet: Nieto and Sobejano both attended the Columbia University Graduate School of Architecture, Planning and Preservation in New York. greet: They each like to travel the globe, with Nieto most recently going to Guangzhou, China, and Sobejano to Munich. nietosobejano.com 26

INTERIOR DESIGN

MARCH.19

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Nieto Sobejano Arquitectos

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a tree grows in brooklyn If you happen to have been in Minneapolis in 1970, and have recently gone by Brooklyn Bridge Park in New York, you may be experiencing déjà vu. The latter is where Siah Armajani’s Bridge Over Tree currently stands. But it first, and only, appeared nearly 50 years ago at the Walker Art Center. Back then, Armajani, who is Iranian-born, conceived the sculpture amid the turmoil and activism of the Vietnam War—a similar political environment to today.

“Siting the work in this international city, between two highly recognizable bridges, gives it a new civic context,” the artist says. It also has a slightly new appearance. The original was constructed of grade 3 pine and plywood and spanned 87 feet.

This iteration is Douglas fir and 91 feet. The outdoor installation is the Public Art Fund’s portion of the 75piece retrospective “Siah Armajani: Follow This Line” at the Met Breuer through June 2.

TIMOTHY SCHECK/COURTESY OF THE PUBLIC ART FUND, NY

design wire edited by Annie Block

Siah Armajani’s Bridge Over Tree is on the Empire Fulton Ferry Lawn at Brooklyn Bridge Park through September 29.

interiordesign.net/armajani19 for his artwork at the Met Breuer MARCH.19

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from milan to miami Clockwise from top: Ettore Sottsass’s ceramic Monumento di Merda Alle Patrie, 1966, is at the Institute of Contemporary Art Miami April 18 through October 6. His Ommagio No. 5, in Corian and wood, from 2007, the year of his death. Totem no. 18, 1966, in glazed earthenware and painted oak. The wood and plastic laminate Cabinet Superbox from 1968.

D E S I G N wire

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CLOCKWISE FROM TOP: SILVIA ROS/COURTESY OF KIM AND AL EIBER; LUCAS KNIPSCHER/COURTESY OF FRIEDMAN BENDA; COURTESY OF FRIEDMAN BENDA AND ETTORE SOTTSASS; COURTESY OF THE PHILADELPHIA MUSEUM OF ART, GIFT OF ABET LAMINATI, 1983-40-2

The lines between design and art have been progressively blurring since the late 20th century. Even in southern Florida: Art Basel Miami Beach and Design Miami/ have been coinciding since 2005. The Institute of Contemporary Art Miami is further solidifying the symbiotic relationship with the launch of a biannual exhibition dedicated to exploring postwar and contemporary design.

“Considering the increasingly significant role design plays in everyday life, we thought it important to better understand its relationship to contemporary art,” curator of programs Gean Moreno explains.

What better way to kick off the initiative than with the seminal figure of Italian and global design? “Ettore Sottsass and the Social Factory” showcases 40 of the late architect’s objects, furniture, and ceramics as well as several of his drawings. In step with how Sottsass established dialogues with different cultures, Moreno adds, Mexican architect Frida Escobedo has been selected to design the exhibition.

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Clockwise from top: At the Nhow Marseille hotel in France, Teresa Sapey Studio designed a 720-foot-long corridor connecting the restaurant to the pool that also functions as the all-day Tunnel lounge. Seating by Gaetano Pesce and Tord Boontje in the Tunnel. Teresa Sapey in a Claesson Koivisto Rune armchair. Vinyl-clad struc­ tural columns in the hotel’s convention center.

shade by the sea It’s practically a mantra: “I believe color is a material,” Teresa Sapey states. “It not only covers surfaces but also molds them.” Even on the ar­ chitect’s website, the tab between “about us” and “projects” is “color.” It reigns supreme in her latest project, 30,000 square feet of public space at the Nhow Marseille, a newly renovated hotel in the south of France.

Since the property is sited on a rock overlooking the Mediterranean Sea, blue is dominant. But, in the arcadelike Tunnel lounge, the flooring and walls gradiate from violet and midnight to red, orange, yellow, and sky.

The convention center is thematic in a different way. It’s on a level where there’s no natural light, so Sapey conjured an underwater scheme by ap­ plying images of swimmers’ legs and fins on structural columns and wave­ like circles on the ceiling and carpet, which is blue, bien sûr. interiordesign.net/sapey19 for more images of the hotel

FROM TOP: PATRICIO MICHELIN; MADS MOGENSEN (3)

d e s i g n wire

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Russia as muse…

Having grown up in Saint Petersburg, it makes sense that when multihyphenate artist Anton Ginzburg wanted to explore color studies, he turned not to Josef Albers but to the Vkhutemas, sometimes referred to as the Soviet Bauhaus.

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Egg House is an immersive pop-up designed around a fictional egg character and his dreams of worldwide adventures, 26-year-old founder Biubiu Xu explains. That adventure has taken egg to New York, Shanghai, and now Los Angeles, where he lives it up in 12,000 square feet divided into a dozen installations depicting iconic L.A. scenes. A pink-andblue basketball court, for example, represents the Staples Center. It’s only open for one month, until April 22. But Xu, who studied accounting at Baruch College, is planning to send egg on more “eggventures” soon.

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INTERIOR DESIGN

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INTERIOR DESIGN

MARCH.19

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a second batch Silvia Ceñal’s meringueinspired pendant fixture re-appears as a floor lamp 1. Macaron in Red, Black, Yellow,

and Blue in painted iron, poly­ propylene, oak-veneered MDF, and stained birch by Emko.

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INTERIOR DESIGN

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bl ips When sculptor Simone Leigh moved to New York from Chicago, she worked in an architectural ceramics firm, reproducing tile for the city’s subway stations. She’s come a long way, among her achievements being the latest recipient of the prestigious Hugo Boss Award. Administered by the Solomon R. Guggenheim Museum, her solo exhibition “Loophole of Retreat” is on view there April 19 to August 4, Face Jug and Cupboard VIII among the works, which center on the black female experience.

FROM TOP: PAUL MPAGI SEPUYA; COURTESY OF SIMONE LEIGH AND LUHRING AUGUSTINE (2)

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“Architecture is as much about the fine print as the headlines, about the tactile details that are close enough to touch.

Sketching for me is a vital way of explor­ing those small-scale elements as well as the big picture. In this colored-pencil draw­ ing of the Norton, I was investigat­ing my idea for the new entrance plaza: Claes Oldenburg and Coosje van Bruggen’s Type­ writer Eraser, Scale X, poised in a reflect­ ing pool, opposite the site’s 80-year-old Banyan tree. If I could convince myself this all could be a perfect match, then I would be better placed to convince trustee Ronnie F. Heyman to donate the sculpture.

The original museum was built in 1941 as a series of art deco–inspired pavilions around a courtyard. Since, however, the main entrance had been obscured, re­ located to the side of the building. Now, with the sculpture and tree—coupled with the reflective aluminum canopy, 4-foot-tall neon signage, and horizontal banding of painted cement stucco, very typical of Florida—there’s a place of arrival, expectation, and contemplation.

This sketch was made in one of the A4 note­books I carry with me all the time, as I’m drawing all the time. Although the computer has revolutionized the way we work at Foster + Partners, we still draw by hand. The pencil and computer are similar in that they’re only as good as the person driving them.”

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s k e t c h book

CLOCKWISE FROM TOP RIGHT: YUKIO FUTAGAWA; COURTESY OF THE NORMAN FOSTER FOUNDATION; NIGEL YOUNG/FOSTER + PARTNERS (2)

Norman Foster layers old and new at the Norton Museum of Art in West Palm Beach

PHOTOGRAPHY: MIKE PRATT CUSTOM CEILING STRUCTURE // PROJECT: RBC CONVENTION CENTRE, WINNIPEG MB DESIGN: LMN ARCHITECTS // ARCHITECTS: LM + NUMBER TEN ARCHITECTS BUILT BY: EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

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Contrasts and connections…

Chicago’s Richard H. Driehaus Museum is housed in the Samuel M. Nickerson House built in 1883.

It’s now a spectacular example of Gilded Age America—and a striking juxtaposition to “A Tale of Today: Yinka Shonibare CBE,” which launches the institution’s new contemporary art series.

Running through September 29, the exhibition features his photographs, sculptures, and, most notably, Party Time: Re-Imagine America, a festive dinner soiree in the mansion’s former dining room. It’s attended by mannequins dressed to the nines in Shonibare’s signature 19th-century Dutch wax-printed textiles.

60

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MICHAEL TROPEA

ALUMINUM TRIM

B+N IN SITU: INSTALLATION INSPIRATIONS

SYST EM 1224 with upholstered panels for sound control MODULAR, WALL-SUSPENDED PANELS, CASEWORK, AND SHELVING WITH INTEGRAL LED ILLUMINATION

©2019 B&N Industries, Inc.

This healthcare facility in a 60’s-era building gets a bold 1224 treatment: privacy pods, large magnetic graphics, and a marble veneer reception desk.

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Knickerbocker swivel chair by luigi gentile

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special kitchen/bath section

OTTO

edited by Rebecca Thienes text by Mark McMenamin, Rebecca Thienes, and Wilson Barlow

a good ribbing

No longer monopolized by the construction trade, concrete has come into its own as a decorative medium. Kast Concrete Basins spurs the evolution with its second generation of Kast Canvas, a family of sinks enlivened by textural surface detail. Moving beyond the subtlety of the first edition, patterns in the new collection are more highly defined, practically sculptural, inviting an understated interaction between light and shadow. Among the newcomers: Otto, a counter-mounted basin encircled by diagonal ribs. Like the manufacturer’s entire assortment, it’s available in 28 tints, including Blush. kastconcretebasins.com MARCH.19

INTERIOR DESIGN

65

m a r k e t collection kitchen/bath

ELLEN BERNHARDT, PAOLA VELLA

NOUVEAU

starter sink

“We translated serene elegance into purity and balance” 66

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Furnishings, interiors, graphics. Paola Vella and Ellen Bernhardt have designed almost everything. Except bath fixtures. But earlier this year, the Bernhardt & Vella partners crossed another classification off their bucket list with the Nouveau suite for Ex.t. Elegant art deco geometry meets modern modularity in “a game of volumes” the designers describe as “sweet and soft but also contemporary and pragmatic.” Rectilinear and curvilinear converge in asymmetrical basins, fabricated from LivingTec solid surfacing, in such new colors as Rosa Cipria. Countless configurations incorporate stone or marble surfaces. Finish options for the ash and oak cabinets include varnishes and lacquers, while brass and steel supports come in brushed bronze, satin brass, or matte black. Five brass-framed shapes round out the line’s mirror range. ex-t.com

© 2019 Crypton, Inc. Crypton and the red planet logo are registered trademarks of Crypton, Inc. U.S. patent 5,565,265 and other U.S. and global patents issued and pending.

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m i x e d - u s e

M A R K E T S C A P E kbis

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Kelly Wearstler for Ann Sacks

Mick de Giulio for Kallista

Mario Romano of M.R. Walls

Christopher Shannon for Brizo

product Custom Obelisque. standout The interior designer expands her range from hotels, furniture, lighting, and wallpaper to wall and floor tile in a geometric marble mosaic.

product Myam. standout For his elegantly elliptical cast-bronze basin, the De Giulio Kitchen Design founder pairs a matte-white PVD exterior with a polished bronze interior.

product Vettis Concrete. standout An edition of 500 sink fittings cast by the sculptor from T.J. Eads’s design melds charcoal and fiber-reinforced concrete to produce a distinctive smoky result.

annsacks.com

kallista.com

product Origami. standout The digital-fabrication artist who designs and builds homes employs the latest CNC machining to produce carved Corian panels that appear seamfree. mrwalls.marioromano.com

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brizo.com

PORTRAIT 2: DAVE BURK/HEDRICH BLESSING; PORTRAIT 4: NILS ERICSON

highlights from the kitchen & bath industry show

“I like to mix materials in my designs and try new things in unexpected ways”

5

Leanne Ford for Formica Corporation products Pietra Grafite and White Knotty Maple. standout Stone and wood translate effortlessly to large-scale laminate as part of a capsule collection curated by the interior designer and HGTV star. formica.com

5

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“The technique results in exceptional depth and luster”

rainbow room White and chrome often commandeer the palette in the bathroom. But like stepping out of black-and-white Kansas into Technicolor Oz, Victoria + Albert has unleashed a new spectrum of colors for Englishcast, the British brand’s line of freestanding tubs and basins made from volcanic limestone and resin. Formerly limited to six standard shades, designers can now personalize fixture exteriors with a choice of 194 RAL colors. The multilayered process uses specially catalyzed paint and hand-polishing, making the finish deeper in tone and more durable than hand-painted surfaces. Factor in gloss or matte options across various models, such as Pescadero, Monaco, and Napoli, and it adds up to 28,000 possibilities for tubs and 5,000 for basins. vandabaths.com

ENGLISHCAST

M A R K E T collection kbis 70

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© 2019 Design Within Reach, Inc.

Sommer Chaise Designed by Chris Liljenberg Halstrøm for Design Within Reach

A DIVISION OF DESIGN WITHIN REACH

1.800.591.6965 | DWRCONTRACT.COM

M A R K E T collection kbis

breaking the mold Kohler WasteLAB, the company’s 6-year-old sustainability initiative, recycles unfired pottery cull and other production cast-offs to create new tiles, tabletops, and buttons.

Its surfacing subsidiary Ann Sacks shares the spoils in Crackle, a line spearheaded by product manager Theresa Millard. After extensive research, Millard pitched the concept to Kohler leadership and the two brands formed a team to develop the multi-step process, which includes the use of interactive glazes that pool and break over the surface during firing. “We came up with a recycled-tile clay body that translates into beautiful, ecologically thoughtful tile,” she says. Choose from five sizes in multiple shapes and six saturated colors, such as Amber and Emerald. annsacks.com

CRACKLE

“We identified the potential of creating tile from landfill-bound materials”

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1

M A R K E T kbis

2

black and white and tech all over Cool reigns in fixtures, fittings, and finishes 1. Raindance showerhead with PowderRain spray

technology in chromed brass by Hansgrohe.

2. Maze mosaic tile in recycled glass in Blue by Artistic Tile.

3. DTV+ digital showering system by Kohler Co. 4. Ciclo sink faucet in brass in Black by Riobel.

5. Blade 3-D printed faucet in stainless steel by DXV. 6. Flotation tub with Zero Dimension gravity-less technology in Galaline marble-polymer composite by Toto.

See page 78 for sources.

3 4

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5

6

#MolteniGroup MOLTENI&C | DADA | UNIFOR FLAGSHIP STORE 160 MADISON AVE, NEW YORK NY 10016, T 212 673 7106 — MIAMI CHICAGO TORONTO MEXICO CITY

ALBERT SEATING SYSTEM— VINCENT VAN DUYSEN D.151.4 ARMCHAIR— GIO PONTI ATTICO COFFEE TABLES— NICOLA GALLIZIA ATALANTE CARPET— NICOLA GALLIZIA ARTWORK— SANTO TOLONE

1

2 3

down to earth Natural tones and materials elevate daily ablutions kbis M A R K E T

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5

1. Metal slabs in porcelain in Russet by

Florim Ceramiche.

2. T39EL towel warmer in copper by Vola.

3. Bellia thermostatic/diverter control in

brass in Rose Gold by Rohl.

4. MyEdition single-hole faucet in brass

in Brushed Redgold by Axor.

5. Avalon 72 freestanding tub in Native-

Stone jute-cement concrete in Earth by Native Trails.

See page 78 for sources.

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Foster + Partners

unifor.it #UniFor50

Element 03 Conference Meeting Table

Palazzo di Brera Via Brera 28 Milan, 08_14 April 2019

m a r k e t sources

Smart Design.

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black and white and tech all over

1. Hansgrohe, hansgrohe-usa.com.

2. Artistic Tile, artistictile.com.

3. Kohler Co., kohler.com.

4. Riobel, riobel.ca.

5. DXV, dxv.com.

6. Toto, totousa.com.

down to earth 1. Florim Ceramiche, florim.com.

2. Vola, vola.com.

3. Rohl, rohlhome.com.

4. Axor, axor-design.com.

5. Native Trails, nativetrailshome.com.

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Project 215 Park Avenue South, NY Stone Source Headquarters Lobby Design Perkins+Will

Photography: : ©Ines Leong / L-Ines Photo

Material Calacatta Tucci Marble

Silicon Bronze Dark Lustre

HANDCAST BRONZE HARDWARE

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FINISHES

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Bold moves rule the list

MARCH.19

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The dazzling first venue in Hong Kong’s ground-up West Kowloon Cultural District is attracting a new generation to the centuries-old xiqu, or Chinese opera. The centerpiece of the Xiqu Centre by Revery Architecture and Ronald Lu & Partners is the 1,000-seat Grand Theatre. “There are few modern venues dedicated to that art form,” Revery principal Venelin Kokalov says. “So we designed it from scratch.” That meant raising the 65,000-square-foot theater 90 feet above the noisy city for premium acoustics and testing the interior’s milled sapele mahogany veneer, stained a dark aubergine to match the chair upholstery, at its full scale with a live orchestra.

Outside, the elevated theater is encased in 13,000 fins CNC-cut from marine-grade cast aluminum, selected for its ability to weather the subtropical climate and as a reference to the flowing movement of stage curtains. Lower portions of the shingled facade are open to the elements, to allow the public access to the covered plaza below the theater. Unlike the moody theater, this space is futuristically bright and white—except for the temporary pagoda housing “Constructing the Xiqu Centre,” a photography exhibit up through June 30. —Wilson Barlow 88

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EMA PETER

reinventing a classic

b i g ideas01 “The plaza is an urban living room and a gateway to the arts district”

EMA PETER

MARCH.19

INTERIOR DESIGN

89

B I G ideas02

“Life, solar energy, and nature coincide”

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What does the future portend for the home? A group of 10 international architecture firms each paired with a forward-thinking manufacturer to entertain that enquiry in “China House Vision,” an exhibition assembled last fall in Beijing. MAD Architects collaborated with Hanergy, a provider of solar-energy equipment, to conjure Living Garden, a 2,200-square-foot open-sided pavilion that dismantled spatial boundaries, creating what the firm describes as “an architectural landscape” for en plein air, or outdoor, living. An open grid of bamboo and steel formed the undulating roof, its apertures fitted with panels of clear glass. Across the floor, timber planks established a path to the patio—or was that the living room? But green wasn’t just confined to the red oak and bamboo trees soaring inside. A system of solar panels strategically placed above the roof would harness enough sunlight to meet the daily electrical consumption of a family of three. —Mark McMenamin

CLOCKWISE FROM TOP: COURTESY OF MAD ARCHITECTS; TIAN FANGFANG (2); ZHAO CHUNHUI

fresh air all around

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Overexposure to pesticides and colony collapse disorder are just some of the dangers facing the world’s honey bee population. Nick Beens, the fortuitously named cofounder of Future More, developed Temples in response to these threats for the “Future Mythologies” group exhibition at Dutch Design Week Eindhoven, the design collective’s hometown. Beens, a 2017 graduate of the city’s prestigious Design Academy, knows that bees, the pollinators of our precious food crops, are essential to human existence and believes they’re worthy of worship. His idea then was to create safe, man-made homes for them and other pollinators such as butterflies. Like vertical bedand-breakfasts for the winged set, the prototypes were formed from CNC-milled MDF that’s been spray-painted vivid colors. Open slots on either end were filled with more than 100 hollow reeds, which are a natural insect shelter. At once, bees are protected and urban balconies and gardens are accessorized. —Rebecca Thienes

b i g ideas03 “The colorful hubs are helping draw bees back to cities” 92

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COURTESY OF FUTURE MORE

keep the hive alive

Spinneybeck I FilzFelt is a Knoll brand.

Design 402

Gypsum Wall Tiles by Erwin Hauer Studio

04B I G ideas

nitrogen high Count your sprinkles not your problems. That sage advice is writ large in neon signage at Ice Scream, the first liquid-nitrogen ice-cream shop to open in the Bronx, New York.

The 1,300-square-foot parlor by Asthetíque is a confection in and of itself. “We focused on Memphis because it sparks nostalgia in millennials, who grew up watching Saved by the Bell and Nickelodeon sets, but modernized it,” partner Julien Albertini says. Indeed, a 15-foot-long communal table running down the center of the space is topped in Scandiesque white oak. “It’s timeless,” co-partner Alina Pimkina notes of the wood. Subtle cement floor tiles flow beneath the table, but it’s flanked by four arches each lined with a rainbow of multicolored LEDs. Behind the cash-wrap, its lively hand-painted pattern extending to the project’s packaging, clouds of steam further beckon customers. That’s the liquid nitrogen at work, being mixed in a pair of machines that have been customcolored sherbet pink and mint chocolate chip green. —Annie Block

CLOCKWISE FROM TOP RIGHT: COSTAS PICADAS (4); PETRO ONYSKO

“A brand that can be replicated and franchised doesn’t have to be basic and plastic”

94

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Spinneybeck I FilzFelt is a Knoll brand.

Plus Block

Acoustic Felt Wall Tiles by Kelly Harris Smith

b i g ideas05 “We designed an experience, not just a form”

breathing walls

ED REEVE

The theme for the second London Design Biennale was Emotional States. Among the 40 countries and territories that participated was Greece, its pavilion by Studio INI spanning much of Somerset House’s central courtyard. Titled anyπakok (Disobedience), founder Nassia Inglessis explains that it derived from disobedience being a characteristic of the Greek temperament since ancient civilization—the mythological Prometheus, for example, felt a moral obligation to disobey the gods in order to create opportunities for human progress. “Architecture is typically static,” she says. “But creative disobedience has the ability to break barriers, open borders, and reconstruct a space for something better.” In this case, a 56-foot-long corridor that responded to viewer interaction. As visitors walked along the installation’s steel base, they activated the springs under the steel-rib frame, which caused the panels of CNC-cut recycled plastic sheathing the frame to contract in and out. “The idea is that a wall no longer symbolizes a boundary,” Inglessis notes.

After London, anyπakok traveled to the Kolkata Centre for Creativity in India, where it’s permanently installed. “The experience that you can affect your physical environment at an architectural scale,” says Inglessis, who was born in the U.K. but raised in Greece, “resonates across cultures and countries.”

Her boundary-pushing efforts will soon resonate stateside, when her Urban Imprint installation comes to A/D/O in Brooklyn during May’s NYCxDesign. —Athena Waligore

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interiordesign.net/studioini19 for a video of the installation fabrication

ED REEVE

MARCH.19

INTERIOR DESIGN

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3730 US HWY 1 SUITE 2 N. BRUNSWICK, NJ. 08902 (732) 353-6383

healthy interactions Engaging design, long de rigueur for children’s healthcare spaces, has only recently been extended to adult patients—perhaps most notably at Lab 100, a hybrid clinic and research facility developed by Cactus for New York’s Mount Sinai and its Institute for Next Generation Healthcare.

Leveraging data and technology to redesign the way health is measured

“It’s a step toward predictive computer-modelling on human health”

B I G ideas06

and care delivered, the clinic offers an interactive experience conceived by the practice’s three partners: architect Marcelo Pontes, branding consultant Noah Waxman, and digital innovator Lucas Werthein.

Having submitted pre-visit information via app, patients are guided through a series of stations—interactive environments incorporating virtual reality, touch screens, “gamified” tests, live video, and body/gesture tracking—that measure, report, and contextualize different biomarkers such as cognition, blood chemistry, and strength. Videos continually explain what’s being assessed and why it’s important, culminating in a final consultation “aided by a video wall with the gathered data presented in an interactive visualization,” Waxman notes. A word-of-mouth operation for now, the facility will add three more locations later this year.

COURTESY OF CACTUS

—Nicholas Tamarin

100

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VIEW AND REQUEST SAMPLES FROM

B I G ideas07

“I found a way to print a durable, mechanical quality into textiles”

fashion that’s fit to 3-d print 102

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PHILIP KOTTLORZ

A new activewear brand has crafted a cocktail of art and science. It’s Patronace by Bastian Müller, and it promises “fashion for your accelerated life.” But Müller didn’t just design the clothing. He also invented the technology behind it.

GRDXKN, derived from grid skin, is a patent-pending process that transforms fabric—cotton, polyester, even leather—into a 3-D surface.

It’s a technique similar to screen-printing, using a water-based proprietary paste in place of ink. Once the print is thermally activated, the pattern is transmuted into polyurethane foam that can be customized depending on the rigidity or flexibility desired. The finished cloth is not only breathable, moisture-controlling, and water-repellant but, when used for outerwear, it also forms a protective layer around the user (think bike messenger). “The formerly, purely decorative print becomes a functional, architectural structure,” Müller states. Further, it withstands water temperature up to 140 degrees without its print definition being altered. With no limitations on size, color, or pattern, it’s a natural for upholstery, too. —Mark McMenamin

Lighting, ceiling fans and accessories.

Built on quality, service and unbelievably good looks. craftmade.com

M A D E YO U L O O K.

Š 2019 Craftmade. All Rights Reserved.

bridging technology Large-scale 3-D printing is, err, crossing into new territory with the Bridge in Amsterdam.

Joris Laarman Lab designed the sinuous pedestrian expanse for Dutch technology startup MX3D, whose mission is to equip multiaxial robots with 3-D tools and develop the software to operate them. Currently being produced by said robots in stainless steel, part of an overall process that is taking nearly three years, the 40-foot-long bridge represents the largest 3-D printed metal project in history, a feat accomplished with partners Arup and Autodesk, among others.

After fabrication at MX3D’s workshop north of the city and testing for structural integrity are complete, the structure will travel via canal atop low boats to the historic red light district by year’s end. Once in place, it will be a laboratory for scientists to collect data on traffic and the surrounding environment thanks to the bridge’s integrated sensor network. “It’s a beautiful metaphor,” Joris Laarman says, “about connecting 21st-century technology with the old city, in a way that brings out the best of both worlds.” —Rebecca Thienes

B I G ideas

08 interiordesign.net/jorislaarmanlab19 for video of the bridge fabrication

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FROM TOP: COURTESY OF JORIS LAARMAN LAB; THIJS WOLZAK

“It proves large-scale 3-D printing can be done with sustainable materials and freedom of form”

ART

Classic Impressionism Be a part of the scene in this reimagining of the Classic Movement.

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B I G ideas09

Healthcare design typically prioritizes privacy. But at Clemente Dental, a new 2,300square-foot clinic in a Madrid office building, the client asked that the concept of transparency be given equivalent weight. Architects David Landínez GonzálezValcárcel and Mónica González Rey of local firm Landínez + Rey Arquitectos responded by strategically screening necessarily private areas behind lacquered-MDF slats, but with gaps between the vertical louvres that speak to the desired theme. “We chose the material

the green-screen effect

because of its versatility to present itself multiple ways,” Landínez explains. Seen from different positions in the public areas, the slats, which are finished in three different glossy shades of green, offer a variety of textures and perspectives. Other surfaces in the clinic are stark white, such as the polyurethane floor, to signal cleanliness. But at the entries to the clinical rooms, walls, flooring, and ceiling are also green, like gateways to oral hygiene.

—Athena Waligore

GUSTAVO GONZÁLEZ BELLÓN

“We united the space through the use of color”

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Reviews are through the roof.

The McLaren 600LT has been named a 2019 All-Star by Automobile magazine, an award that honors automotive excellence. See for yourself how with the press of a button, the ultra-light retractable hard top roof drops and your adrenaline rises.

600LT Spider Sports Series cars.mclaren.com

b i g ideas10

A mega project with multiple entertainment and hospitality venues in a ground-up, gleaming structure.

That’s Parq Vancouver in British Co­ lumbia. Six stories high, capped with a 30,000-square-foot roof garden, the contemporary structure “is an urban oasis,” ACDF Architecture CEO MaximeAlexis Frappier says. Under that roof are the J.W. Marriott and Douglas hotels, eight restaurants, and a conference center, spa, and casino.

The inevitable question is why now for a complicated complex of this ginormous scale—almost 800,000,000 square feet. “Vancouver is popular and growing fast, with more demands for events, art, and nightlife,” Frappier adds.

(It’s adjacent to BC Place stadium, home to the Lions football, Whitecaps soccer, and annual Canada Sevens rugby tournament.) The other question was how to incorporate a project this large into an already vibrant downtown.

ACDF partnered with Architecture49 and their response was not a looming hulk but rather a curving, low-rise presence wrapped in a mirrored facade that reflects its surroundings. Aluminum louvers, capturing sunlight, reflect pix­elated images of the Rocky Mountains in the distance. The daylight resulting from abundant glazing contributes to the project’s LEED Gold status, proving Parq fits into the global environment, too. —Edie Cohen 108

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ADRIEN WILLIAMS

fitting in while standing out

“Our desire was to minimize the impact on nearby neighborhoods”

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If not us, then who? Such was the theme for Dutch Design Week Eindhoven, challenging its over 2,500 participants to conceive innovative solutions for our environmentally endangered planet. Artist and product designer Jesper Eriksson responded with Coal: Post Fuel, his project in which he explored the potential of the much-maligned sedimentary rock. He found that the raw material is suitable for producing graphic furniture and flooring: a square side table with a solid coal top weighing half what a marble tabletop might, a round stool, and 3½-inch-square polished tiles that are nearly 1 inch thick. All were cut with the diamond saw blades commonly used at stone quarries and finished with a natural stone sealant. “When pushing conventional materials in new directions, there’s uncertainty,” Eriksson says.

But his investigation was certainly beneficial—and not just aesthetically.

Using coal to create furniture means there’s that much less carbon dioxide being released into the atmosphere. —Rebecca Thienes

the good coal “Problematic, glorious, scandalous, essential—the material has many facets to it”

FROM TOP: SHÔTA SAKAMI; JESPER ERIKSSON (2)

b i g ideas11

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Hendrick | Comcast Headquarters

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B I G ideas12

shelter from the storm The need for emergency housing is reaching epic proportions. Not just in earthquake-, fire-, and mudslide-prone California, where this project originates, but also globally. But, Madworkshop, a nonprofit architecture and design foundation in Los Angeles focusing on social and technological innovation, has fostered a solution. Shelter Squared

by Madworkshop fellows Jeremy Carman and Jayson Champlain offers eating, sleeping, and lockable storage areas in a 50-square-foot enclosure that can be erected in as little as 15 minutes. “It distills shelter to the absolute minimum,” Madworkshop founder and architect David Martin states.

Lightweight, waterproof panels of recyclable laminated cardboard tilt together and are held in place with Velcro strips. Each unit provides benches with under-seat storage, a table that converts to a bed, and privacy curtains, and stands on a clean cardboard base.

Assembled, Shelter Squared can be used individually or grouped. When not in use, it all gets flat-packed to roughly the dimensions of a king-size mattress and weighs just 50 pounds—imagine hundreds of them stored in a school gymnasium or community center.

—Edie Cohen

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FROM TOP: BUDDY BLECKLEY/COURTESY OF MADWORKSHOP; JEREMY CARMAN AND JAYSON CHAMPLAIN/ COURTESY OF MADWORKSHOP (2)

“It’s a humane, efficient solution to emergency housing situations”

Dornbracht Kitchen Inspiring contrasts

kitchen.dornbracht.com

major street presence

B I G ideas13

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Add commercial design to the mix at the ArtCenter in Pasadena, California. Darin Johnstone Architects transformed a 1980’s office building into, well, an art center. Classrooms, studios, offices, and exhibition spaces occupy the top five floors. On the ground level is a bona-fide gallery, named for donors Peter and Merle Mullin, the avid car collectors behind the nearby Mullin Automotive Museum.

For exterior signage, Darin Johnstone added a double-sided fin wall extending out from the 6,300-square-foot interior. The signature element, he explains, evolved along with the concept of the gallery: “Thinking about the automobile as an art object itself as well as an instrument for viewing the gallery while driving past caused us to turn our plan inside out.” Now when approached from the north, 12-foot-high fins in powder-coated steel display the word gallery. From the opposite direction they spell out mullin.

At either end of the space, two large glass pocket doors allow vintage vehicles to easily enter for a display period, then leave.

No traffic jams here. —Edie Cohen

All Designs and Images Š1989 - 2019 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

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BILYANA DIMITROVA

“Elasticity and informality are the central organizing structures”

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where finance meets design Cornell Tech officially opened in 2017 as part of the re­development of New York’s Roosevelt Island. The Tata Innovation Center by Weiss/Manfredi is a centerpiece of the 12-acre campus, and it’s this unconventional location that investment-management company Two Sigma, headquartered in Manhattan, has sited for its 5,700-square-foot Collision Lab. What’s colliding are start-up professionals with engineering and student teams to develop disruptive investing products. WRNS Studio was optioned for a work­ place that would harness this creativity.

Senior associate Stephen Kelley responded with an open program centering on what he calls a multifunctional “gath­ ering platform.” White oak and live Irish moss contribute natural inspiration—“tech ethereal,” Kelley says; a mix of banquette and café seating, as well as the flexible plugand-play workstations throughout, encourage collaboration.

The palette is soothingly muted, particularly in the conference room and the canopy of gray acoustic ceiling tiles. “It brings a sense of wellness,” he adds, “and unexpected com­ fort.” Although a shot of bright yellow emits from a reading nook. It’s like a ray of sunshine, which the lab gets oodles of through an entire wall of floor-to-ceiling windows—their views of Gotham across the East River providing endless motivation. —Wilson Barlow

BILYANA DIMITROVA

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B I G ideas15 A tech-reliant future is often imagined as a sci-fi dystopia.

Architecture and engineering firm EDG is looking to change that perception. Its Loop NYC was a 2017 plan that proposed transforming New York roadways into public parks. The brief imagines dedicated micro highways around the perimeter of Manhattan populated with self-

“It would democratize access to efficient transportation and green space”

driving cars in an electric blue.

Above the highways would be pedestrian-accessible outdoor green spaces. “Communities would connect in unexpected ways,” EDG founder John Meyer says, “and the city would be a healthier place.”

This year, it was included in “The Road Ahead: Reimagining Mobility,” an exhibition at the city’s Cooper Hewitt, Smithsonian Design Museum that explored livable streets and the way people, goods, and services will travel in future urban environments. A video of Loop NYC detailed how going from Midtown to downtown would take just 11 minutes. Ask any New Yorker: That’d be a brave new world. —Athena Waligore

COURTESY OF EDG

an alternate route

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THE SPIRIT OF PROJECT

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B I G ideas16 “We turned what’s normally a disadvantage into an advantage”

revolving charge

AKIHIRO YOSHIDO

Disasters take away things you take for granted—electricity, for example. Nendo founder Oki Sato devised a way to recapture power at a moment’s notice, even in the midst of an evacuation.

Denqul is an emergency mobile battery he designed for Sugita Ace, a Japanese hardware and building-supply source. Cleverly disguised as a desktop organizer, the compact ABS resin dock continuously charges the cylindrical battery. But if catastrophe strikes, the juiced-up component can be quickly removed and carried with you. When the battery’s power is depleted after four hours, the user simply extends the top, doubling the length of the device, and bends it into an L shape. They then rotate the angled section with one hand to generate battery-charging power through centrifugal force, an effect Sato maximized by positioning the lithium battery on top. “This allows its weight to be utilized,” he explains.

After 10 minutes of spinning, the battery is ready to charge again. —Mark McMenamin

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b i g ideas17

“The project acknowledges where the neighborhood has been—and where it’s going” A private Chicago high school for students with learning differences is proof that working under constraints can inspire creativity. When Lothan Van Hook DeStefano Architecture was tasked with building a 16,000-square-foot arts and athletics building for the Wolcott School, the firm was restricted by the tight 1-acre site and a low budget. The result is a study in making the most of a simple material.

The facility is constructed almost entirely of precast concrete that’s been either polished, stained, or sealed with an anti-graffiti coating. “With no decorating budget,

we chose to highlight its various colors and textures,” LVDA principal Avram Lothan says.

The material nods to the industrial past of the West Town neighborhood, but refined details signal a forwardlooking approach. Witness the lobby. There’s more concrete, this time hard-troweled and sealed, but it’s lit by a series of linear LED fixtures.

Hang­ing at varying angles, they look like a Dan Flavin installation.

—Wilson Barlow

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BARBARA KARANT + ASSOCIATES

concrete solution

B I G ideas18 “The concept physically imagines design and technology theories of tomorrow”

heal thyself

COURTESY OF AUTOMOBILI LAMBORGHINI

“Our DNA is strongly related to design,” Automobili Lamborghini head of design Mitja Bokert states. But with Terzo Millennio, the automaker’s electric concept car, that DNA now extends to a technology enabling automatic repairs, or “self-healing” as Lamborghini calls it. Developed in conjunction with the Massachusetts Institute of Technology, the goal is to provide the vehicle with the ability to detect cracks and damages derived from accidents in its carbon-fiber substructure, both visible and not. The repair process starts via micro-channels filled with healing chemistries, which eliminate the damage from expanding further in the structure. Additionally, the increased use of carbon fiber makes the car more lightweight overall, which reduces fuel costs and battery-charging time.

The car’s aerodynamic architecture is appropriate to its ambitious thesis. But fear not. It will still retain Lamborghini’s legendary Italian design elements, trademark hexagonal headlights and all. —Nicholas Tamarin

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KINGSLEY BATE

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b i g ideas19

“The spheres radically rethink the way an office can look, feel, smell, sound, and perform”

nature at work

FROM TOP: SEAN AIRHART; BRUCE DAMONTE (2)

Buckminster Fuller would likely approve. The Amazon Spheres, on the Seattle campus of the online retailer’s headquarters, are three conjoined domes in low-iron glass and painted steel.

Designed by NBBJ, they total 70,000 square feet and function as an experimental workplace for Amazon employees (the restaurant, Wilmott’s Ghost, is open to the public). “It’s nature as an experiential conduit for productivity and wellness,” NBBJ interior designer Tara Schneider explains.

She’s referring to the project’s interiors, five levels of lounge and office areas surrounded by tens of thousands of living plants, some 400 different species like staghorn ferns and ficus trees, which come from tropical environments called cloud forests. Sounds from a stream and a waterfall are additional soothing elements that double as white noise. Perched high above is a bird’s nest–style aerie reached via boardwalk in black locust slats. Even the architecture follows biomimicry: The circle is said to be the only elemental geometric form found in nature. —Georgina McWhirter

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MEET LITTLE PERILLO XS Derived from the award-winning Perillo’s futuristic and chic DNA, the slender Little Perillo XS goes where no Perillo has gone before—compactly around and under tables. Little Perillo XS is available in five poly shell colors, poly shell with upholstered seat pad or fully upholstered with optional contrasting zipper. Little Perillo XS offers a variety of bases and leg finishes to choose from.

www.dauphin.com

“The light illustrated the power of the individual and the strength of community”

heart in the square

B I G ideas20 interiordesign.net/reddymade19 for a video of the installation

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FROM TOP: NOEL CALINGASAN; EMANUEL HAHN (2); APRIL NEUFELD

Love is a two-way street. For all of February, it was the centerpiece of one of the world’s busiest streets: X by Reddymade won the 11th annual Times Square Valentine Heart competition in New York. “The idea of community as a place of intersection led me to the tectonic expression of X,” founder and architect Suchi Reddy explains. Further inspiration came from the letter being the universal symbol for a kiss and the mark of a democratic vote—as well as Times Square’s X-rated past.

Working with Bednark Studio, Reveal Design Group, Brooklyn Research, and Stratford Engineering, planes of honeycombed aluminum reaching 18 feet high were CNC-cut with rounded openings, so that when they crossed, they created a heart shape. Phrases such as “Add Equality,” “Into Difference,” and “Don’t Forget the Flowers” were cut out of black vinyl placed along the openings. Motion-detection sensors embedded beneath the sculpture’s steel base caused LEDs along its straight edges to glow red or white. The more visitors to X, the brighter the love. —Annie Block

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truss

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Big ideas take shape

JURGEN EHEIM

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Every breed is a winner at the American Kennel Club’s Museum of the Dog and headquarters in New York, both by Gensler

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text: william l. hamilton photography: eric laignel

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It is accepted wisdom in Hollywood that if a picture is in trouble, you put a kid in it. And if the kid can’t save it, you get a dog. There is no higher adorability factor. Every perk of the ears, every moist look, is the performance of a lifetime. The just-opened American Kennel Club Museum of the Dog, housed in a glass office tower in

New York, is testament to that truism.

From logo (“Arty,” a blue dog) and fine-art installations to interactive stations and a smartphone app, the twostory Gensler-designed museum is a sells-itself celebration of man’s original Best Friend Forever. As part of the project, Gensler also redesigned the AKC’s office headquarters on the fifth floor of the same building.

“Every time they saw their dog, it was like ‘Awwww!’ Every time!”

Gensler principal and design director EJ Lee says, describing developers working on one of MOD’s signature interactive features: “Find Your Match,” a pair of kiosks at the entrance that takes visitors’ photos and tells them what breed they resemble. I am a greyhound (gentle, independent, noble).

I’ll take it. Lee is a French bulldog (adaptable, playful, smart). True? “Uh, sure,” she says, firmly professional.

“It was such an immersive project, not just about the architecture,” Gensler principal and creative director John Bricker explains. “It was about developing a brand and unique experiences—and also about education, which is what the AKC stands for.” The 135-year-old organization maintains a purebred dog registry, the largest in the world, and is the sports-governing body for more than 20,000 dog events annually (including the Westminster 138

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Previous spread: Along with designing the American Kennel Club Museum of the Dog in New York, Gensler also developed interactive attractions such as touch-screen tables that provide visitors with information about specific canine breeds.

Inset left: An animated frieze of digitally projected trotting dogs runs across the museum’s facade. Inset right: Windholme’s Spotless is an oil on canvas by Percy Earl.

Bottom: Rotatable steel-frame display partitions supplement limited wall-hanging space in the ground-floor gallery.

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Kennel Club show). Bricker is a Boston terrier. “I’m friendly, bright, and amusing,” he reports. I didn’t ask.

In fact, museum design today is essentially experiential. Interactivity and messaging are central to the conceptual architecture of a project. Many of the problems MOD presented,

facade window, there was scant wall space to hang paintings. So Gensler installed seven steel-framed partitions for more display surfaces. Resembling large-scale art-academy easels, they pivot 360 degrees and can be reoriented for different exhibitions and events. The inaugural show, “For the

though, were stubbornly analog. Its collection—1,700 works of art, 58 percent of them three-dimensional objects—had to be selectively displayed.

The ground-floor gallery is airy— nearly 15-foot ceilings with a doubleheight atrium around the stairs—but, at 3,980 square feet, tight. And since one side of the triangular plan is a

Love of All Things Dog,” includes English 19th-century painter Samuel John Carter’s portrait of a Cavalier King Charles spaniel with a crop in its mouth: Waiting for Mistress with a Cane. It doesn’t get any more obedient than that.

Nearby, another interactive station— “Meet the Breeds,” a touch-screen table—invites visitors to select a dog silhouette and drag it into a kennel, which opens portfolios of information on the type. Vitrines for porcelain figurines, small bronzes, spiked collars, a canine war-hero parachute, and every other type of dog memorabilia include a 34-foot-tall multi-tier steel-and-glass case that flanks the open stair to the second-floor gallery. Behind the stair, a corner with views to the street, plaza, and building lobby houses a tiny AKC.TV studio. Overhead hangs an 8 ½-foot-tall wireframe Labrador retriever illuminated by color-changing LEDs—signage that MOD is here. Stay!

At the top of the stairs, a third interactive feature, “Train a Dog on the

Top, from left: “Arty,” the museum’s new mascot, was also designed by Gensler; image: courtesy Gensler. The second floor includes a 4,000-plus-volume library with an arts-andcrafts area. Bottom: The open stair wraps around a 34-foot-tall custom vitrine showcasing rare porcelains and bronzes of AKC breeds.

Opposite top, from left: A wall of dog tags in the gallery acknowledges donors and their pooches. A pair of interactive flat-screen displays allows visitors to discover which breed of dog they most resemble. Opposite bottom, from left: Gemma, the museum director’s Welsh springer spaniel, descends the terrazzo stair, behind which hangs an 8 ½-foot-tall wireframe Labrador retriever. The oil on canvas I Hear a Voice is by Maud Earl.

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Job,” stars “Molly,” a digitally rendered puppy created in (where else?) Los Angeles. She learns to obey voice commands and hand-signals visitors direct at the screen. (With the exception of service animals, every live dog is canis non grata at MOD.) The 7,250-squarefoot upper level includes a more than 4,000-volume library and arts-and-

crafts stations for family activities such as drawing, coloring, and answering brain teasers involving. . .well, you know what.

In redesigning the AKC’s fifth-floor headquarters, Gensler co-opted the building’s problematic, rhomboid shape and turned it into a strength. “I used it as a cue,” Lee says of the angular oddity. At the core of the layout is a triangular grid, with handsome “boulevards” leading away from the reception desk to the corner work areas. The triangular motif is echoed in fittings and fixtures throughout, such as the conference room’s black-and-white dropped-ceiling grid. Contrasting dark and light herringbone oak flooring helps define open space and directs movement to various departments.

A 135-foot-long gallery wall—the AKC has its own 260-piece art collection—forms one arterial side of the central triangle, like a hedged sight line in a formal garden. It also sets the materials palette: a play of “antique” and “contemporary sleek,” Lee notes.

White lacquered panels, which showcase ornately framed paintings, are framed in turn by concrete-finish walls behind them, a juxtaposition of polished and unpolished that suggests

Inset: Three floors above the museum is the AKC headquarters, its reception area furnished with a Pierre Renart desk. Photography: James John Jetel. Right: Robert Braun’s bronze German shepherd, commissioned by the AKC for its 9/11-themed art initiative “DOGNY: America’s Tribute to Search and Rescue Dogs,” stands by reception seating.

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the organization’s pedigree and sense of history as well as its vitality and relevance in the present day.

Downstairs, MOD executive director Alan Fausel sees his mission as bringing new perception to the art and its subject. Fausel—a French bulldog, per the kiosk—has a Welsh springer span-

PROJECT TEAM JAN GROSS; MATT PIECHOWIAK; BEVIN SAVAGE-YAMAZAKI; AMANDA ZAITCHIK; JESSICA BARNHOUSE; ADI MAROM; ROSE NOVAK; RYAN MILLER; KELVIN CHIANG; MIYEON KIM; HANNAH HUFF; BRANDON SMART; JU HYUN LEE: GENSLER. HILLMANN DIBERNARDO LEITER CASTELLI: LIGHTING CONSULTANT. SHEN MILSOM WILKE: DIGITAL CONSULTANT. LORD CULTURAL RESOURCES: MUSEUM CONSULTANT. GRAMERCY TECH: MOBILE APP CONSULTANT. TRITECH COMPANY COMMUNICATIONS:

Top: The boardroom’s ceiling grid picks up the triangular motif found throughout the office.

Photography: James John Jetel. Bottom: Off a meeting area, phone booths have doors that evoke traditional British call boxes.

Opposite top, from left: Another “DOGNY” German shepherd is by Dean Johnson. The triangular rare-books room sits at the core of the floor plan. Opposite bottom, from left: A collection of dog-head canes is showcased in the elevator lobby. Tom Dixon pendant fixtures and a Noé Duchaufour-Lawrance sofa furnish the café.

AUDIOVISUAL CONSULTANT. MALTBIE: EXHIBIT FABRICATION. GILSANZ MURRAY STEFICEK: STRUCTURAL ENGINEER. SYSKA HENNESSY GROUP: MEP. CERAMI: ACOUSTICAL ENGINEER. MILLER BLAKER: WOODWORK. VVA PROJECT MANAGERS & CONSULTANTS: PROJECT MANAGER. STRUCTURE TONE: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT AMUNEAL: PIVOTING WALLS (GALLERY).

RP VISUAL SOLUTIONS: CUSTOM PROJECTION SYSTEM (EXTERIOR). COYLE & COMPANY: SIGNAGE. USM MODULAR FURNITURE: CASEGOODS (LIBRARY). ICF GROUP: TABLES. HOWE: CHAIRS. MATTHEWS INTERNATIONAL CORPORATION: CUSTOM DOG TAGS (GALLERY). YELLOW GOAT DESIGN: CUSTOM HANGING SCULPTURE. CÔTÉ FRANCE: DESK (RECEPTION). DAVIS FURNITURE: TASK CHAIR, LOUNGE CHAIR, SOFA (RECEPTION), CHAIRS (BOARDROOM). HALCON: CREDENZA (RECEPTION), TABLE, CREDENZA, BENCH, LECTERN, DESK (BOARDROOM). HG STONES: ENGINEERED STONE WALL (RECEPTION). BLOOMSBURG CARPET INDUSTRIES: CARPET (BOARDROOM). DESIGNTEX: WALL COVERING. VICCARBE: TABLE (MEETING AREA). ROLL & HILL: PENDANT FIXTURES. KNOLL: WHITE TABLE. GUBI:

iel, Gemma, and wears a spaniel necktie. “I’ve started seeing dogs differently, in the art,” he confides.

Not having a proper pedestal for Sky, James Gion’s life-size bronze of a reclining Irish setter, the director rested it on a real, quilted dog-bed: part curator, part caring owner.

“People love it,” he says.

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STOOLS. FILZFELT: WALL COVERING. ANDREU WORLD: TABLE, CHAIRS (CAFÉ). BERNHARDT DESIGN: SOFA. MAHARAM: RUG. WEST NYC HOME: VITRINE. TOM DIXON: PENDANT FIXTURES. THROUGHOUT TERRAZZO & MARBLE SUPPLY COMPANIES; ZONCA TERRAZZO & MOSAIC: FLOORING. USG CORPORATION: CEILING SYSTEMS. EDISON PRICE LIGHTING; JUNO: TRACK FIXTURES. GENLED ACOLYTE; DADO LIGHTING; GOTHAM LIGHTING; NANOMETER LIGHTING: CEILING FIXTURES. GOPPION: CUSTOM VITRINES. HAYWOOD BERK FLOORING COMPANY: WOOD FLOORING. DFB SALES: CONCRETE VENEERS. BENJAMIN MOORE & CO.: PAINT.

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Nieto Sobejano Arquitectos designs a lyrical music center in Laulasmaa for Estonian composer Arvo Pärt

all the right notes text: alexandra cheney photography: roland halbe

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Like the soft keystrokes of the piano in composer Arvo Pärt’s Spiegel im Spiegel, the Arvo Pärt Centre eases into its Nordic, pineforested surroundings. The 30,000-square-foot center is located in Laulasmaa, a seaside Estonian town, its purpose to maintain the famous composer’s archive. Spanish architects Fuensanta Nieto Previous spread: At the Arvo Pärt Centre in Laulasmaa, Estonia, by Nieto Sobejano Arquitectos, Miguel Ángel Ciganda chairs offset the performance auditorium’s custom oak-veneered paneling and ceiling diffusers.

Top: Busk + Hertzog chairs line the triple-pane glass wall bordering the gallery. Center: Plastic-laminate displays surround the gift shop.

Bottom: Echoing the shape and color of the surrounding pine trees, the breezeway off the café terrace combines steel columns capped by a Siberian birch overhang.

Opposite: The library built-ins are oak-veneered.

and Enrique Sobejano won a two-phase competition to design it with their thesis that links music and architecture. “They share many of the same questions,” Sobejano begins. “There is never a direct translation for either.” To interpret music in architecture, he adds, “the link should be geometry.”

The clients are the 83-year-old composer and his wife, Nora, who live in a small cabin near the center. “They never asked us about this or that detail,” Sobejano recalls. “They trusted us and tried to understand our work as a whole.” In turn, the Nieto Sobejano Arquitectos team was “always playing Arvo’s music over and over. So much so that the cadence and rhythm would get into my body when I was designing,” he continues. Both Spiegel im Speigel and Tabula Rasa were heavily favored.

Unlike some of the firm’s other projects, this one had a hard completion deadline. The year 2018 marked the 100th anniversary of Estonia’s independence, and, since the composer is a national figure, the center was to be part of the celebration. The architects faced several hiccups, partially because their work experience lies predominantly in Spain, where they are mostly based, and Germany.

“Never in these Nordic countries,” Sobejano notes. Start to finish, construction took 1 ½ years.

Pouring a slab of concrete for the building to float on was a critical primary move. “Because the site is close to the sea, the ground is sandy, so we couldn’t build on it,” Sobejano explains. Considering the ratio of glass to metal also became essential because of the layers of thermal insulation needed to create a sustainable and easily heated structure. But first Nieto Sobejano decided what the project shouldn’t have. Outlawed elements included right angles, a main facade, and a discernable front or back. Instead, what emerged was a pattern of “continuous links echoing the trees,” Sobejano says.

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Opposite top, from left: Zinc panels compose the roof. The pentagon shape was chosen for skylights to reference both nature and music. Opposite bottom, from left: The concrete chapel stands in the main building’s courtyard. Galvanized steel forms the 100-foot-tall viewing tower.

Above: Floor-to-ceiling windows emphasize the connection of composer Arvo Pärt’s music to nature.

Gentle yet calculated, the center began with a system of slender, treelike steel columns outside that’s fronted by an undulating wall of glass, allowing constant connection to the landscape. The folded roof, originally conceived as aluminum but later changed to zinc for the climate, hosts a smattering of pentagonal cutouts. “This idea of associating music, landscape, and architecture became an expression of shape,” Sobejano states. The pentagon emerged as the obvious selection because it’s one of the most repeated forms in nature, namely in leaves and flowers. It also has a connection to pentagrama, the Spanish word for a musical notation.

Prioritizing balance, the project employed only two types of wood: locally sourced Siberian birch for the exterior and white oak veneer on the interior. The warm oak allows for the public spaces— entry, café, library, gallery, and performance auditorium—to feel neither too weighty nor too expansive. To achieve an acoustically superior auditorium, the firm collaborated with Higini Arau of Arau Acustica, and the result is a custom series of rectangular oakveneered diffusers that hang from the ceiling. Their different heights and positions help modulate a variety of sounds.

The singular break from oak arrives at the gift shop, where the color white coats walls and built-ins from floor to ceiling. “We like playing with contrast,” Sobejano says, “and with this element everything becomes a different color”—much like when the snow coats the forest in winter.

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Drawing inspiration from Estonia’s Scandinavian neighbors, the furniture is modern yet restrained. In the auditorium, the colors of the rows of Miguel Ángel Ciganda armchairs derive from those of the forest—from bark brown to mossy green—while sculptural Busk + Hertzog lounge chairs in the exhibition area provide crimson and tangerine notes.

Top: The auditorium seats 150 people.

Center: Photographs highlighting Pärt’s six-decade career are permanently on view in the gallery. Bottom: The work­ room is centered around a custom oakveneered table.

Opposite: The site occupies 9 acres.

There is another departure from the project’s predominantly wooden palette. It appears in two separate structures that are part of the 9-acre site. The buildings came at the request of the Pärts: a viewing tower and a private chapel. To guide Nieto Sobejano for the latter, the couple shared a photograph of a small church they discovered while traveling in Greece. The result here is a stark concrete edifice that’s situated in a courtyard within the main building.

Inside, it’s monastically simple, appointed with a single pendant fixture and a few of the Pärts’ personal artifacts.

The viewing tower was of particular importance to Arvo Pärt. He wanted to be able to climb above the tree line to capture vistas of the Baltic Sea, which provides inspiration for his compositions.

Nieto Sobejano responded with a 100-foot-tall structure in galvanized steel. Inside, a steel spiral stair winds all the way upward and out to a viewing platform. (There’s also an elevator.) Even though he’s an octogenarian, Pärt clearly has a lot of music left in him.

PROJECT TEAM ALEXANDRA SOBRAL; SIMONE LORENZON; COVADONGA BLASCO; PABLO GÓMEZ; VÍCTOR MASCATO; MICHELE VERSACI; ADRIÁN RODRÍGUEZ; ALEJANDRO KLIM­OWITZ; VANESA MANRIQUE; NATALIA BELLO: NIETO SOBEJANO ARQUITECTOS. ARHITEKTUURIBÜROO LUHSE & TUHAL: ARCHITECT OF RECORD. IGNACIO VALERO: LIGHTING CONSULTANT. INSENERIBÜROO PIKE: STRUCTURAL ENGINEER. HEVAC: MEP. FELITON: HVAC. RETLAR: WOODWORK. TERASTEENUS: CONCRETE WORK. EKSKLUSIIVEHITUS; ROSIN EHITUS: ROOF CONTRACTORS. EHITUSTRUST: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT AKABA: CHAIRS (AUDITORIUM). FLOS: SPOTLIGHTS. GLOBAL TRAC: TRACK LIGHTING. +HALLE: CHAIRS (GALLERY, WORKROOM). SOFTLINE: OTTOMANS (GALLERY), SIDE TABLES (GALLERY, LIBRARY, WORKROOM). TAHEL METALL: CUSTOM LADDER (LIBRARY). HUSSL SITZMÖBEL: CHAIRS (LIBRARY, WORKROOM). HAY: LOUNGE CHAIRS. RAU STRECKGITTER: CUSTOM PANELS (TOWER). NORR11: PENDANT FIXTURE (WORK­ ROOM) THROUGHOUT DEOS: RECESSED CEILING FIXTURES. REYNAERS ALUMINIUM; WARMECO: CUSTOM WINDOWS. VILLEST: CUSTOM WOOD DOORS. T-TAMMER: CUSTOM METAL DOORS. ARKADEL KLAAS: CUSTOM GLASS DOORS.

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updating an original Archstudio transforms an early 20th–century Beijing building into a one-of-a-kind hospitality venue text: stephen treffinger photography: luo juncai/creatar images

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Today’s savvy global travelers seek out unique experiences as much as they do high-quality bed linens and in-room espresso makers—a consumer preference that generally inspires hospitality designers to chase after and incorporate mercurial trends. But when creating a boutique hotel near Beijing’s Qianmen Gate, Archstudio took cues not from passing fancies but from a fixture of historic neighborhoods: the traditional siheyuan compounds that once formed urban buildings blocks but are now more often casualties of redevelopment. The local firm reinvented a 5,700-square-foot quad­ rangle into Layering Courtyard, a mixed-use bed-and-breakfast and events space—and a self-contained oasis in the bustling city.

Though some such courtyard houses date back many centuries, this particular one, a former bakery (and onetime brothel), was constructed in the early 1900’s, during China’s republican era; the arched windows and doorways in the streetfacing facade are an architectural signature of that time period. At one

point, the Chinese government partially renovated the site, but it then sat unused for several years before the client, Hutel, acquired it. “When we first toured the complex, the courtyard was overgrown with weeds and the beams and columns were bare and dilapidated,” Archstudio founder and principal architect Han Wenqiang says. Transformation required extensive repairs and structural improvements.

The “layering” in the property’s name refers to the new floor plan, which departs from the typical siheyuan layout, where perimeter buildings surround all four sides of a central courtyard. Instead, Han and his team mapped out a trio of rectangular pavilions, oriented parallel to each other and bordered by slim glass-enclosed light wells. The front and rear buildings make use of the existing structural elements, while the middle one is entirely new-build.

Each building performs a particular function—dining hall, event space, sleeping quarters—although the borders between them are porous rather than finite. A red-painted door

Previous spread: Original brickwork from the early 1900’s distinguishes the streetfront facade of Layering Courtyard, a boutique hotel in Beijing by Archstudio.

Top: In a guest room, original timber columns and ceiling beams meet new flooring of laminated white oak, the same wood used to craft the custom bed.

Bottom, from left: Another room features a contemplation space and access to a bamboo garden. New windows were fitted in the facade’s original arched openings.

A guest bathroom overlooks the property through double-insulated glass; photo­ graphy: Jin Weiqi.

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Epoxy flooring paves the central multi­ function area, outfitted with acrylic tables and chairs and pierced by a glass-enclosed water garden.

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permits entry to reception, which deposits visitors in the most public area: a dining room with a bar and an adjacent kitchen. Timber beams, some original, coexist with white poured-epoxy flooring and oakveneered partitions, the same warmtoned wood as the tables and chairs.

Glass curtain walls enclosing the space have a frosted film, suggestive of rising mist, that conjures both separation and cohesion.

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with steel columns supporting a seamed aluminum-composite roof.

Materials here are intentionally transparent or reflective, Han notes, to contrast with the weightier historic elements. Tables and chairs in clear acrylic line up along an alfresco water garden that punctures the room’s center. Forming the ceiling plane are rows of mirror-polished stainless-steel tubes that hide light fixtures while also serving to blur and confuse spatial boundaries.

This chameleonlike event zone can be annexed by the dining area, serve

as a meeting/lounge area for the guest rooms, or be used on its own for exhibitions or lectures. Layering Courtyard is an adaptable environment. For instance, a company could rent the entire property to house executives in town for a conference, conduct meetings during the day, and throw a cocktail party afterward— all at a single venue (and one that’s far more intimate than a cookie-cutter upscale hotel). A gallery can mount an off-site show there and host the visiting artist and the postopening vernissage. Out-of-town

Left: The dining room, with restored ceiling beams, is enclosed in full-height glaz­ ing that’s been partially frosted. Right: A gravelpaved light well planted with evergreen bamboo separates the multifunction area and dining room.

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tourists can book one of the seven guest rooms for their own use, and enjoy morning coffee at the bar before a day of sightseeing. It’s a concept Archstudio and the client pioneered at another project, Twisting Courtyard, just down the street.

You feel more removed from public life as you pass through the layers of spaces toward the guest accommodations, which are spread over two floors. “Privacy gradually increases as you penetrate the property,” Han explains. The rooms are strikingly plain and calm, like oak-wrapped bento boxes with full-height windows surveying semiprivate bamboo court­ yards, which are accessible via the four ground-floor rooms. The liberal use of oak for flooring and veneered paneling—plus the copious glass— creates a gallerylike setting that effectively shifts attention to the occupants and the views. A change of palette to white quartz distinguishes bathrooms, which in the upstairs rooms are rather exhibitionistically placed near the windows.

Archstudio eschewed common decor tropes such as individually curated

rooms and reference-heavy local touches in favor of a what could be called bold serenity.

The modern world being what it is, some trends have made their way into the operation, of course. Travelers demand seamless experiences, so Archstudio incorporated such upto-the-minute advancements as facial recognition software and codescan check-in. So although your trip might be for work, staying here will in no way be business as usual.

PROJECT TEAM HUANG TAO; ZHANG FUHUA; ZHENG BAOWEI; DONG TIANHUA; SONG GUOCHAO: ARCHSTUDIO. PRODUCT SOURCES FROM FRONT KEDING: WOOD VENEER, FLOORING (GUEST ROOM, DINING ROOM, STAIRS). FU ZUO ZI SHU: TABLE (GUEST ROOM); TABLES, CHAIRS (MULTI­F UNCTIONAL AREA, DINING ROOM).

BENMAHUITENG TECHNOLOGY: GLASS WALLS, DOORS (GUEST ROOM, DINING ROOM); ALUMINUM PLATE (EXTERIOR). GABO: SINK, TUB (BATH­ ROOM). BEIJING WEIBO RUNYU EPOXY FLOOR COMPANY: FLOORING (MULTIFUNCTIONAL AREA, DINING ROOM). BEIJING CHENGXIN HUAJAN METAL ROOFING MATERIALS CO.: METAL PLATE, ROOFING SYSTEM (MULTIFUNCTIONAL AREA).

ANJIHUAHONG NURSERY: BAMBOO (COURTYARD).

BEIJING JIAHUA JIAMEI LIGHTING CO.: SPOT­ LIGHTS, LEDS (DINING ROOM).

Top: Floor-to-ceiling curtains can be pulled for privacy in guest bathrooms.

Photography: Jin Weiqi. Bottom, from left: The seamed aluminum-composite roof topping the new central pavilion meshes with the original stone shingles.

Oak-veneered paneling clads the stair­ well linking the two floors of guest rooms. The same wood finish animates the bedroom of a ground-floor room.

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Jouin Manku’s soaring public spaces anchor the new Celebrity Edge

cruise l ines text: judy fayard photography: eric laignel

An immense crystalline chandelier in silvery white and champagne gold dominates the ballroom, a luxurious shipboard take on a traditional Italian piazza.

In the adjoining atrium, a lustrous brass pendulum hangs down a three-deck stairwell to hover over a large flat astrolabe— a tribute to ancient instruments of celestial navigation. When they first embarked on the project for Celebrity Cruises, Interior Design Hall of Fame member Patrick Jouin and his Jouin Manku partner Sanjit Manku were neophyte seafarers.

Jouin, born in Nantes, knew the famous shipyards along France’s Atlantic coast, and his grandfather had been a welder for the Chantiers de l’Atlantique shipyard in Saint Nazaire, where the Edge was built, but he had never set foot aboard a cruise. Manku, from Toronto, says he “had practically never even seen one.”

Compared to industry behemoths, the 16-deck Edge is merely midsize—1,000 feet long and 130 wide, accommodating 2,819 passengers and 1,320 crew—more or less equivalent to a respectable small town floating back and forth from Fort Lauderdale, Florida, to the Caribbean (and, by the end April, around the Mediterranean).

Opposite top, from left: Acrylic rods surround an inner dome in the chandelier of the ship’s Grand Plaza. The painted aluminum links of custom screens frame polyester and leather panels throughout. Opposite bottom, from left: The flexible screens hang on wires that are also aluminum. Internal color-changing LEDs illuminate the chandelier’s rods.

This page: Brass medallions punctuate the suspension cord of the pendulum in the Atrium.

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For the interiors, Celebrity Cruises “sought something innovative, sophisticated, something never yet done on cruise ships,” Manku begins. “Picture windows, not portholes. The brand not only envisioned it as more inventive than ever before but also for it to be the first of a whole new class of ships.”

Along with WKK Architects partner Tom Wright and Scott Butler of Wilson Butler Architects, both Celebrity veterans, the cruise line assembled an inter­national team of newcomers. Interior Design Hall of Fame member Patricia Urquiola was asked to do the public areas in the stern, including the threedeck Eden entertainment complex. Kelly Hoppen Interiors was assigned the staterooms and suites. For Jouin Manku, the commission was for a series of high-activity public spaces: the Grand Plaza, the Atrium, a staircase linking the latter to two balcony decks, and adjacent circulation corridors, all of which totals 11,000 square feet.

To forge into the future, Jouin and Manku began by going back to basics.

“We started thinking about the golden age of ocean liners,” Jouin says, “glamorous, romantic, an amazing adventure.” The nearly 5,000-squarefoot Grand Plaza is a cruise equivalent of the grand ballroom on such leg­ endary liners as Cunard’s RMS Queen Mary and the French SS Normandie.

“The question was,” Manku recalls, “How do we get back to that idea of joy and fun?” One answer was employing “natural, eternal, real materials,” he says: wood, plaster, metal, stone, fabric, leather, and glass. The palette is restrained and luxurious, with beige, brown, cream, white, silver, and gold.

From the floor of Deck 3, the central section of the Grand Plaza is open to the ceiling of Deck 5, the space rimmed by two balcony decks with three restaurants, a café, and a casino. Down the middle, the ship’s structural steel Top, from left: Structural steel walls with hand-scrawled construction notes are left exposed between polyester panels along inner deck corridors. A custom screen hangs behind the Atrium’s ipe staircase.

Bottom: Two balcony decks with three restaurants, a café, and a casino encircle the Grand Plaza.

Opposite: Derived from physicist Léon Foucault’s 19th-century pendu­ lum, the ship’s brass version hangs in the Atrium’s three-story stairwell.

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“The chandelier is like a celestial organ whirling out silent crescendos of dancing light”

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The chandelier drops 23 feet from the Grand Plaza’s ceiling.

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columns remain in place, undisguised and painted white.

The Grand Plaza is open all day and into the night; it’s used as a passageway, a meeting spot, and a bar/lounge, essentially a social hub where coffee and cocktail hours merge. Furnishings—lamps, marble-top tables, chairs, and banquettes—are custom throughout. A circular bar straddles two slightly different floor levels, one side using chairs, the other barstools. A round bar is not as practical as a straight one, Manku notes, “but it allows people to see each other and encourages communication.”

The LED-fueled acrylic glass rods forming the room’s enormous chandelier cascade down from the ceiling to converge just above the bar. “If the bar is the ground, the chandelier is a cloud, and between them we hope there will be some lightning,” Jouin says with a grin. “In the daytime, the chandelier is a beautiful sculpture,” Manku adds, but at night, “it goes crazy,” coming alive like a celestial organ whirling out silent crescendos of dancing light.

Behind the ballroom, the staircase in the 5,000-square-foot Atrium zigzags up to balconies containing the ship’s general dining spaces. A version of French physicist Léon Foucault’s pendulum hangs down from the Deck 5 ceiling to Deck 3’s floor, where its brass bob meets a large astrolabe set flat on a brass base. Foucault’s original 1851 pendulum was the first scientific experiment to provide clear evidence of the earth’s rotation. The Edge’s pendulum is not an exact copy—the original weight was a ball, not a cone, and it swung over a circular bed of sand. The replica here is meant to remind 21st-century cruise-farers that they too are plying the open seas, where for millennia navigation depended on astrolabes, quadrants, sextants, and stars. As for Jouin and Manku, seduced by the sirens of the sea, they are already working on the Apex, Celebrity’s next ship.

PROJECT TEAM CHARLOTTE CARDAIRE; BRUNO PIMPA­ NINI; KEN TCHIKAYA; VINCENT CUZIN; ARNAUD DE PALANGE; AXEL MAK; ELOÏSE ALLONVILLE; OLIVIER EVRARD; CÉCILE VOYRON; JULIETTE LOGEREAU: JOUIN MANKU. CHANTIERS DE L’ATLAN­T IQUE: ARCHITECT OF RECORD. L’OBSERVA­TOIRE INTERNATIONAL: LIGHTING CONSUL­TANT. PETER MILLARD & PARTNERS: ART CON­ SUL­TANT. DECON: ATRIUM, CIRCULATION CONTRACTOR. TINO SANA: GRAND PLAZA CONTRACTOR. PRODUCT SOURCES FROM FRONT KALMAR LIGHTING: CUS­ TOM CHANDELIER (GRAND PLAZA). STUDIO MTX: CUSTOM SCREENS. MOORE & GILES: PANEL LEATHER. KOVA TEXTILES: METAL­ LIC PANEL LEATHER. LUDVIG SVENSSON: PANEL FABRIC. VESCOM: TRANSPARENT PANEL FABRIC. KVADRAT; ROHI: PANEL FABRIC (HALL).

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Opposite top, from left: A statue in the Atrium is by Sophie DeFrancesca.

The chandelier’s dome is gilded.

Opposite bottom: Wall covering is polyester, and furniture is custom.

This page: A brushed-brass astrolabe table anchors the pendulum.

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matters of perception Public art installations in Europe and Asia engage the eye—and the mind text: georgina mcwhirter

See page 176 for A+U Lab’s Woolscape in Pusan, South Korea.

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Jaume Plensa project Invisibles, Madrid. standout The site-specific installation in the glass-enclosed Palacio de Cristal, a 19th-century former conservatory, consisted of three of the sculptor’s signature human faces, these steel-mesh versions reaching 21 feet high, caught mid shush. photography Luis Asín/Plensa Studio Barcelona.

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“It shows how an unconventional building material can partition a space”

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A+U Lab project Woolscape, Pusan, South Korea. standout In the lobby of the architecture and engineering building at the city’s national university, 12,000 lengths of dyed wool yarn are strung between timber frames and hung from nylon wire to function as a spatial device. photography Junho Lee/Lawrence Kim.

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“Like sand, the spikes have the stability of 178

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Institute for Computational Design and Construction, University of Stuttgart project ICD Aggregate Pavilion, Germany. standout Dropped in a campus building by a robot, 70,000 pieces of injection-molded recycled plastic interlocked into a tumbleweed structure around a void created by inflated balls that were subsequently removed. photography Roland Halbe.

a solid but can reconfigure like liquid�

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“Successful cities of the future will seamlessly interweave nature and culture” 180

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Arne Quinze project My Secret Garden, Valencia, Spain. standout Juxtaposing Santiago Calatrava’s City of Arts and Sciences complex, six welded-aluminum, acrylic-painted sculptures were inspired by the wild flowers of the designer-artist’s native Belgium. photography Dave Bruel.

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A search for a larger Los Angeles office leads to a storied aircraft hangar, reinvented by ZGF

google’s flight 182

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It was inevitable. Google, which we like to call the first stop for everything, would one day expand its presence in Los Angeles. When that time came, not just any venue would do.

The company alit at the hangar built in 1943 to house Hughes Aircraft Company’s Spruce Goose.

A virtually all-birch behemoth meant for transporting troops and warfare matériel, the enormous “flying boat” made but a single minutelong journey in 1947, as it turns out, with Howard Hughes himself at the helm. Intervening years saw the hangar host film sets for Independence Day and Titanic. For a period, UCLA’s department of architecture and urban design operated an incubator there. Then it was a derelict warehouse, despite being listed as significant in the California Register of Historical Resources.

Google and ZGF Architects had already worked together on six projects, but this would be the largest effort that either had ever undertaken in the realm of adaptive reuse. “The outcome was unknown when we embarked on the project,” Google project executive R.G. Kahoe says.

“But we knew we could do something amazing, a moon-shot idea, as well as being the correct stewards for the building.”

It’s certainly sui generis, rising to double peaks 73 feet high. Where the peaks descend to meet in the center is the spine, which is flanked by two bays. Historic status mandated keeping the spine and maintaining the integrity of the volume. Otherwise, ZGF principal Kristi Paulson and partner James Woolum had free rein to tame the beast, celebrating its grandeur and simultaneously creating human-scaled work and lounge spaces for Googlers.

“I’m fast at ideation, but this pushed me to the end,” Paulson says. “We modeled multiple iterations, so there would be no surprises. For some areas, we went into VR.” The main move was clear from the start. Paulson and her team erected a building-within-a-building with three levels that bring total square footage to over 450,000. “It steps back from the perimeter and the spine to stand on its own yet interact with the existing architecture,” she explains. As for that historic spine, all its Douglas fir paneling was removed, cataloged, and restored, then re-installed on a rebuilt fireproof structure.

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Previous spread: For way-finding at Google in Los Angeles, ZGF Architects painted the polished concrete flooring.

Opposite top: A passageway through the central spine displays an acrylic mural by Trav. Opposite bottom: The 1943 hangar’s metal exterior was painted black.

Top: Douglas fir steps with amphitheater seating ascend from the entry to the cafeteria. Bottom: Arne Jacobsen chairs flank an Eero Saarinen table in a lounge.

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Top, from left: An acrylic mural by Tommii Lim adorns a corridor. Patricia Urquiola laptop tables accompany the bleacher seating. Bottom: Bridges, 19 in total, connect the spine to new construction on either side.

Opposite top: Roof trusses, constructed with an early form of gluelaminated timber, arch over a micro-kitchen’s custom banquette uphol­ stered in four fabrics. Opposite bottom: Hueman, aka Allison Tinati, spray-painted a mural that wraps a corner in an office area.

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Organizational strategy dedicates the new construction primarily to office areas. Micro-kitchens appear both here and inside the spine, the latter also housing the coffee bar and meeting rooms. Circulation between new and old sectors, crucial in a space this size, is anything but orthogonal. Bridges angle across, connecting the spine to the sides.

Staircases weave through. And everything is daylit, thanks to new skylights.

Kahoe cites a “sense of discovery with the freedom to get lost.” He’s referring to unexpected encounters with small spaces that hark back to the heyday of flying. Woolum, who took charge of furnishings, chose Arne Jacobsen’s turquoise Egg chairs and Eero Saarinen’s white Pedestal table—standout pieces associated with the golden age of aviation—for a glamorous lounge, anchored by a fabulous plaid carpet. Think Emilio Pucci’s uniforms for Braniff Airlines. Meanwhile, a cloud installation dominates a microkitchen, and wallpaper gives one of the meeting rooms its sky theme.

Other visual cues come from color coding.

Each zone is designated by a subtle variation on the blue, red, yellow, and green from Google’s logo—Woolum was careful not to over-brand. Way-finding devices, painted on the polished concrete floor, are quietly mandala-esque.

Commissioned artwork entered the picture midway through the three-and-a-half-year process, courtesy of Sean Madden of MARCH.19

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Painted steel columns support three levels of new construc­ tion, the empty middle one slated for possible future expansion.

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SPMDesign. He tapped a group of artists, most of them Angelenos, for original works in varying scales and mediums. Spanning three walls, a swirling, kinetic mural called Flight is a standout, no doubt, as is a black-and-white mural of vectors with three forced perspectives. Another composition derives from L.A. architecture and signage.

Moving from sight to smell, by the way, the aroma of coffee is pervasive—not just in the coffee bar and micro-kitchens but also emanating from the fully staffed cafeteria. Called 320 Café, it’s immediately visible from the entry, at the top of a wide staircase with bleacher seating.

We leave you with two final words—make that buzzwords. Biophilia figured into the equation with plants in strategic places, flourishing in the abundant daylight. Then there’s CAVU, pilotspeak for Ceiling and Visibility Unlimited.

PROJECT TEAM TED HYMAN; CHRIS CONAWAY; MATTHEW TRIBE; HIEU PHAN; CLAUS BEST; CHULHO WOO; AMIR HAMED; SASAN NOROUZI; BINH NGUYEN; ANTONY TAVLIAN; BUZZ POLTORAK; JILL EDEL­ MAN; JENNY APOSTOL; JERRY BRYANT; JACK POULIN; ANYCIA LEE; TONY GONZALEZ; SHARON TUREK; GIOVANNI SPREAFICO; JESUNG PARK; SANDRA DUVAL; KESHA SHANTIYEVA; BRIAN MAGUIRE: ZGF ARCHITECTS. TLS LANDSCAPE ARCHITECTURE: LANDSCAPING CONSULTANT. VOLUME: CUSTOM GRAPHICS. ARUP: LIGHTING, LEED, ACOUSTICAL CONSULTANT; STRUCTURAL, MEP, CIVIL ENGINEER. GPA CONSULTING: HISTORIC PRESERVATION CONSULTANT. MATT CONSTRUCTION CORPORATION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT UNISOURCE SOLUTIONS: CUSTOM PERIMETER SEAT­I NG, CUSTOM BANQUETTE (CAFETERIA); CUSTOM SOFAS (LOUNGE, KITCHEN). MAYER FABRICS: DARK-GREEN UPHOLSTERY (CAFETERIA). SUNBRELLA: PATTERNED FABRIC. WEST COAST INDUSTRIES: TABLES. PEDRALI: RED CHAIRS. GUBI: PINK, GREEN CHAIRS. FREDERICIA FURNITURE: WOOD CHAIRS. CONTINENTAL: WOOD CHAIR UPHOLSTERY. MARTIN BRATTRUD: CUSTOM CUSHIONS (BLEACHERS). MAHARAM: SEAT CUSHION FABRIC (BLEACHERS), SOFA FABRIC (KITCHEN), CHAIR FABRIC (MEETING ROOM). LUCIFER LIGHTING COMPANY: SCONCE (LOUNGE).

GABRIEL FABRICS: CHAIR FABRIC. FRITZ HANSEN: EGG CHAIRS (LOUNGE, KITCHEN). WEST ELM: LAMPS. KNOLL: SIDE TABLE (LOUNGE), ORANGE CHAIRS, CAFÉ TABLES (KITCHENS). HAWORTH: LAPTOP TABLES (BLEACHERS). MOOOI: COFFEE TABLE (KITCHEN). DAVIS FUNITURE: SIDE TABLES, LAPTOP TABLES. BERNHARDT TEXTILES: BLUE FABRIC. CONTINENTAL: EGG CHAIR FABRIC. HAWORTH: RUG. SYSTEMS SOURCE: WORKSTATIONS, DIVIDERS (OFFICE AREA) HAWORTH: TASK CHAIRS. ARPER: CHAIRS (MEETING ROOM). AL FRESCO FABRICS: STRIPED CHAIR FABRIC. WOODCHIP & MAGNOLIA: WALLPAPER. LIGNE ROSET: PENDANT FIXTURE. MOROSO: CHAIRS (KITCHEN). FORMGLAS PRODUCTS: CUSTOM FIBERGLASS INSTALLATION. THROUGHOUT SHAW INDUSTRIES GROUP: CARPET. DUNNEDWARDS CORPORATION: PAINT. CHEMETAL: BRASS PANELING. ADDLIFE: INTERIOR PLANTS. TRUSSWORKS INTERNATIONAL: CUSTOM STAIR RAILS.

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Opposite top: Wallpaper by Barry Spence gives a meeting room a sky theme. Opposite bottom: Fiberglass forms dominate a micro-kitchen.

Top: The 16 new skylights, eight per side, supplement the newly framed windows. Bottom: Smaller adjacent buildings are also part of Google.

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welcome to the stone age Paleo goes sybaritic at Simone Micheli’s five-star Aquatio spa hotel in southern Italy text: edie cohen photography: jürgen eheim 192

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Previous spread: Much of the Aquatio Cave Luxury Hotel & Spa, a Simone Micheli Architectural Hero project in Matera, Italy, is carved out of calcareous tufa stone.

Above: The hotel occupies converted cave dwellings on six levels. Right: Simone Micheli de­signed the chairs in the reception lounge.

Opposite top, from left: Another chair by Micheli faces a suite’s built-in mirror, encircled by LEDs. Guest rooms and suites have direct access from the street as well as from internal courtyards.

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Tuscan born and raised, Simone Micheli had ventured down to the Basilicata region, at the arch of Italy’s boot. “I was somewhat familiar with Matera,” he begins, referring to the hill town known as the city of sassi, or rocks. Here, grottoes were inhabited by humans from the Stone Age through, surprisingly, the 1950’s.

Named a UNESCO World Heritage site in 1993, it is currently a European Capital of Culture for 2019.

His true introduction to Matera would occur thanks to a fellow architect who practices and develops real estate there. “I entered into close contact with it after I met my dear friend and colleague Cosimo dell’Aqua,” Micheli elaborates. A year later, the two would embark on

a project with dell’Aqua as developercatalyst and architect and Simone Micheli Architectural Hero as interiors firm. The result, the Aquatio Cave Luxury Hotel & Spa, is a property as unique as its setting.

“This city, which had become decrepit and creepy, is now a place of undisputed beauty,” Micheli continues, calling it a must-visit “for anyone wanting to rediscover the ancient splendor,” much more than just subterranean history. “Interspersed with the underground mazes and labyrinthine caves are elegant aboveground buildings, forming one stunning landscape.”

Thoroughly integrated into the sassi zone, carved out of the porous stone known as tufa, the five-star

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Inset left: Custom chaise longues in molded polyurethane recline in the spa. Inset right: Its Turkish bath has color-changing LEDs be­ neath the benches. Below: The infinity pool occupies an entire cave.

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Aquatio is an intimate affair comprising guest accommodations and dining, plus all the facilities associated with a world-class spa.

(Hence the hotel name. Marcus Tullius Cicero, the Roman statesman and writer, used the word aquatio to mean a source of water.)

Micheli holds eminent bona fides in terms of visioning the Aquatio commission. With 40 international spas and wellness centers to his credit, he explains that their shared language expresses a desire to “reconstitute the sensuality lost to the frenzy of everyday life.” But before he could execute that vision, it was up to dell’Aqua to complete a complex architectural intervention involving streets, buildings, caves, and cisterns connected to the all-important water, namely the small wells found, cleaned,

and brought back to life. Years of neglect mandated massive scrubbing everywhere else, too.

In the end, here’s how Aquatio plays out. The hotel encompasses six different levels, not as a single block but as an assemblage of historic structures arrayed below a ridge. The Italian term is albergo diffuso. Reception, the restaurant and breakfast area, and a meeting room to accommodate 40 can all be found on the lowest level. Mean­ while, the 35 guest rooms and suites ascend the rocky face of the hill. “Everything is hidden inside the womb of the earth,” Micheli notes poetically.

Beneath the carved-out vaulted ceilings, some of them clad in limestone, most of the flooring is the existing stone, cleaned and polished. That changes to a newly

made substance in the guest rooms and suites. Called coccio­ pesto, it is a terrazzolike com­posite consisting of tiles that have been broken into small pieces and mixed with mortar, then packed down.

There’s no mistaking Micheli’s furnishings, some custom and some his own production pieces— they might look particularly familiar to anyone who visited his Hotel Regeneration installation during last year’s Salone Internazionale del Mobile in Milan. Sparsely deployed at the Aquatio, they stand as the epitome of elegance: gently curvaceous, totally white, and seemingly afloat in their stone surroundings. “White recalls the lime with which the inhabitants of Matera used to sanitize their cave dwellings,” he notes.

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Above: Micheli’s sculpture in resin-coated polystyrene stands in front of the spa’s infinity pool. Right: A suite’s custom bed has a headboard in lacquered MDF. Opposite: Custom ottomans, their removable covers a thermoplastic fabric, gather in a nearby courtyard.

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In guest quarters, a round built-in mirror is a key element. “It multiplies the perspective of the human gaze,” Micheli says. Concealed in the floor, LED sources glow. No light glares from above.

And that spa, aah, that spa. It wends its way through multiple caves, the oldest dating to the 9th century, to cover 5,400 square feet.

At Aquatio’s deepest point is the spa’s heated fresh-water infinity pool, a swimmer’s delight. Overlooking this otherworldly environment, from the entrance, stands a glossy white swooping sculpture, Micheli’s version of a totem.

After swimming laps comes the relaxing reward. Opt for a massage, a Turkish bath with color-changing

LEDs beneath the benches—something of a Micheli signature—or just zoning out on a curvy white chaise longue. As for the maestro himself, constantly on the go with a full slate of projects, he’s too busy for any of the above. Spa time is somewhere in the future.

PROJECT TEAM ROBERTA COLLA: SIMONE MICHELI ARCHI TECTURAL HERO. STILA: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SCAB DESIGN: CHAIR (SUITE).

ADRENALINA: ARMCHAIRS (RECEPTION, SUITE).

AQUASPECIAL: CUSTOM CHAISE LONGUES (SPA).

ARBLOC: SCULPTURE. TERZANI: SCONCES (SUITE). THROUGHOUT GRUPPO STATUS: LEDS. TECNOWELL: POOL, CUSTOM GLASS DOORS.

“The mirror in each guest room multiplies the perspective of the human gaze”

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B O O K s edited by Stanley Abercrombie New Chinese Architecture: Twenty Women Building the Future

by Austin Williams New York: Thames & Hudson, $45 256 pages, 370 color illustrations

This impressive and unusual book is dedicated to the late Zaha Hadid—she was going to write its foreword—who designed several major works in China, including the Guangzhou Opera House and the world’s largest terminal at Beijing International Airport. The dedication is “not because she was a female architect, but because she was a great architect.”

In this spirit, the book covers the work of 20 other architects who “just happen to be women” and are celebrated “solely for the merit of their work.” They are a stellar group with impressive portfolios, including several professorships and deanships at Chinese architecture schools. Some have studied at Western universities, some at Chinese, many at both. Each of them is represented by a brief biography and several examples of her designs. These works share an admirable level of excellence, but in a variety of styles.

“Focus on the quality and Some, like Zhao Zhao, coninnovation, regardless tinue the spirited dynamics of gender” of Hadid; some, like Zhang Jinqiu, pursue the fusion of Chinese tradition and modernism; some, like Fan Beilei, are poetic; others, like Di Shaohua, produce strong geometric abstractions. One suspects that each deserves a book of her own.

A Colorful Life: Gere Kavanaugh, Designer

by Louise Sandhaus and Kat Catmur Hudson, New York: Princeton Architectural Press, $40 224 pages, 375 illustrations (340 color)

“The Grande Dame of the Los Angeles design scene” is one of the epithets this overdue book uses for Gere Kavanaugh. The American Institute of Graphic Arts, giving her its medal in 2016, called her “prodigious and polymath.” Frank Gehry has called the nonagenarian “an in“Kavanaugh the person is ventor and explorer. . . makKavanaugh the designer” ing beautiful spaces, objects, and textiles.” Interior Design deputy editor Edie Cohen, writing in the magazine decades ago, quoted Kavanaugh’s self-description: “a comprehensive designer” doing any project “that comes along the pike.”

After studying art in her hometown of Memphis, Kavanaugh graduated from Cranbrook Academy of Art (only the third woman to do so), joined the Styling division of General Motors, moved to the Detroit office of Victor Gruen, “father of the shopping mall,” and then became director of interiors in Gruen’s Los Angeles headquarters. In 1964 she launched her own L.A. office, sharing space (and sometimes collaborating) with Gehry.

In a busy half century, Kavanaugh has designed interiors, furniture, exhibitions, graphics, books, fashion, jewelry, toys, Christmas ornaments, kitchen implements, wallpapers, and fabrics. She also paints.

But Kavanaugh has never been too busy to be gregariously and passionately involved with the design community. She is not only knowledgeable but also eager to share her knowledge, and I am blessed to have been one of the many beneficiaries of that sharing. Not only has Kavanaugh had, as the authors of this book say, “a life in color,” she has brought color to everything and everyone around her and, as they also say, “Kavanaugh knows EVERYONE.” Here’s to you, Gere!

What They’re Reading...

W. E. B. Du Bois’s Data Portraits: Visualizing Black America

Brain Pickings, “a fantastic website where writer Maria Popova highlights amazing work that seeks the humanity in literature and art,” is where Mark Gardner says he discovered this “beautiful book of illustrations and diagrams explaining the social constructs that would be the everyday lives of Black Americans in 1900. It combines my interest in history, graphic design, and sociology.” With firm founder Stephen Jaklitsch, Gardner, the director of the Master of Architecture Program at Parsons School of Design, is continuing to work with Follow the Honey Tanzania—a sustainable beekeeping and economic development nonprofit—in creating the Tanzania Beekeepers Asali & Nyuki Sanctuary in Dodoma. “In our predesign planning, I see how the analysis and visualization of data influences the work that follows, by highlighting inherent problems, usually around access and equity,” Gardner says. “I turned to the infographics of Du Bois as an aspirational way to explain complex information.” For instance, mapping beekeeper locations and the ecology of surrounding villages to establish their accessibility to the sanctuary, which provides education and services to locals, such as a new honey-processing center and public market. —Nicholas Tamarin

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Principal of Jaklitsch/ Gardner Architects

BOTTOM LEFT: ERIC WHITE

edited by Whitney Battle-Baptiste and Britt Rusert Hudson, New York: Princeton Architectural Press, $30 144 pages, 72 color illustrations

Witness the evolution for the platform of luxur y design.

M A Y 1 9 - 2 2 | J A V I TS C E N TE R , N Y C

For over 30 years, ICFF has built a solid reputation as North America’s platform for interanational design. Over 900 exhibitors from across the globe will present to more than 38,000 industry professionals looking to be inspired and find what’s best and what’s next in luxury interior design.

Register to attend for no cost at icff.com/register using promo code: IDMAG

#ICFFNYC2019

c o n ta c t s ARTISTS AND DESIGNERS IN SPECIAL FEATURE A+U Lab (“Matters of Perception,” page 172), au-lab.net.

Institute for Computational Design and Construction, University of Stuttgart (“Matters of Perception,” page 172), icd.uni-stuttgart.de.

Jaume Plensa (“Matters of Perception,” page 172), jaumeplensa.com.

Arne Quinze (“Matters of Perception,” page 172), arnequinze.com.

PHOTOGRAPHERS IN FEATURES Jürgen Eheim (“Welcome to the Stone Age,” page 192), Eheim Fotostudio, eheim.it.

Roland Halbe (“All the Right Notes,” page 146), rolandhalbe.eu.

Luo Juncai/CreatAR Images (“Updating an Original,” page 154), creatarimages.com.

Eric Laignel Photography (“Best in Show,” page 136; “Cruise Lines,” page 164), ericlaignel.com.

Jin Weiqi (“Updating an Original,” page 154), jinweiqi.top.

Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semi-monthly in March, May, June, August and thrice-monthly in October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95, Canada and Mexico, 1 year, $99.99. All other countries, $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or subscriptions@interiordesign.net. POSTMASTER: Send address changes to: INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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Tile Stone Connections Orlando April 9–12 Kenneth L., Philadelphia, PA Hollie M., San Francisco, CA New trends, new directions, new networks. Free workshops, seminars, and demonstrations. Thousands of exhibitors from more than 40 countries. Connect at the largest, most inspiring tile & stone show in North America. Connect at Coverings.

Register at no cost at coverings.com

ERIC LAIGNEL

Connie Zhou (“Google’s Flight,” page 182), conniezhou.com.

MA RY FI SH

ER CO LL EC

TI ON FO R

GR OU NDW

Specify With Care

OR KS

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Lee Jofa will donate a portion of the proceeds from the Groundworks Mary Fisher collection to DIFFA.

we want to make a

Drawing inspiration from her talent as a visual artist and her activism on behalf of those infected with HIV/AIDS, Mary Fisher has created an exceptional collection for Groundworks at Lee Jofa layered with a variety of organic motifs and intricate artisanal techniques reflecting her mixed media art. Rendered in misty blues and aquas, nuanced mineral shades, sandy neutrals and shimmering metallics, Fisher’s watercolor paintings, hand printed and painted textile collages, and quilted artworks come to life in printed, woven and embroidered fabrics and trimmings.

For more information, visit diffa.org or contact Steven Williams, swilliams@diffa.org

DIFFArence

SPECIFY PARTNERS

MEDIA SPONSOR

design

annex

Springboard Launching AF, a versatile line of multi-purpose working surfaces. As a writing surface, movable shelving unit and room divider, Springboard' A-Frame is a unique solution for a variety of spaces including office, education and healthcare environments. Learn more at springboard-us.com or contact us at 1.800.379.7071.

Davis Furniture Helio by Jehs+Laub is an elegant occasional table line, accenting any space with unique artistic details and a wide range of finish options.

336.889.2009 davisfurniture.com

Margo Lounge Chair by Beaufurn The Margo Lounge Chair is a reflection of mid-century design. Swivel base or standard legs are available in chrome or black. Margo may be upholstered in our graded fabrics or COM, and is ideal for for a variety of seating venues. Please call us at 888.766.7706 or visit beaufurn.com

The Art of Recycling Integrate recycling into your environment with our modular recycling bins. Slide-in panels coordinate with any design.

Single to Quad Sizes. Shown: Trash / Recycler in Jatoba Wood with Zephyr banding. Recycled plastic, slate, metal, laminate, and more panels available.

Screen wall, planters and benches also available.

Lifetime Structural Warranty. t. 305.857.0466 DeepStreamDesign.com

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Outdoor Linear Drains by Infinity Drain Architectural linear drains aren’t just for showers. Infinity Drain linear drain systems can be used for pools, patios, driveways, sliding doors, and landscaping drainage.

Call 516.767.6786 or visit our Outdoor Installation section on InfinityDrain.com or email Info@InfinityDrain.com to request a free catalog.

QM USA

Edition Modern

An invitation to transform the ordinary into extraordinary.

Whether designing your dream shower, or customizing your outdoor pool and patio spaces, QM Drain offers an exciting collection of center and linear drains, made with the highest quality Stainless Steel 316.

954.773.9450 qmdrain.com

Handcrafted in the Los Angeles atelier of French modernist devotee Denis de la Mesiere, Edition Modern pays homage to iconic designers Pierre CHAREAU, Jean ROYERE and others with scrupulous attention to detail and materials that are faithful to the timeless spirit of their original masterpieces. Visit editionmodern.com

Vaughan Designs

Adotta

Vaughan makes a large scale statement with the new Carisbrooke Lantern. Featuring sculpted cast brass leaves, silver-soldered and interspersed on the intricately mottled brass tubing frame. Designed by Vaughan’s in-house studio.

212.319.7070 vaughandesigns.com

As the leader in office wall systems since 2000, we offer innovative solutions to meet every client’s need. Our award winning walls are designed and engineered in Italy. Our warehouse facility in New Jersey enables us to offer a competitive lead time and excellent service. Please call 833.4.ADOTTA or visit adottaamerica.com

Pratt & Larson

Whiting & Davis Metal Mesh Fabrics

The InLine Series enhances a classic shape with contemporary, linear patterning. InLine allows you to create beautiful, intriguing layers of pattern and geometry when used individually or in combination. Available in any standard or custom glaze color.

503.231.9464 prattandlarson.com

Manufactured in USA Since 1876 Whiting & Davis metal mesh can be used in a variety of design applications to create an atmosphere ranging from luxurious opulence to industrial chic.

Shimmering, fluid and dramatic mesh creates a simple, yet lustrous pattern of texture unlike any other material. Feel the difference. t. 800.876.MESH or please visit us online at wdmesh.com MARCH.19 INTERIOR DESIGN

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Dedicated to showcasing residential interiors: leading projects, products, walk-throughs, news, and more.

Up Next SUMMER ISSUE vacation homes

FALL ISSUE the new hot list

WINTER ISSUE modern retreats

PHOTOGRAPHER: ASSASSI

i n t e r vention Three hours east of Beijing, tourists flock to the coastal city of Qinhuangdao for two reasons. It is home to the eastern end of the Great Wall of China and has a long stretch of sandy beach along the Bohai Sea. It’s somewhat the latter characteristic that inspired Wutopia Lab principal Yu Ting’s design for the visitor center of the resort company Aranya. For the resulting Striped House, Yu actually looked beyond Asian nautical references to the blue and white– striped sailing shirts that originated as part of the 19th-century uniform for the Marine Nationale, or French Navy. “But when that graphic treatment is used on a three-dimensional volume,” he says, “there’s a hallucinogenic effect.”

Yu demolished an existing building and replaced it with a 400square-foot one in semitransparent glass. He surrounded it with cement-board panels spaced several feet away from the glass, creating a sort of courtyard between the two structures. He then hand-painted all surfaces in a polyurethane that’s typically used for flooring. The architect retained the sailing-shirt palette, but rotated the orientation of the stripes, from horizontal to vertical.

A single circular aperture in the perimeter construction recalls a universal seafaring element: a ship’s porthole. —Athena Waligore

making waves

CREATAR IMAGES

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bouclé

B O U C L É K N I T, A S H L A R

BOUCLÉ’S LOOP TEXTURE AND S T R I AT I O N O F C O L O R A R E REMINISCENT OF CLASSIC AND T I M E L E S S B O U C L É FA B R I C S .

T H E S T R I AT I O N S A R E R A N D O M , J U S T A S B O U C L É YA R N W O U L D B E , C R E AT I N G A N O N - R E P E T I T I V E PAT T E R N T H AT I S V E R Y O R G A N I C AND FLUID ON THE FLOOR.

Bouclé is available in 13 colorways in both 12” x 48” modular and broadloom formats. jjflooring.com