MAY 2019
ahead of the curve the office issue
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051.9 CONTENTS MAY 2019
VOLUME 90 NUMBER 7
ON THE COVER Curvaceous ceiling fixtures made from polypropylene sheets encourage an inclusive environment at developer Time Realty’s Sydney, Australia, office by design firm Enter Projects Asia. Photography: Brett Boardman.
FEATURES 158 THE CEILING EFFECT by Alexandra Cheney
Rapt Studio transforms a mid-century Southern California complex into MDR Truss, an airy tech hub. 166 SPLASH OF CAMPARI by Jane Margolies
Gensler expertly blends corporate, cocktail, and Italian culture at the beverage group’s headquarters in New York. 176 AGENT OF CHANGE by Edie Cohen
Rottet Studio made design the star at the Los Angeles office of Paradigm.
186 HERE COMES THE SUN by Nicholas Tamarin
Tsao & McKown lets history shine at Sunbrella’s headquarters, a century-old former mill in North Carolina. 194 STEPPING IT UP by Georgina McWhirter
A&D firms boost their corporate identity with their own elevated workplaces. 204 GROUP THERAPY by Michael Lassell
Advertising giant WPP looks to HOK to gather its scattered New York offices under one roof. 214 NEVER AGAIN by Edie Cohen
166
The USC Shoah Foundation in Los Angeles by Belzberg Architects throws light on the darkest events in modern history.
JAMES JOHN JETEL
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CONTENTS MAY 2019
VOLUME 90 NUMBER 7
walk-through 61 BLURRED LINES by Laura Fisher Kaiser
at work 69 FRUITFUL LABOR by Wilson Barlow
Eye-catching elements enliven offices from Canada to Czechia.
iida awards 107 REFLECTING ON SUCCESS by Annie Block, Edie Cohen, Craig Kellogg, and Nicholas Tamarin
departments 35 DESIGNWIRE by Annie Block 42 BLIPS by Colleen Curry 47 HOTSHOTS by Jane Szita 54 PINUPS MATERIAL BANK by Wilson Barlow 81 MARKET by Mark McMenamin and Colleen Curry
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153 CENTERFOLD by Athena Waligore Love Triangle
Wutopia Lab, a robot, and carbon fiber make a monument to romance in rural eastern China. 222 BOOKS by Stanley Abercrombie 223 CONTACTS 227 INTERVENTION by Wilson Barlow
COURTESY OF NICK SMITH
29 HEADLINERS
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E D I T O R ’ S welcome
I.M.the great There I was, lining up my scribbled bits of paper as I do every month: notes on this issue’s office designs, my pearls of wisdom to share—none a trope—and I find out I.M. Pei has left the building, of all the blasted things (at the ripe old age of 102, BTW). Or rather, I should say, he has left a darling close-knit family, he has left all of us in the design community, and he has left all his buildings—an uninterrupted string of them, studding a career that saw the most momentous events of our craft (and history, for that matter) in two centuries. Some of these projects became controversial, and one even engaged in a bit of flirting with disaster. So what? Skin off one’s nose; it’s the price of greatness. Because most of his projects were nothing less than a permanent change to our landscape, our world! And all his buildings were unique, uniquely I.M. Pei, a brand that ultimately placed him among our great explorers and trailblazers. I, for one, have the opportunity to work in a Pei building. No, it’s not office work, but it’s hard work nonetheless: We hold our annual Hall of Fame gala in his Jacob K. Javits Convention Center. I remember surveying it for the first time, parsing the spaces, taking in the scale, and following his prescribed path to the majestic chamber we now use for the event, not stopping until I’d reached that far-ranging view of the Hudson and taking in its never-still waters. With that eternal flow on my mind and in my heart, I can here say: The king is dead . . . the king lives on. R.I.P.,
JILLIAN BUCKLEY
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plexus conference Sophisticated, powered with USB Design: busk + hertzog
Xorel Artform A C O U S T I C A L PA N E L S
New Options | Walls | Ceilings | Baffles xorelartform.com
“In service of an overarchingly humanistic goal to improve how people live, we are dedicated to interdisciplinary explorations across sectors, regions, and typologies”
H E A D L I N E RS ZACK MCKOWN
CALVIN TSAO
Tsao & McKown “Here Comes the Sun,” page 186
PAUL GODWIN
principal: Calvin Tsao, FAIA. principal: Zack McKown, FAIA. firm site: Brooklyn, New York. firm size: 13 architects and designers. current projects: Brower Park Branch Library in Brooklyn, New York; a house and studio for an artist in Atlantic Beach, New York; a permanent exhibition space for the M+ Museum in Hong Kong. honors: Interior Design Best of Year Awards; International Property Award; National Design Award. role model: Nature—it’s the greatest designer, and a constant inspiration and teacher. stage: Tsao enjoys ancient Greek tragedies, Roman comedies, and Shakespeare. sage: McKown is a follower of the Dalai Lama. tsao-mckown.com
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Rottet Studio “Agent of Change,” page 176 founding principal: Richard Riveire, AIA. honors: Cruise Critic’s Cruisers’ Choice Awards. principal: Harout Dedeyan. office site: Los Angeles. office size: 75 architects and designers. current projects: Constellation Park residential development, with Johnson Fain, and California Club in L.A.; Four Seasons Hotel Chicago. role model: Interior Design Hall of Fame member, the late Andrée Putman, for her rigorous yet whimsical approach. planes, trains, and boats: When it comes to vacation spots, the remoter the better for Riveire. motorcycles: Dedeyan’s Sunday ride is a BMW model with a retro ’70’s look—it’s always about the design. rottetstudio.com
HOK “Group Therapy,” page 204 director of interiors: Tom Polucci, FIIDA. office site: New York. office size: 147 architects and designers. current projects: Offices for Shiseido and a global consulting firm in New York; Norfolk Southern Corporation headquarters in Atlanta. honors: Interior Design Best of Year Awards; NYCxDesign Award. role model: Tod Williams and Billie Tsien for the clarity of their concepts and use of materiality. on the river: Polucci and his husband, Jamie, spend weekends renovating their country house in Rhinebeck, New York. by the shore: The couple’s summer vacation plans include visits to Lago di Como and Sorrento, Italy. hok.com
Gensler
H E A D L I N E Rs
“Splash of Campari,” page 166 principal, design director: Stefanie Shunk, IIDA. office site: New York. office size: 766 architects and designers. current projects: BounceX office in New York; Verizon office in Boston. honors: Interior Design Best of Year Award; Interior Design HiP Award; NYCxDesign Award; AIA Design Awards; IIDA New England Awards. role model: Zaha Hadid, how her fluid and expressive forms have impacted design. away: Shunk just visited Tokyo and Kyoto. home: She loves hosting dinners, for which she crafts new dishes. gensler.com
Belzberg Architects “Never Again,” page 214 founding partner: Hagy Belzberg, FAIA. project architect, manager: Lindsey Sherman Contento. interior design lead: Jennifer Wu. firm site: Los Angeles. firm size: 27 architects and designers. current projects: Offices for Auberge, Pursuit, 30West, and Imperative Studios, and the BAR Center at the Beach, a community center, all in L.A.; Apertures office building in Mexico City; residences and hospitality projects in L.A., Toronto, and Mexico City. honors: Interior Design Best of Year Awards; AIA National Honor Awards; AIA LA Awards. role model: Oscar Niemeyer because his projects awe and surprise. fiesta: Belzberg threw last year’s staff holiday party at the Profiles building he’d completed in Mexico City. trabajo: Sherman Contento previously worked as an architect in Caracas, Venezuela. baila: Wu, also an architect, is a self-professed dance nerd, particularly enamored of jazz, modern, and West African. belzbergarchitects.com
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Rapt Studio “The Ceiling Effect,” page 158 ceo, chief creative officer: David Galullo. firm site: San Francisco. firm size: 18 architects and designers. current projects: VF Corporation in Denver; Rivian in Normal, Illinois; CNN Center in Atlanta. honors: Interior Design Best of Year Awards; NYCxDesign Award; IIDA Northern California Honor Award. role model: Deepak Chopra for the inspiration to focus on the now. furry: Galullo keeps dogs, goats, ducks, and chickens at his property in Sonoma, California. fun: He also makes wine there with his husband, bottling over 100 cases last month. raptstudio.com
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Da Vinci-Mona Lisa, Nick Smith’s color-chip collage on paper, is at Rhodes Contemporary Art in London through June 1.
palette master Designers: Here’s a tip. Your expert eye for color could open you to a whole other profession. It did for Nick Smith. After receiving a master’s degree in product design, he practiced interior design for 10 years, constantly surrounded by paint chips and swatches. Then, a lightbulb went off. Retaining color methodology as the core of his work, he began creating his own chips, and then arranged hundreds of them into artworks. Today, the contemporary British artist’s pieces range in size from 15 by 18 inches to 3½ by 4½ feet, the larger ones containing upwards of 1,000 hand-glued chips. His latest exhibition, “Pinched,” at Rhodes Contemporary Art in London, showcases iconic paintings that had been stolen at one point—The Scream and Mona Lisa among them—that Smith has deconstructed, the chips providing information on their theft. COURTESY OF NICK SMITH
DESIGN wire edited by Annie Block
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D E S I G N wire
interiordesign.net/kandco19 for more images of the shop
the scent of success Cowboy Grass, Radio Bombay, El Cosmico. For the uninitiated, those are products from D.S. & Durga, the cult perfumery founded in 2009 by David Seth Moltz and his wife, architect Kavi Ahuja, on the idea that scents have the ability to conjure unseen worlds. A stand-alone retail outlet for the brand had also gone unseen. But that changed this winter, with the opening of a 600-square-foot flagship on a high-profile corner in downtown New York. To help conceive the space, Kavi looked to high-school classmate, designer and K&Co founder Krista Ninivaggi, who responded with a gallery-esque, experiential environment. The former is seen in the display island and cash-wrap, both rectilinear volumes of board-formed concrete; the latter comes from what she calls the “Synesthesia Wall,� where 10 narrow, vertical slots are fitted with LED tape offering thousands color options to evoke different customer emotions.
DAVID MITCHELL
From top: At D.S. & Durga in New York by K&Co, perfumes are displayed on an island of board-formed concrete. Acrylic-clad shelving behind a chandelier by Entler Studio. Wall slots fitted with color-changing LED tape.
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Italian Masterpieces Come Together sofa designed by Ludovica + Roberto Palomba Arabesque armchair + ottoman designed by Kensaku Oshiro Ilary low table designed by Jean-Marie Massaud poltronafrau.com Flagship Stores New York 145 Wooster Street - Washington DC 1010 Wisconsin Avenue NW - Miami 4100 NE 2nd Avenue Suite 104 - Los Angeles 8840 Beverly Blvd WEHO
From top: At Tia, a gynecology and wellness clinic in New York by the Lab at Rockwell Group, Wallpaper Projects’s ceiling installation enlivens the waiting area corridor. Marleigh Culver artwork in the flex space. Reception murals by Studio Proba.
D E S I G N wire
For women, by women. That’s a guiding principle behind the new gynecology and wellness platform Tia. The app, which provides all manner of health information and data tracking in a millennial-focused manner (think extensive emojis), launched in 2017. Then, earlier this year, the startup opened its first IRL clinic, in New York, designed by a woman, of course. The Lab at Rockwell Group principal Melissa Hoffman and her team conceived its 3,000 square feet—which include a living-roomlike waiting area, four exam rooms, and a flex space for yoga classes or guest speakers—to reflect Tia’s focus on inclusion, empathy, and innovation. They also commissioned a roster of female artists for lively murals, mosaics, wallpapers, and robes. As for the name, tia is the Spanish word for aunt, often the person who’s easiest to talk to.
KEZI BAN
feminine mystique
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Š 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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Everything is made of cork… …in the appropiately titled “Corks,” Jasper Morrison’s first solo exhibition in the U.S, at Kasmin gallery through June 29. For the limited-edition series, the environmentally minded designer took reject wine-bottle corks and reconstituted them into armchairs, bookshelves, and more. “I’ve done a few things in cork before,” he reports, “and I came to realize what a great material it is, both to the touch and in terms of what it does for the atmosphere of a room.” Cheers! interiordesign.net/jaspermorrison19 for 10 questions with the designer
COURTESY JASPER MORRISON STUDIO
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Clockwise from right: The sofa in the Amsterdam office’s lounge is upholstered in a custom cotton blend. The Kvistad clan consists of Bjarne, Miriam, Astrid, and Ziemowit, along with their children Hannes, Astrid, Sigrid, and Janka. Logos for both offices are in neon.
HOT shots
firm: kvistad project: bakken & bæck, amsterdam and oslo
CLOCKWISE FROM RIGHT: TEKLA EVELINA SEVERIN (2); LASSE FLØDE
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Clockwise from top left: The Oslo office coatroom features a steel hanging system. Most of the workplace was painted from floor to ceiling. An exception is the lounge, which has polyester carpet covering the floor, banquette base, and walls. The love seat in the Oslo office area is by Swedish design studio Note (as are the lounge chairs in the Amsterdam break-out area).The kitchen’s solidsurfacing counter and sink helped inspire the color palette throughout.
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LASSE FLØDE
“The offices have the same feel but not by exactly repeating the concept”
HOT shots
LASSE FLØDE
Proud of its employee-satisfaction record, digital studio Bakken & Bæck sees itself as one big family. So perhaps it’s not surprising that the company turned to real-life siblings to refresh its offices in Oslo and Amsterdam. What is surprising, however, is that Norwegian brother and sister—and next-door neighbors—Bjarne and Astrid Kvistad had no interior design credentials. But they and their respective spouses, Miriam and Ziemowit—who has assumed his wife’s surname— share many creative skills, from knitting to carpentry, and simply wanted to work together. Bjarne, then a graphic designer at Bakken & Bæck, knew the company wanted to expand its Oslo cafeteria, so the nascent Kvistad firm made its first project pitch. “We met with Bakken & Bæck’s executive team,” Ziemowit reports, “and they liked our crazy ideas so much that they decided to overhaul the entire office.” To re-energize the tired 6,500-square-foot former industrial quarters, the designers came up with a theme: Scandinavian Spaceship. “We love 1970’s interiors,” Astrid explains. Inspired by a sample of azure solid surfacing, the firm wrapped the entire space in seamless Nordic blue, with six gathering areas adding playful pops of contrasting color. They carpeted some walls and, having learned weaving, created rugs to hang as art on others. “Then we chose furnishings with slender legs, so they look like they are floating,” Astrid adds. Bakken & Bæck ended up loving the Oslo office so much, the studio engaged Kvistad to overhaul its Amsterdam outpost. The firm was presented with 2,000 square feet consisting of a long, low room, with one big window overlooking a canal. “It made us think of Yellow Submarine!” Ziemowit says.
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HOT shots
Aiming to create the same feel as the Oslo office but without literally repeating the concept, Kvistad gave the Amsterdam space a predominantly softyellow palette, again with contrasting blocks of color. A watery theme, introduced by a wavy B&B neon logo, extends to the flowing lines of custom cabinetry. “We couldn’t find any we liked, so we made it,” Zeimowit says. “We customize as much as possible to get away from classic schemes.”
Clockwise from top left: Custom powder-coated steel cabinetry meets Claus Bonderup and Torsten Thorup pendant fixtures and Norm Architects tables in the Amsterdam meeting area. Its custom wall-hung rugs are wool. The oak flooring in the break-out area and elswhere is original. FROM FRONT ARETI: SCONCES (LOUNGE). BEMZ: CUSTOM SOFA UPHOLSTERY. IKEA: SOFA (LOUNGE), HANGING SYSTEM (COATROOM), TABLES (OFFICE AREA). &TRADITION: CEILING FIXTURE (LOUNGE). KVADRAT: CUSTOM PILLOW FABRIC. HAY: TABLE (LOUNGE), VASE (BREAK-OUT AREA). SATELLIET: CHAIRS (OFFICE AREA). SANCAL: LOVE SEAT (OFFICE AREA), LOUNGE CHAIRS (BREAK-OUT AREA). DU PONT: SOLID SURFACING (KITCHEN). VOLA: SINK FITTINGS. GUBI: PENDANT FIXTURES (MEETING AREA). MENU.AS: TABLES, CHAIRS. EUMENES: ARMCHAIRS. TACCHINI: TABLE (BREAK-OUT AREA). THROUGHOUT JOTUN: PAINT. EG PROSJEKT: GENERAL CONTRACTOR (OSLO). VENSEROJECTEN: GENERAL CONTRACTOR
While clearly having fun, the Kvistads, who have just completed a third Bakken & Bæck office in Bonn, Germany, had to work hard at their new profession. “The biggest challenge was doing everything—from the business side to making furniture—for the first time,” Ziemowit says. “But we did it.” —Jane Szita 50
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TEKLA EVELINA SEVERIN
(AMSTERDAM).
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stery in Mica by Bernhardt Textiles. 2. Nectar textile in polyester by Kvadrat, through Maharam. 3. Evolution rug in nylon polypropylene by Oriental Weavers Hospitality. 4. Circle Cutter’s Room celluloselatex wall covering in White by Rosemarie Trockel for Maharam. 5. Ethnic flooring in vinyl in Kaise by Bolon. 6. TicTac Clouds wall paneling in laser-cut aluminum by Moz Designs. 7. Raw tile in porcelain in Grey by Artistic Tile. 8. Colors writing surface in glass in Red by Clarus.
PAUL GODWIN; PORTRAIT: MICHAEL PALUGHI/TPG ARCHITECTURE
1.Network polyester-rayon uphol3
Thea
Made in America | Versteel.com | NeoCon 1093
Visit materialbank.com to search and receive samples overnight. 1. Brim acrylic-polyester upholstery
1 2
in Hedge by Maharam. 2. Woodland carpet in wool by Angela Adams. 3. Fella acoustic paneling in felt PET in Moss by Fräsch. 4. Tilt Regency Mosaic tiles in ceramic in Peacock by Walker Zanger. 5. 2 x 4 tile in ceramic in Bryce Canyon by Fireclay Tile. 6. 2 x 4 tile in ceramic in Olivine by Fireclay Tile. 7. Duet tile in ceramic in Turquoise by Design and Direct Source. 8. Mission paneling in engineered white oak by TerraMai.
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ENV interior design principal Annie Lee selected nature-inspired colors and geometric elements that complement her client’s plant-filled loft
PAUL GODWIN; PORTRAIT: MAGGIE BROWNE
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ups
Think you know performance fabrics? We do, because performance is part of our DNA. Our American-made, solution dyed textiles for indoors or out inherently resist pilling, staining, microbes and fading. Available through distributors and casual manufacturers: Anzea Brentano Carnegie Designtex Gensun Fabricut JF Fabrics KB Contract KnollTextiles Kravet LebaTex Luna Luum Maharam Maxwell Fabrics Momentum Pallas Textiles Pollack Reid Witlin Richloom Contract Samelson-Chatelane Standard Textile Summer Classics Tropitone United Fabrics Weitzner Wolf-Gordon Woodard and more... www.bella-dura.com
Hado Collection
Designed by Qdesign
Captivating, contemporary, comfortable - Hado is everything lounge furniture should be. The collection is defined by a welcoming curvilinear form with tapered wood legs that lend an organic aesthetic. Lounge chairs, love seats and sofa models all feature ample cushions and a softly arched back that offer lasting support for exceptional seated comfort.
800 585 5957
encoreseating.com
Visit us at NeoCon, Showroom 336.
• An Arcadia Company •
Touch the Future™ NINA + ULTRAFABRICS Innovative designs ask for more. More function, more variation and more consideration for the world around us. $OO ZLWKRXW VDFULo FLQJ RQ EHDXW\ DQG FRPIRUW With innovative textures, endless color spectrums and pioneering technologies, the naturally animal-free Ultrafabrics meets design on its path to tomorrow. Setting new standards is naturally part of the creative process. I want to work with materials that share this philosophy with me. Nina Alessi, Designer
ultrafabricsinc.com Red Swatch = Ultratech™ | Cove Cherry Red
blurred lines firm: perkins + will site: washington
ERIC LAIGNEL
In a corridor of the Madison Marquette headquarters, a storytelling wall slices up a photomural of the Wharf, one of the real-estate developer’s projects. MAY.19
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fully blur the traditional lines between living, work, and leisure. Most of the 17,800-square-foot workplace operates on the showdon’t-tell principle, borrowing odd angles for phone rooms, embedding device chargers in terrazzo counters, and combining textures and finishes befitting a luxury hotel. The company’s name appears hardly anywhere. The primary branding element is down a hallway leading to a conference area. On one side, a wall of glazing admits daylight and views of the Potomac River. The eye is drawn, however, to the interior wall, where a series of 6-inch-wide, floor-to-ceiling aluminum fins—each imprinted with a slice of a photomural of the Wharf, rendered in bokeh effect—forms a lenticular installation: Approached from the right, the abstract image appears to be a daytime scene;
from the left, it’s evening. Between the fins, a millwork display presents a photo series telling the company’s story through iconic projects from New Jersey to California. “The images are held in place magnetically and can be switched out to reflect specific services,” Wilson says. Those include development, leasing, and management
Clockwise from top left: Bertjan Pot and Marcel Wander’s pendant fixture hangs above a BassamFellows sofa in the lounge. The storytelling wall’s fins are aluminum. Reception’s desk is backed by a lacquered logo wall, both custom. Images of signature Madison Marquette projects are displayed between the fins. Jeremy Pyles globe pendants illuminate the lounge’s custom terrazzo-topped island. ERIC LAIGNEL
Escorting several visitors through real-estate developer Madison Marquette’s new headquarters at the Wharf in Washington, chief development and asset management officer Peter Cole opens a closet door. “Everybody squeeze in,” he commands. Inside is a counter with a white lacquered backsplash, which slides open seconds later to reveal a conference room. “In lengthy meetings, people wonder, Are we ever going to eat?” Cole explains. “Then they turn around and they’re like, Where did that buffet come from?” Two of the visitors, Perkins + Will design principal Ken Wilson and senior associate Haley Nelson, have seen the trick many times. They designed it, after all, to convey hospitality as a theme for a developer whose many mixed-use projects, including the 3.2-millionsquare-foot Wharf itself, purpose-
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for 330 assets in 24 states and a $6.2 billion investment portfolio. Which means, Wilson says, that the most important design consideration was to create a space “that still looks good with boxes of pizza everywhere.” —Laura Fisher Kaiser
FROM FRONT GEIGER: CHAIRS (LOUNGE). HBF TEXTILES: CHAIR FABRIC. VITRA: SIDE TABLES. FLOS: FLOOR LAMP. ARZU STUDIO HOPE: RUG. MOOOI: PENDANT FIXTURE. GSKY: PLANT WALL. DAVIS: COFFEE TABLE (LOUNGE), SOFA (CAFÉ). NICHE: GLOBE PENDANT FIXTURES (LOUNGE, CAFÉ). HERMAN MILLER: SOFA, BARSTOOLS (LOUNGE), DINING CHAIRS (CAFÉ), WORKSTATIONS, TASK CHAIR, STOOLS (OFFICE AREA). LUUM: WALL COVERING (RECEPTION, OFFICE AREA). 3M: DICHROIC FILM (RECEPTION). HEATH CERAMICS: BACKSPLASH (LOUNGE). TERRAZZO & MARBLE SUPPLY COMPANIES: ISLAND SOLIDSURFACING. KOHLER CO.: SINK, SINK FITTINGS. RESTORATION HARDWARE: COMMUNAL TABLE (CAFÉ). BERNHARDT: LOUNGE CHAIRS, WOOD SIDE TABLE. MAHARAM: CHAIR FABRIC, RUG. BLU DOT: COFFEE TABLE. SPINNEYBECK: SOFA UPHOLSTERY. ARKTURA: CEILING BAFFLES. FORMICA: CUSTOM MILLWORK (OFFICE AREA, RESTROOM). TRANSWALL: STOREFRONT SYSTEM (OFFICE AREA). USG: ACOUSTICAL CEILING TILE. MCGRORY GLASS: PARTITION MARKERBOARD. CLARUS: MARKERBOARD (OFFICES). DESIGN WITHIN REACH: BENCH (RESTROOM). ELECTRIC MIRROR: MIRROR. TOTO: SINK FITTINGS. MOCKETT: CABINETRY HARDWARE. AMERICAN STANDARD: TOILET. KOHLER CO.: TOWEL BARS. CROSSVILLE: FLOOR TILE. ARCHITECTURAL CERAMICS: WALL TILE. CARNEGIE FABRICS: WALL COVERING. THROUGHOUT FOCAL POINT: RECESSED FIXTURES. RESAWN TIMBER CO.: WOOD FLOORING. SHAW CONTRACT GROUP: CARPET. ARCHITECTURAL VENEERS INTERNATIONAL: CUSTOM VENEER. DU PONT: SOLIDSURFACING. BENJAMIN MOORE & CO.: PAINT. PATRICIA KAZINSKI: LIGHTING CONSULTANT. GHT LIMITED CONSULTING ENGINEERS: MEP. COLUMBIA WOODWORKING: WOODWORK. JAMES G. DAVIS CONSTRUCTION CORPORATION: GENERAL CONTRACTOR.
Clockwise from top: Claudia and Harry Washington lounge chairs stand near the communal walnut table in the café. Ashveneered storage and a custom quartz desktop define a collaborative work space. Shared areas are separated from workstations and offices by a partition. Millwork in the same veneer pairs with ceramic tile in a restroom.
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W A L K through
Expect the unexpected
Join us at NeoCon
Suite 10-111 & BuzziLounge 1st floor
www.buzzi.space
A Sea of Color The Chiaroscuro textile collection explores light and shadow to create dramatic effects. Explore the collection at cfstinson.com
The Chiaroscuro Collection Cinema 65557 Skyway Performance Fabric
carlhansen.com
EVERY PIECE COMES WITH A STORY | CH71 & CH72 |
HANS J. WEGNER · 1952
Sculptural in form and organic in expression, Wegner’s CH71 and CH72 lounge pieces exemplify the designer’s belief that a chair should be beautiful from all angles. Unique for their compact size and exquisite craftsmanship, the lounge chair and sofa provide maximum comfort in minimal space.
FLAGSHIP STORES: NEW YORK | 251 PARK AVENUE SOUTH, 13TH FLOOR, NEW YORK, NY 10010 | +1 212 242 6736 SAN FRANCISCO | 111 RHODE ISLAND STREET, SUITE 3, SAN FRANCISCO, CA 94103 | +1 628 204 3339 FIND AN AUTHORIZED DEALER NEAR YOU: WWW.CARLHANSEN.COM
To expand notions of layering, dimension, and scale, we give conventional materials new purpose and ordinary spaces new meaning. Introducing Future Tense, our newest collection designed by Suzanne Tick.
Launching at NeoCon 2019 luumtextiles.com
AT work See page 74 for Kendo in San Francisco by Garcia Tamjidi.
fruitful labor Eye-catching elements enliven offices from Canada to Czechia
JOE FLETCHER PHOTOGRAPHY
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A T work
Studio Perspektiv project Trask. site Prague.
BOYSPLAYNICE
standout Live ficus and vibrant Barber & Osgerby plastic chairs contrast with raw concrete in a tech consulting company’s appropriately minimalist headquarters.
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Williamson Williamson project Pilot Coffee Roasters. site Toronto. standout Custom rift-cut white oak tables and steel structural beams painted the company’s signature Pilot Yellow brighten up a sunny staff café at its rooftop administrative office.
SCOTT NORSWORTHY
MAY.19
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Eastlake Studio project 500 West Jackson. site Chicago.
A T work
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KENDALL MCCAUGHERTY/HALL + MERRICK PHOTOGRAPHERS
standout Concrete breeze blocks and a custom mylar wall covering suggestive of rust stains and oil spots add industrial flavor to an office tower’s model suite designed to attract tech clients.
Great minds don’t sit alike.
Š 2019 Keilhauer LTD.
With six distinct seating options, the Elevate collection lets people choose the way to work that inspires them the most.
Designed by EOOS
/ Made
by Keilhauer
A T work
Garcia Tamjidi project Kendo. standout Meeting rooms for the beauty incubator’s celebrity brands include vinyl wall covering of ad campaign photography featuring Kat Von D and Rihanna’s Fenty Beauty products, the latter matched with a chair by Ronan & Erwan Bouroullec. —Wilson Barlow
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JOE FLETCHER PHOTOGRAPHY
site San Francisco.
Designtex + Wallace Sewell 3943 Finsbury designtex.com
Inner RealmÂŞ live artfully...
A Colour & Design Inc. Company
National Wallcovering Design Resource Levey Industries Koroseal Interior Products
Surface Materials
denovowall.com 1.866.556.9255
Woodstock Woodstock SIT/STAND Desking & Lounge Bench
HUB/BUB™ Lounge Table & Stool
Designed by Mark Müller
Designed by Alin Copil
800 767 5374 | three-h.com
Showroom 345 NeoCon – Merchandise Mart
MARKET NeoCon, June 10-12 The Mart, Chicago
edited by Mark McMenamin text by Mark McMenamin and Colleen Curry
counter culture NEST SYSTEM
The latest offspring from Form Us With Love’s popular Hightower collection, Nest System raises the bar—literally—for intra-office engagement. The Stockholm studio’s counterheight table stands approximately 39 inches, putting both stool-sitters and standees at the same level to foster more natural communication. The powder-coated steel frames link via a tubular lock-in mechanism, allowing the system to grow (or shrink) as needed. Laminate tops come in square, curved, and wedge shapes that abet jaunty configurations. “A central table that twists and turns structures a more playful space for groups,” cofounder and CEO Jonas Pettersson says. First unveiled at the Stockholm Furniture Fair, the series makes its stateside debut in Chicago at the manufacturer’s new 3,500square-foot Mart showroom, designed by Casework creative director Casey Keasler. hightoweraccess.com
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interweaving past and present “Gunta and Anni had a voracious curiosity about materials, techniques, and composition”
GUNTA STÖLZL
DOUBLE WEAVE GEOMETRIC II CIRCLE JACQUARD
Like other women drawn to the Bauhaus, Gunta Stölzl and Anni Albers were frustrated by being restricted to “feminine” disciplines such as weaving. But once at the loom, the pair amassed product portfolios to rival any of their male contemporaries. Now, as the legendary design school marks its centennial, Designtex gives Stölzl and Albers their due. Conceived by president Susan Lyons and creative director Catherine Stowell in collaboration with the pioneers’ estates, the Bauhaus Project faithfully recreates vintage patterns while adapting them to the requirements of contract interiors. “We wanted to explore their lexicon and contributions to the contemporary textile canon,” Lyons says. Wall covering Black Red Yellow and fabrics like Jacquard I and II replicate the straightforward geometries of Albers’s original wall hangings. Textural graphics dominate Stölzl’s fabrics: Double Weave, Geometric II, Circle Jacquard, Large Scale Geometric, and tweedy Woven Texture. designtex.com
M A R K E T COLLECTION neocon DEAN KAUFMAN
LARGE SCALE GEOMETRIC WOVEN TEXTURE
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ANNI ALBERS CATHERINE STOWELL
JACQUARD II
JACQUARD I JACQUARD II
DEAN KAUFMAN
BLACK RED YELLOW
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RIPPLE
FLIP
carnegie
HULA
Nothing perplexing here: Ceiling Baffles simply help dim the clamor. The textile company expands its Xorel Artform line of high-performance acoustic panels by adding new shapes, enabling designers to make distinctive statements overhead. Specify a different color for each side of Flip, developed by executive vice president of creative Heather Bush and the brand’s in-house team. Also new from the team is Ripple, an undulating form that joins the existing Circle, Hex, and Diamond varieties. The fully upholstered panels come dressed in proprietary polyester available in hundreds of color and pattern choices, while hardware options allow installation on both full-height and dropped ceilings. carnegiefabrics.com
M A R K E T neocon
andreu world Whether you’re perching solo or huddling with the team, these seats are saved for you. Benjamin Hubert serves solitary sitters with Hula, a stool manufactured from injected aluminum and steel, the footrest’s orbital positioning gently interrupting the otherwise perfect circular symmetry. The height-adjustable, swiveling model comes in 10 colors, with optional upholstered seat. Cushioning is compulsory, however, for Dado, Alfredo Häberli’s modular sofa system. New components include curved elements, corners, chaise longues, and ottomans. Forestry Stewardship Council–certified wood frames padded in polyurethane foam accept countless covers, distinguished as always by contrasting seam stitches. andreuworld.com
DADO
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© 2019 Larry Bell, Standing Walls / Alex Marks Photography
The Hocus
Witness the magic in the interplay of light and color in Mannington Commercial’s new modular carpet collection, The Hocus, developed in collaboration with fine artist Larry Bell. NeoCon Space #1039 | manningtoncommercial.com
Crafted with Purpose
“Complex order is conveyed through repetition, invoking a sense of chromatic discovery” M A R K E T neocon
sharp departure
ANGLES
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Alert the media: Sir Paul Smith has changed his stripes. The fashion designer deviates from his pet pattern in favor of jagged geometry with Angles, the 18th fabric to emerge from his ongoing Maharam partnership. A modern, enigmatic take on traditional jacquard weaves, the polyester-cotton borrows the triangular motif of a printed silk scarf from Smith’s 2015 Autumn/Winter menswear collection. The dense and highly picked construction, distinguished by complex combinations of five weft colors, results in tonal variation, the prismatic repetition simulating a kaleidoscopic effect. A blend of twill, flat, and satin weaves amplifies the dimensionality of the 56-inch-wide upholstery pattern, available in five colorways, from Agate to Aquamarine. maharam.com
SIR PAUL SMITH
PHOTOGRAPHY: BEN RAHN/A-FRAME INC.
MULTIPLE CUSTOM FEATURES FOR COLLABORATIVE WORKSPACE PROJECT: CAPITAL ONE CORPORATE OFFICE, TORONTO, ON DESIGN: IBI GROUP // GENERAL CONTRACTOR: GOVAN BROWN BUILT BY: EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM
ALIKI VAN DER KRUIJS
VEER
Returning to the Hague after a ceramics residency in Japan, Dutch artist Aliki van der Kruijs became fixated on the grid gracing a vintage kimono she’d discovered at a market in Arita. She scanned the pattern and then transferred it to acetate, which she wrapped around vases, the translucent substrate causing breaks and overlaps in the geometry. The experiment established a conceptual framework that triggered Veer, the collection’s three upholstery patterns evincing subtle manipulations of the matrix. Squares rise in relief against the polyester-nylon ground of Float, while rectangles shift off-axis atop polyester Turn. The grid evolves into linearity in Slide, a cotton-polyester blend. wolfgordon.com
wolf-gordon M A R K E T neocon
JOEY RUITER
herman miller CANVAS VISTA
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Compression without compromise. That’s the mission of Canvas Vista, an expansion—er, reduction—of the manufacturer’s Canvas Office Landscape platform. Joey Ruiter tailored the space-efficient desk system, equally fitting freestanding or clustered, to make employees comfortable in their own zone while allowing employers to tighten their office footprint. “Providing shared boundaries, open spaces, and power and data distribution that isn’t in-your-face makes small offices feel big,” Ruiter says. The robust roster of options includes A-legs or post legs, suspended or freestanding storage, wrapped modesty panels, and privacy screens. Choose from a wide range of fabrics, metal finishes, laminates, wood veneers, and accessories. hermanmiller.com
A R C H I T E X- L J H . C O M
F E AT U R I N G / AC I D WAS H I N J O P L I N R E S I ST- DY E T E C H N I Q U E D I M O U T D R A P E RY V I S I T U S AT N E O C O N 2 0 1 9 | S H O W R O O M 1 1 - 1 1 7
“We want to show the chair from every point of view” M A R K E T neocon
JUMPER PLY
JUMPER AIR
“This is not only a project; it’s an experience.” That’s Jean Nouvel, describing his double duties for VS America at NeoCon, which involved designing a seat, Jumper, and then a showroom to surround it. The JEAN NOUVEL Pritzker Prize–winning architect created the multi-purpose chair—in a vibrant spectrum of color offerings—for cafeterias, training rooms, and other quick-turnover spaces. Among the five formats is Jumper Ply, constructed from tubular steel and molded beech plywood, and Jumper Air, its shell in micro-perforated recyclable polypropylene. Come June, the series will be the focal point of the manufacturer’s new space at The Mart, joined by mirrored platforms and ceiling treatments to conjure Nouvel’s vision: a labyrinth of perspectives. vsamerica.com
HEADSHOT: GASTON BERGERET
corporate synergy
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KINGSLEY BATE
™
ELEGANT OUTDOOR FURNITURE
© Kingsley Bate. Find dealers online. T: 703-361-7000 F: 703-361-7001 www.kingsleybate.com [KB1280D]
“The glass is almost alive, evoking a sense of wonder” CHEVRON FILL
OBLIQUE REGULAR
M A R K E T neocon
ERWAN AND RONAN BOUROULLEC
CHEVRON STROKE
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global cross talk As with many innovations, Ronan and Erwan Bouroullec’s new collection for Skyline Design began with wandering. The French brothers went on a photo spree to document and distill the essence of chroma and light, capturing foamy seas, verdant forests, and players scrimmaging in vibrant jerseys. The designers then developed a software program to dissect the photos and manipulate the images, generating thousands of color iterations. Eight photos were filtered through the algorithm, ultimately generating two angular patterns for the Chicagobased architectural glass expert: Oblique, a crisscrossed sequence of vertical and diagonal lines, and Chevron, a faceted grid. Contrasting tones outline the colors, creating an effect that simulates stained glass. Available in mono- and polychromatic palettes, the designs are digitally printed on either low-iron tempered safety glass or laminated glass, in custom dimensions up to 72 by 144 inches. skydesign.com
A Smarter Approach to Interior Walls. Our walls, your way, on time, in budget. Trendway.com
BOB JOB
“Work doesn’t have to tie you to an office desk”
STEFAN BORSELIUS AND THOMAS BERNSTRAND
M A R K E T neocon
BOB LIGHT
together, apart Thomas Bernstrand works faster with frequent collaborator Stefan Borselius when they switch roles, “taking turns at leaning back to take in the big picture or immersing in the details,” he says. The same could be said for Bob Job, a workplace sofa for Blå Station that upends the conventional wisdom suggesting workers need desks and meetings need conference rooms. The modular seat can be fitted with molded foam–padded privacy partitions—available in six formats— and upholstered in any of a variety of fabrics. Surfaces and storage modules in oak and ash boost the unit’s functionality, especially when accompanied by Bob Light, a dimmable LED lamp the designers developed in concert with Swedish lighting specialist Zero. Through Scandinavian Spaces. scandinavianspaces.com 94
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NEXT LEVEL CHAIR
Introducing NLC.â„¢ Wafer-thin mechanism. Smooth ride. Powerfully engineered. Ahead of the Curve. Next Level Chair. 1 800 363 8954
nightingalechairs.com
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Benjamin Hubert for Allermuir
Stephan Hertzog and Flemming Busk for Neinkämper
Toan Nguyen for Coalesse
Suzanne Tick of Luum
product Axyl standout Sustainability and modularity characterize the Layer founder’s slim Y-frame bench, thoughtfully crafted in recycled aluminum and plywood.
product Belle standout The pinched base of the Busk + Hertzog duo’s rotund swiveling lounge chair—which can be dressed in contrasting fabrics— makes for a small footprint.
product Future Tense standout Five imaginative synthetics from the brand’s creative director reflect advances in environmentally conscious manufacturing while referencing historic art movements.
allermuir.com
neinkamper.com
product Lagunitas standout Knit privacy screens are the hallmark of this bite-size “focus nook” with integrated power and wire management, the French designer’s elegant answer to workplace distraction. coalesse.com
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luumtextiles.com
Spinneybeck I FilzFelt is a Knoll brand.
Tratto
Belting Leather Screen by Emanuela Frattini Magnusson
M A R K E T neocon
show-offs 8 7
Graphic pieces steal the show 1
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1. DV504-Milo sideboard and
LED-lit wall unit in melamine and aluminum by DVO. 2. Hado benches upholstered in Camira Trevira CS chenille and Momentum Group wool-nylon with ash legs by Encore. 3. Acoustic Reflex sound-absorbing LED drum pendant in Saffron felt by Barbican. 4. Crosshatch settee with walnut and parachute cord frame and wool-nylon blend upholstery in Fog by Geiger. 5. Color Studio Crypton Vol. III polyester-acrylic textiles with Crypton backing by Fabricut. 6. iD Mixonomi Tessitura modular vinyl floor tile in Jade and Peacock by Tarkett. 7. Blend workstations with powder-coated tubular-steel frames, OSB worksurfaces, oakveneer pedestal cases, and Camira wool dividers by Dfm. 8. Hush Blocks acoustic panels of 50-percent postconsumerrecycled PET in Oxford, Admiral, and Mineral by 3form. See page 102 for sources. 98
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Spinneybeck I FilzFelt is a Knoll brand.
ARO Baffle V2
Acoustic Felt Baffle by Architecture Research Office
peachy keen
1
Warm up the workspace with rosy hues and sink-right-in surfaces
MARKET neocon
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1. Rose Quartz terrazzo tile in concrete and stone aggregate by Concrete
Collaborative. 2. Stone Wash polyester fabric in Love by Architex. 3. Mixed Monolith luxury vinyl tile by Mannington Commercial. 4. Cila Go stools in polypropylene with seat cushions, under-seat storage,
and casters by Arper. 5. Cabana work booth with padded privacy panels and power outlets by
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Haworth. 6. Spazio modular seating system with removable weighted back cushions and chromed-steel legs by Aceray. 7. Soft Work modular seating system with wool-blend–upholstered polyurethane cushions, mobile tablet, and power outlets by Vitra. See page 102 for sources.
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GET AWAY WITH REEFS Inspired by the infinite variety of underwater worlds where no reef is like the other, Reefs creates inviting collaborative areas with screens that optimize acoustics and offer visual privacy. Configure Reefs modular benches into traditional face-to-face meeting areas, informal lounge spaces or quiet island units for focus work. Color and pattern options are as diverse as the Coral reefs themselves. DESIGNER: Jessica Englehardt
Explore Reefs during NeoCon at Dauphin space 393. www.dauphin.com
SILENCE ILLUMINATED
M A R K E T SOURCES
show-offs 1. DVO, dvo.it. 2. Encore, encoreseating.com. 3. Barbican, barbican.ca. 4. Geiger, geigerfurniture.com. 5. Fabricut, fabricut.com. 6. Tarkett, tarkettna.com. 7. Dfm, dependablefm.com. 8. 3form, 3-form.com.
peachy keen 1. Concrete Collaborative,
concrete-collaborative.com. 2. Architex, architex-ljh.com. 3. Mannington Commercial,
NEW FOR SPRING THE ACOUSTIC SHADE
manningtoncommercial.com. 4. Arper, arper.com. 5. Haworth, haworth.com. 6. Aceray, aceray.com. 7. Vitra, vitra.com.
LIGHTART.COM/NEW (206) 524 2223 102
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Vela Table
Angie Chair
Noren Table + Skin Chair
Slalom Acoustic Partitions
iBooth Wall and Freestanding
EXPRESSIVE ESSENTIALS ® Peter Pepper continues to add new opportunities with inspiring product lines, identifying needs, real solutions, while preserving the integrity of the design. In collaboration with renowned designers like Josep Lluscà, Fabrizio Batoni, Henrik Kjellberg & Jon Lindström. We continue to maintain the spirit of Peter Pepper’s vision; to enrich environments and uplift people with products for workplace, healthcare, education, hospitality and institutional. Visit us at NeoCon • Showroom 1094
peterpepper.com info@peterpepper.com
TOMMY
SEATING
+
TABLES
www.ERGinternational.com/tommy.php
C O O R D I N AT I O N COLLECTION
COMING
SOON
I
NEOCON 7-7 112
I
T E K N O F L O R®
C O O R D I N AT I N G LV T
I
T E K N O F LO R .CO M
Evo | Vogtherr & Prestwich
davisfurniture.com | 336.889.2009
IIDA awards
Karv One Design’s Hyperiôn Light Year is a 14,000square-foot exhibition in Chongqing, China, for marketing commercial space in the Longfor Hyperiôn Project, part of a 5-million-square-foot development centered around the city’s new high-speed rail node.
reflecting on success
DICK LIU/KARV ONE DESIGN
As the International Interior Design Association celebrates its 25th anniversary, its annual Interior Design Competition continues to recognize and encourage innovation in the design and furnishing of interior spaces. Its counterpart, the annual Will Ching Design Competition, is still doing the same with awards for commercial projects by firms with five or less employees. All submissions were judged—for their suitability and originality, with special attention paid to how finishes and furnishings are integrated—by a U.S. jury comprising Interior Design Hall of Fame members Verda Alexander, Studio O+A co-founder, and Gary Lee, founder of Gary Lee Partners, as well as K&Co founder Krista Ninivaggi. Three of the winning projects had previously been published in our pages: Skidmore, Owings & Merrill’s Optimo hat atelier in Chicago; Asthetíque’s Ice Scream parlor in the Bronx, New York; and One Plus Partnership Limited’s Wuhan Panlong Plaza Yinxing Cinema in China, also the winner of the Interior Design Best of Year Award in the entertainment category. The IIDA jurors’ also awarded a house in Vinkeveen, Netherlands, by i29 Interior Architects and Chris Collaris Architects, and Yod Design Lab’s Năm Modern Vietnamese Cuisine in Kiev, Ukraine. Another restaurant, Mean Noodles by OpenUU, will take home the Will Ching award when all the winners are honored at the Silver gala in Chicago on June 9, the kickoff to the annual NeoCon trade fair. —Nicholas Tamarin interiordesign.net/iida19 for images of the finalists MAY.19
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karv one design
This is no orbiting mothership. Instead Karv One Design’s Hyperiôn Light Year is a slick marketing exhibition made to sell commercial space in the Longfor Hyperiôn Project, part of a 5-million-squarefoot Chinese real-estate development centered around Chongqing’s new high-speed rail node. Futurism is the point of departure in the variety of tech-driven interiors that borrow visuals from science fiction. The 14,000-square-foot location, inside a mixed-use high-rise, offered a relatively low 11-foot finished ceiling. So some of surfaces have been dematerialized with reflectivity to add depth and luster: shimmery copper ceiling panels and mirror-finished black stainless-steel walls. And the polished black marble floor of a darkened passageway only enhances the sense of wandering through an LED-lit Tron sequel. That passage terminates in a floor-to-ceiling animated wireframe “wheel” projection that, when you watch it turn for a few ticks, is revealed to be an abstracted clock. Elsewhere, an interactive, immersive information room projects data about the development onto a dramatic dome at the center of an up-lit vinyl platform. “There isn’t much furniture because the exhibition is about mood and lighting,” founder Kyle Chan says. But there are a pair of stools lining the spectacular freestanding stainless steel bar, itself a futuristic update of the art-moderne style. —Craig Kellogg PROJECT TEAM: JIMMY HE; DEREK NG; DERRICK LEUNG; KORVER TSANG; LEON ZHANG; EDWIN NG; CAROL CHAN; SUSHILA LAW; YANG YANG.
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DICK LIU/KARV ONE DESIGN
Hyperiôn Light Year, Chongqing, China
I I D A awards
DICK LIU/KARV ONE DESIGN
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skidmore, owings & merrill Optimo, Chicago When Graham Thompson needed more space for Optimo, the bespoke men’s hat company he founded in Chicago, he selected a 1914 former firehouse and Skidmore, Owings & Merrill to convert it into a factory and showroom. At 7,700 square feet, the two-story building was a small project for SOM design partner Brian Lee. But he saw an opportunity: “to help continue the city’s rich history of craftsmanship.” Masonry was re-pointed and cleaned; other walls were re-plastered. In the doubleheight workshop, where each hat gets handmade, the existing concrete floor was sealed and polished and the contemporary industrial aesthetic draws from a palette of understated materials and colors. To plan the space, Lee researched the sixweek process of making the hats. “It helped us determine how to organize the machinery,” he explains. It resulted in what Lee calls “goal-post lighting,” blackenedsteel armatures with integral LEDs and power capability that frame the trio of workbenches. Rolling hat-storage racks lined up between window bays are framed in the same metal. Toward the back, the walnut-and-cork hatter’s wall houses hundreds of hat forms plus the doors to the rooms for sewing and surface finishing behind it. Upstairs off the showroom, a portal of walnut repurposed from Thompson’s original hatter’s bench leads to the lounge, the firehouse’s former captain’s room. Outside, custom brass-clad doors were inserted into the fire-truck bays. —Edie Cohen PROJECT TEAM: JAIME VELEZ; JEREMY BOUCK; DANIEL BELL; DENNIS MILAM; DICKSON WHITNEY III.
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TOM ROSSITER
REBECCA DELANEY; MICHELLE MIRRIELEES;
I I D A awards
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What’s next is what’s here
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JONATHAN LEIJONHUFVUD
Wuhan Panlong Plaza Yinxing Cinema, China
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I I D A awards
JONATHAN LEIJONHUFVUD
Ajax Law and Virginia Lung have completed a whopping 55 cinemas since co-founding One Plus Partnership Limited in 2004. The firm’s mission when working on so many projects that share the same functional and technological requirements is to create a distinct visual language for each. The 43,000-square-foot Wuhan Panlong Plaza Yinxing Cinema in China is distinguished by a sort of counterintuitive impulse that nonetheless draws on a filmic trope, Law explains. “Normally, one designs by adding elements into an interior,” he says. “But here we used reverse thinking by instead subtracting ‘projections’ from the overall volumes, resulting in irregular, faceted spaces.” Though the strident composition of angles seems casual, even a bit haphazard, Lung says they are in fact “precisely positioned,” the byproduct of laborious 3-D AutoCAD sessions. Every surface in the lobby is cement, a material chosen for its calming effect. The grayscale color palette repeats in the theater, clad in acoustic paneling that mirror the lobby’s zigzag spatial gestures. (A similar pattern is also applied to the carpet.) LED strips installed at the panel edges create an illusion of depth and a strong sci-fi element. Speaking of strength, will anyone step up and take on the firm’s cinematic dominance? It won’t be easy: Law and Lung currently have over a dozen theaters on the boards. —Nicholas Tamarin
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I I D A awards
yod design lab
Adaptive reuse transformed this former clothing store— built in a stolid neoclassicism known in Kiev, Ukraine, as “Stalin Empire”—into a stage set for Năm Modern Vietnamese Cuisine, a 6,000-squarefoot restaurant by Yod Design Lab. Traveling to Southeast Asia for research, creative designer Dmytro Bonesko became familiar with the region’s French colonial style. To replicate that sultry feeling, he had the restaurant’s natural materials aged artificially, “as if Vietnam’s extremely humid climate had made its mark,” Bonesko says. Months of experimentation perfected the patina for the plaster ceiling, while exposed brick walls got painted to highlight their rough texture. The floor’s weathered oak parquet is reclaimed from centuryold wine barrels. Ditto the CNC-sculpted decorative panels skirting the front of the bar and the lath doors with carved round plaques. 118
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ANDRIY BEZUGLOV/YOD DESIGN LAB
Năm Modern Vietnamese Cuisine, Kiev, Ukraine
Tropical plants bask in sunshine entering through multi-pane windows, and brushedbrass pendant planters containing pots of additional greenery are reminiscent of the birdcages typically found at Hanoi marketplaces. For lighting, nylon-net pendant fixtures reference Asian fishing culture, and
narrow-beam spotlights add theatrically after dark. Balancing such spirited and diverse elements are subdued burnished-brass pendant fixtures and upholstery fabrics in a restrained blue and gray palette.
PROJECT TEAM: VOLODYMYR NEPYIVODA; DMYTRO BONESKO; MAKSYM NETREBA; KOSTIANTYN KYRYCHENKO; OLEKSANDR KRAVCHUK; GLEB MELNYK.
—Craig Kellogg
ANDRIY BEZUGLOV/YOD DESIGN LAB
I I D A awards
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I I D A awards Mean Noodles, Hong Kong
openuu
NIRUT BENJABANPOT/OPENUU
Kevin Lim missed laksa, the spicy soup he slurped as a child when visiting relatives in Kuala Lumpur, Malaysia. “It was my comfort food,” recalls Lim, who is an architect as well as a trained chef— he attended Le Cordon Bleu, the now-closed culinary school near Boston, after attaining his architecture degree. Now back in Hong Kong, he’s the co-founding partner of OpenUU with his wife, design director Caroline Chou. The soup and other Southeast Asian dishes conceived by Lim have debuted at their first restaurant, Mean Noodles, the winner of the Will Ching Award for a project by a firm with five or fewer employees. The 600-square-foot space was a food-production facility when Lim and Chou, who also own and run Mean Noodles, came on the scene. They opened up the kitchen, leveled the concrete floor, and left exposed ceiling pipes to recall the ad-hoc aesthetic of hawker food stalls. Then the pair specified durable finishes in a Chinese jade palette: Green grout runs between the porcelain subway tiles behind the 12-seat dining counter and patchwork wall mosaics “really resemble Asian batik patterns,” Chou marvels, even though the ceramic is from Spain. Meanwhile, the golden canvas upholstering
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I I D A awards
the custom steel-frame chairs coordinates with the glow coming from the bulbs in the above 7-foothigh, stainless-steel letters spelling out mean. The eatery not only draws customers who can’t wait to Instagram the food and interior but also serves as a sales tool for OpenUU’s prospective hospitality clients. —Craig Kellogg
NIRUT BENJABANPOT/OPENUU
PROJECT TEAM: DEXTER WONG.
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The Fabrications Collection, inspired by the beauty in textures, patterns and colors of fabrics, is comprised of three styles. Stria, a 12”x48” plank, has a linear application of color with space-dye striations interrupting the continual lines, giving it a unique pattern and texture. Twill Weave and Fractured Plaid, both 24”x 24” modular tiles, are abstract translations of patterns with a soft tip-shear, giving them a rich high end feel to any space. The Fabrications Collection will be unveiled at NeoCon – Showroom 10-118 jjflooringgroup.com
THE ESSENCE OF LIVING. Bundle Sofa. Softer, gentler, homelier. This sofa carries all the sensorial qualities of a well-designed piece of furniture. The soft upholstery resembles a large folded blanket, a design idea as simple as it is ingenious. The expression of lasting comfort. Design: EOOS. This product is available at the following dealers: USA: In-Ex, Los Angeles · Luminaire, Chicago, Miami, Los Angeles · DZINE, San Francisco | CANADA: studio b home, Toronto MEXICO: IHO Espacios, Mexico Walter K. Brand Space, 1140 Broadway Suite 504, New York, NY 10001, www.walter-k.com USA: New York · Philadelphia · Atlanta · Miami · Chicago · Dallas · Austin · Jackson Hole · Houston · Beverly Hills · San Francisco Seattle · Wyoming · Denver · Little Rock | CANADA: Toronto · Vancouver · Calgary · Edmonton | MEXICO: Mexico City · Monterrey
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asthetíque Ice Scream, Bronx, New York
CLOCKWISE FROM TOP: BRENT HERRING; COSTAS PICADAS (2); COURTESY OF ASTHETÍQUE
Count your sprinkles not your problems. That sage advice is writ large in custom 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 shows, but modernized it,” partner Julien Albertini says. Indeed, a 15-foot-long communal table running down the center of the space is topped in Scandi-esque white oak. “It’s timeless,” co-partner Alina Pimkina notes of the wood. Cement floor tiles flow beneath the table, and 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 custom colored mint chocolate chip green and sherbet pink. —Annie Block
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Changing the game in glass walls.
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EWOUT HUIBERS
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I I D A awards
i29 interior architects and chris collaris architects House, Vinkeveen, Netherlands
EWOUT HUIBERS
The summer home in Vinkeveense Plassen, a marshy area of lakes and narrow peninsulas in Vinkeveen, Netherlands, was an 11-mile bike ride to Amsterdam—a breeze of a distance for many Dutch people. And its views were verdant and panoramic. But i29 Interior Architects partners Jeroen Dellensen and Jasper Jansen, who were contacted by the owners to renovate, viewed the 80-year-old residence as a tear-down and instead teamed with Chris Collaris Architects on a replacement. Conveniently, Chris Collaris happens to maintain a desk in i29’s office. Strict height and size requirements restricted the footprint to 600 square feet. So the team suggested building four blocky pavilions around an alfresco courtyard with a concrete slab, the result of which nearly doubles the living space when a structure’s sliding glass doors are open. “In a project this small, not one centimeter can go unused,” Dellensen notes. The adjoining boxes also open from one to the next, each with a unique ceiling height to mark the spatial progression: from the entry to the kitchen and dining area, to the living area, and finally to the four bedrooms. Throughout, beamed ceilings are painted white. In the kitchen, some cabinetry is white oak, but more than half is stained black. The bold palette continues on the exteriors, the unapologetically modern facades clad in pine planks that have been waxed black for weather resistance. “What’s surprised me,” Jansen says, “is how well they blend with nature.” —Craig Kellogg PROJECT TEAM: NINA VAN AS; EGLE JACINAVICIUTE.
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Say hello to the new JUMPERÂŽ Air. A happy answer to the varied needs of students, teachers and space planners. Elegantly ergonomic, thanks to the design sensibilities of architect Jean Nouvel.
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“Thinking can now be expressed through new technology and architectural forms”
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3
FIVE architects and designers led by Wutopia Lab founder Yu Ting
4⅟₂ MILES OF CARBON FIBER FILAMENT
RIGHT FROM TOP: COURTESY OF ROBOTICPLUS.AI (3)
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love triangle Wutopia Lab, a robot, and carbon fiber make a monument to romance in rural eastern China
1. For the Shrine of Whatslove, a permanent installation in Tonglu, China, Wutopia Lab collaborated with RoboticPlus.AI, a digital construction firm, to weave carbonfiber filaments onto a temporary steel structure using a robotic arm. 2. After the carbon-fiber bundles were heated in a custom industrial oven to 176 degrees to strengthen them, the steel structure was removed and the project’s five sections were screwed together into a triangular form. 3. The form was then coated in red thermoplastic.
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C E N T E R fold 1. Sited on the grounds of Fangyukong Guesthouse, a cultural complex approximately an hour south of Hangzhou, the Shrine of Whatslove is bolted to a mirrored stainless-steel plate 13 feet in diameter. 2. The shrine interior accommodates four people. 3. Although the installation is not designed specifically for weddings, one is planned there in September.
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MY DURABLE FIX #mydurableďŹ x
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Take the stairs to top flight office design
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the ceiling effect Rapt Studio transforms a mid-century Southern California complex into MDR Truss, an airy tech hub text: alexandra cheney photography: eric laignel
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Leveling the single-story smattering of 1950’s garages and factories was one option. Renovating, repurposing, and enlarging them was another. The former would provide a blank slate, the latter more of a challenge—but more character. Rapt Studio CEO and chief creative officer David Galullo, prolific designer of workplaces for such companies as Google, Twitter, and PayPal, opted to retain all but one of the six brick and concreteblock structures for the Marina Del Rey, California, campus now called MDR Truss. Today, it’s home to Zefr digital advertising, the Bouqs Co., an online farm-to-table flower delivery service, and real estate developer the Bradmore Group, the client that hired
Rapt for the 130,000-square-foot project. So enamored with the result, president and CEO David Bohn decided to move the company into one of the buildings. “David was looking to take advantage of what was here before,” begins Galullo, just off the plane from Milan, where Rapt showcased its debut Salone del Mobile installation Tell Me More. “He and his team understood that these little industrial buildings could actually add up to something pretty.” Rapt was tasked with creating the master plan for MDR Truss: Initial meetings with the client illustrated how the 3-acre site would be used, where cars could park, and how Rapt would work with the landscape architect to plant lowwater and native species and create pedestrian pathways, among other essential changes. Bradmore was so impressed with the concept that the initial budget was increased. Ultimately, Rapt added a second floor to one building, decks to two of them, cleaned and re-painted all exterior masonry, and relocated entryways and exits and inserted roll-up glass garage doors for more light and better flow in nearly all the buildings. Additional outdoor spaces such as fire pits and a lawn for employee pets even “feel a bit resort,” Galullo notes. Rapt was then hired again by Bradmore for its interiors and by Zefr for its offices, which occupy 40,000
Previous spread: A site-specific installation by Settlers LA hangs in the Rapt Studio– designed headquarters of Zefr, a digital advertising company in Marina del Rey, California. Top: The company occupies four buildings at MDF Truss, an office complex master-planned by Rapt. Bottom, from left: Reception’s white oak desk is backed by a Carrara marble panel, all custom. Hans Hornemann’s sofa faces leather butterfly chairs in a meeting area. Opposite: The satin ribbons range from 3 to 30 feet long. 160
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Top: A sofa by Harrison and Nicholas Condos furnishes a deck off a new second floor. Bottom: The company logo is painted onto the plywood skateboard ramp. Opposite top: Neptune Glassworks’s installation in handblown glass and steel wire enlivens the café. Opposite bottom, from left: A corridor’s printed canvas echoes the community’s seaside location. A pair of Busk + Hertzog lounge chairs compose a break-out area.
square feet across four buildings. “We were morphing the exterior design based on what the interiors needed,” Galullo explains. Because all six buildings were leased prior to the completion of construction, the firm was able to deeply customize the design. Creating an upgraded space for Zefr meant pushing a company with a start-up mentality—it was founded in 2008 and focuses on Youtube
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content targeting—into a more sophisticated space. “The idea was like Hey, we still want to be scrappy, but let’s have moments where we remind people that we’re heading in the right direction,” Galullo says. “For us, a brand is about the organization’s attitude, personality, and culture.” The result is a mixture of refined custom sectionals and walnut tables with furnishings from the hipper end of mass retailers and unpretentious, locally focused artwork. “It doesn’t feel like a dorm room, more like your second apartment,” Galullo adds, glancing down from the deck off one of the building’s newly added second floor at the rack of staffers’ sandy surfboards and the Zefr-branded skateboard ramp. In Zefr’s main building, Rapt took advantage of the 16-foot ceiling with site-specific installations. One is at the entry: a cascade of white ribbons designed by art fabrication company Settlers LA that’s akin to an enormous ocean whitecap but that Galullo describes as “kind of flowy.” Neptune Glassworks, another area artisan, pitched its canopy of handblown
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Top: Most of the buildings in the 3-acre MDF Truss complex date to the 1950’s. Center: Hee Welling chairs surround a Studio Hopkins table in a conference room. Bottom: Custom workstations in an office area also by Studio Hopkins. Opposite: Jason Miller pendant fixtures and tables by Charles and Ray Eames outfit the café booths.
glass orbs to Rapt and it ended up above the café, where occasional blue walls further nod to sea and sky. Galullo calls Rapt “transdisciplinary, which is like equal measure on every discipline coming together to form something new.” In the case of Zefr, that meant curating an art and furniture offering “that’s an interesting and eclectic blend,” he says. “The last thing we want is for the office to feel like it was decorated to be perfect. People spend a lot of time here, so we focused on the spaces where people are going to hang.” So, for Zefr’s myriad lounge, meeting, and break-out areas, there’s always a duo of lounge chairs, plus a sofa, coffee table, and rug—a homey configuration that differentiates them from the rows of workstations.
The approach also meant eschewing corner offices (although there are private phone rooms in the core of each building as well as traditional conference rooms). One corner did surprise Galullo, however. It’s that outdoor deck space he created off a building’s new second floor. “I was worried it might feel like a cage because we wrapped it into the structure,” he recalls. “But it turned out to be an unexpected nugget.” “When we set out on this project, we had to tell the story of both Zefr and the site’s history,” Galullo concludes. “It couldn’t just be about maximizing the number of parking spaces, although we did wrestle with that for quite some time.” In a locale where car culture still rules, that’s saying something. PROJECT TEAM SAM FARHANG (CREATIVE DIRECTOR); KRISTEN WOODS; DERRICK PRODIGALIDAD; KRISADA SURICHAMORN; GLENN YOO; JOHN STEMPNIAK; GIGI ALLEN; ANDREW ASHEY; SCOTT JOHNSON; MICHAEL MACIOCIA; SASHA AGAPOV; ALEX ADAMSON; SEMONE KESSLER; ROSELA BARRAZA; DANIELA COVARRUBIAS; JUSTIN CHEN: RAPT STUDIO. EPT DESIGN: LANDSCAPE ARCHITECT. STRUCTURAL FOCUS: STRUCTURAL ENGINEER. KPFF: CIVIL ENGINEER. E ENGINEERS: ELECTRICAL ENGINEER. TARANTINO CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MUUTO: CHAIRS (LOUNGE). CB2: TABLE. LOUIS POULSEN: PENDANT FIXTURES. GRAND RAPIDS CHAIR CO.: STOOLS. RESTORATION HARDWARE: SOFAS (LOUNGE, DECK), COFFEE TABLES (MEETING AREA, DECK, BREAK-OUT AREA). AM CABINETS: CUSTOM DESK (RECEPTION). LADIES & GENTLEMEN STUDIO: PENDANT FIXTURE. STONELAND: CUSTOM PANEL. FRAMEBRIDGE: CUSTOM WALL. NORMANN COPENHAGEN: SOFA (MEETING AREA). INDUSTRY WEST: CHAIRS (MEETING AREA), CAFÉ CHAIRS (RECEPTION), CHAIRS (CAFÉ, BREAK-OUT AREA, MEETING ROOM). HERMAN MILLER: TASK CHAIR (RECEPTION), TABLES (CAFÉ BOOTHS). ALEXANDER & WILLIS: CUSTOM SOFA (RECEPTION), CUSTOM TABLES (CAFÉ). SOURCE INTERNATIONAL: CHAIR (MEETING ROOM). FABRICUT: DRAPERY. FLAT VERNACULAR: WALLPAPER (CAFÉ). APPARATUS: SCONCES. SOFTLINE: LOUNGE
interiordesign.net/raptstudio19 for a video of the firm’s Salone del Mobile installation
CHAIRS (BREAK-OUT AREA). HAY: CHAIRS (CONFERENCE ROOM). FABRISPAN: CEILING PANELS. OCL: PENDANT FIXTURES. EGE: CARPET. PAIR: TABLE (CONFERENCE ROOM), CUSTOM WORKSTATIONS (OFFICE AREA). SITONIT: TASK CHAIRS (OFFICE AREA). MODULYSS: CARPET. ROLL & HILL: PENDANT FIXTURES (CAFÉ BOOTHS). AM CABINETS: CUSTOM BANQUETTES. HOLLY HUNT: BANQUETTE FABRIC. SHERWIN-WILLIAMS COMPANY: PAINT. THROUGHOUT WEST ELM: RUGS. PFEIFER STUDIO: SIDE TABLES. BP GLASS GARAGE DOORS: CUSTOM GARAGE DOORS. ASSA ABLOY: DOOR PULLS. LUMENWERX: LINEAR FIXTURES. SENSO: PENDANT FIXTURES. WAC LIGHTING: TRACK LIGHTING.
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splash of campari Gensler expertly blends corporate, cocktail, and Italian culture at the beverage group’s headquarters in New York
text: jane margolies photography: james john jetel
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Previous spread: For the stairway connecting the two floors of the Campari Group’s North America headquarters in New York, Gensler covered walls in a polyester-blend microfiber and the floor in quartz, all in the color of the Campari aperitif. Top: In a lounge, loveseats by MUT Design and a Warren Platner coffee table stand before an original 1921 advertising poster designed by Leonetto Cappiello for Campari. Bottom: Brass arcs are inset in the poured-resin floor in reception, where a C-shape marble-topped bar serves as the concierge desk. Opposite top, from left: Brass signage against the elevator lobby’s leather-covered walls. Matteo Ragni’s telescopes and PearsonLloyd chairs in the viewing area. Opposite bottom, from left: A break-out area’s MUT Design sofas and Platner tables. Brass and glass ceiling fixtures in the elevator lobby.
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These days, workplaces often contain cafés, wellness rooms, and lounges galore. But a bar? Not as likely. . . let alone four of them. But such is the case at the North American headquarters of the Campari Group—the Milan-based company famous for its bright-red namesake aperitif—that now also counts more than 50 other beverage brands in its portfolio, some of them, including Wild Turkey and Skyy Vodka, American. Mix them all together, and it makes Campari Group the sixth largest spirits company in the world—a feat worthy of celebrating. Gensler helped the group do so with its new two-story office. But first, some background. When the U.S. became Campari’s biggest sales market, executives decided to move the company from its San Francisco headquarters east. New York would be closer to Milan and other parts of its empire and help recruit top talent. “It’s the center of the action,” Ugo Fiorenzo, Campari America managing director, says of the city. He and his team selected two upper floors in the landmarked W. R. Grace building, doubling work space to 65,000 square feet and affording views of neighboring Bryant Park. “We were looking for that wow effect,” Fiorenzo adds. To live up to the expectation, Gensler principal and design director Stefanie Shunk made a pilgrimage to Milan to steep herself in the company’s 159-year-old
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history and culture, which includes decades worth of art, among it posters commissioned in the early 1900’s from Fortunato Depero and Leonetto Cappiello. Once back, she translated her inspirations into the design of the workplace, drawing on furnishings from such companies as Foscarini and Minotti and employing such luxe materials as Italian leather. “You gotta love it,” Shunk says as she trails her fingers over the hide covering the walls of the elevator lobby. She and her team specified it and much of the furniture upholstery in a deep blue similar to that in the Campari logo. Further in, not a typical reception desk but an espresso bar—with barista—greets visitors, looking like it could have been spirited from Corso Magenta in Milan. In the shape of the letter C, its counter is topped in marble, Italian, of course, and features a brass footrest. Just behind it is another wow element: Gensler carved a double-height atrium through the two floors and inserted a 16-foot-tall cerused-oak wall assemblage inspired by a Depero brick artwork on a building facade in Italy. The installation here serves as a backdrop to a full-scale bar, also C-shape but in buffed brass, on the floor below. Dubbed the Fortunato bar, the environment has the look and feel of an urban five-star hotel. The feeling changes to that of floating inside a bottle of Campari in the stairway connecting the floors. Walls, floor, and ceiling are drenched in carmine red, and LED strips along the coves and treads instill a nightlife vibe. A grid of steel-mesh lockers at the landing exhibits bottles of rare liquors produced by the Campari Group. Glimpsed through the lockers is an ornate crystal chandelier. Arrive there to find it suspended over yet another bar, this one inside a tall, slender jewel box. Intimate and hermetic, its walls are covered in an old-fashioned taupe damask pattern, and the bar proper is an elaborately carved mahogany antique. Inspired by a prohibition-era speakeasy, this Boulevardier Bar—named for the cocktail of sweet vermouth, bourbon, and, yes, Campari originating at Harry’s New York Bar in 1920’s Paris—is where top customers visiting the HQ are invited to sip special-edition whiskeys, rums, and liqueurs. It’s a wonder of a space. Making sure the Campari bars not only look exceptional but also function extremely well “was the thing that kept me up at night,” says Shunk, who watched GoPro videos of bartenders at work to learn exactly where the sink, ice, and other components needed to be. That knowledge was essential to designing the office’s lablike academy, where master mixologists concoct cocktails and bartenders come for training.
“Don’t think all anyone does is party around here— foremost, this is designed for work”
In the bar named after Fortunato Depero, the 16-foot-tall wall installation is composed of 1,500 pieces of cerused oak and inspired by a Depero artwork in Italy. MAY.19
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Top, from left: Each liquor locker in the stairwell has its own LED-lit cove. A vintage crystal chandelier hangs in the Boulevardier Bar, clad in vinyl wall covering. Bottom: In the café, upholstered chairs by Noé Duchaufour-Lawrance serve the Wolfgang C.R. Mezger square tables. Opposite top: LED strips also light the quartz stair treads. Opposite bottom: Mezger’s sectional sofa joins Rodolfo Dordoni side tables, Ludovica + Roberto Palomba pendant orbs, and Travis Clifton barstools.
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The café, which occupies a whole corner of a floor plate, functions as yet another bar, one that, with its brick wall, large windows, and Campari motto— ”toasting life together,” rendered in neon—was intended to evoke and bring in the city. Lest anyone think all anyone does is party around here, “Foremost, this is designed for work,” Shunk states. The office areas for the 135 employees composing the Campari Group and Campari America are spread across both floors. They are 100 percent open-plan with sit/stand workstations and tailored to hot-desking, meaning no assigned seats, so employees clear off desktops and stow belongings in lockers at the end of the day. Should staffers choose to sit, they do so in task chairs powder-coated red or blue. Hoteling stations give colleagues in from Milan or elsewhere places to touch down. Phone, meeting, and conference rooms are peppered throughout. There are no offices. There is a very executive boardroom, however, but Shunk situated it away from reception, “So it doesn’t shut down the main space when a meeting is on,” she explains. For all the workplace savvy Gensler brought to the table, Campari Group contributed sophistication of its own. It was the management team’s idea to set up what it calls “viewing stands” near the office’s southfacing windows, where enormous red telescopes are pointed in the direction of the Empire State Building. Architect Matteo Ragni originally designed them
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GENSLER. LIGHTING WORKSHOP: LIGHTING CONSULTANT. GILSANZ MURRAY STEFICEK: STRUCTURAL ENGINEER. WB ENGINEERS + CONSULTANTS: MEP. A05 STUDIO: FABRICATION WORKSHOP. ISLAND ARCHITECTURAL WOODWORK: WOODWORK. MISTRAL ARCHITECTURAL METAL + GLASS: METALWORK, GLASSWORK. J.T. MAGEN & COMPANY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT BANKER WIRE: CUSTOM LOCKERS (STAIRWAY). COSMOPOLITAN GLASS: PARTITION. SILESTONE: TREADS. KNOLL TEXTILES: WALL COVERING. KNOLL: COFFEE TABLE (LOUNGE), WORKSTATIONS (OFFICE AREA). THE RUG COMPANY: RUG (LOUNGE). MISSANA: LOVESEATS (LOUNGE, BREAK-OUT AREA), CHAIRS (VIEWING AREA). FOSCARINI: PENDANT FIXTURES (RECEPTION). BENDHEIM: BACKSPLASH. MINOTTI: BENCHES, SIDE TABLES. ÉLITIS: WALL COVERING (ELEVATOR LOBBY). DRIVE 21: CUSTOM SIGNAGE. COALESSE: RED CHAIRS (VIEWING AREA). TECH LIGHTING: CEILING FIXTURE (ELEVATOR LOBBY). KELEEN LEATHERS: DOOR UPHOLSTERY. CASCADE COIL DRAPERY: METAL DRAPERY (FORTUNATO BAR). STONE SOURCE: BACK BAR TOP. CUMBERLAND: BARSTOOLS. VICCARBE: SIDE TABLE. DAVIS FURNITURE: BENCHES, OTTOMAN (FORTUNATO BAR), TABLES (CAFÉ). RH: SCONCES (BOULEVARDIER BAR). MDC WALLCOVERINGS: WALL COVERING. DYKES LUMBER: MOLDINGS, PANELING. ARMSTRONG: CEILING SYSTEM (CAFÉ). REJUVENATION: CEILING FIXTURES (CAFÉ), SHELVING (OFFICE AREA), SINKS (RESTROOM). BERNHARDT FURNITURE COMPANY: WOOD CHAIRS (CAFÉ). BERNHARDT DESIGN: UPHOL-
to mimic oversize Campari soda bottles for a 2010 exhibition at La Triennale di Milano, but they also resemble megaphones. They seem to proclaim: Hey, Big Apple, Campari has arrived. Saluti!
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STERED CHAIRS. DESIRON: BARSTOOLS. HERMAN MILLER: CHAIRS (OFFICE AREA). EGE: CARPET. ANDREU WORLD: CHAIRS (BOARDROOM). HALCON: TABLE. MASLAND CONTRACT: RUG. EMECO: CHAIRS (ACADEMY). ANN SACKS: FLOOR TILE (CAFÉ). CERAMICA BARDELLI: PATTERNED TILE (RESTROOM). DALTILE: WHITE TILE. CREATIVE MATERIALS CORPORATION: FLOOR TILE. LOVAIR: SINK FITTINGS.
PROJECT TEAM
CEDAR AND MOSS: SCONCES. THROUGHOUT OPTIC ARTS; ECOSENSE;
AMANDA CARROLL; MEGAN DOBSTAFF; STEPHANIE LAN; AMANDA
USAI LIGHTING: LIGHTING. LIQUID ELEMENTS: FLOORING. AMUNEAL
LANGWEIL; ANDREW STERN; LAURA MORAN; LAURA BISHOP;
MANUFACTURING CORP.: CUSTOM SHELVING. BENJAMIN MOORE &
ARIELLE LEVY; AUDREY STROM; CARLY KLAIRE; KATHRYN MORSE:
CO.: PAINT.
Opposite top: Task chairs in an office area are by Studio 7.5. Opposite bottom: In the boardroom, a custom brass and glass fixture displays LED-illuminated Campari bottles above chairs by Piergiorgio Cazzaniga. Top, from left: Mixologists creating cocktails in the academy. Lacquered shelving in an office area. Bottom, from left: The café’s walnut-veneered bar with laser-cut wenge letters. Cedar and Moss sconces and ceramic tile in the women’s restroom.
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agent of change Rottet Studio made design the star at the Los Angeles office of Paradigm text: edie cohen photography: eric laignel
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had a storied past as the former home “Light and movement.” That’s what of the agency ICM Partners but had Sam Gores said he wanted to see upon been vacant for seven years. Though entering his office in Los Angeles. And Riveire and principal Harout Dedeyan when the chairman and CEO of Paradigm Talent Agency asks for something, term their intervention there “tenant improvement,” that’s just Rottet Stuthat is precisely what he gets—particudio’s typically understated manner. We larly when the project is designed by call the project a Rottet Studio. Interior Design Hall of complete gut job, Fame member Lauren Rottet’s firm is with only the limeitself a fixture in the entertainment business, with credits including offices stone and granite wall cladding and for United Talent Agency and Viacom. the skylight reA powerhouse with eight locations tained. The across the U.S. as well as in Toronto 82,000-squareand London, Paradigm “understood foot U-shape intethat architecture does matter,” Rottet rior was entirely Studio founding principal Richard rebuilt. Plus, the Riveire begins. “They really get that courtyard, which an agency can leapfrog over competipreviously “leaked tors by bringing everyone under one roof, giving them a great place to work, like a sieve,” Riveire says, was and making sure that conversations repaved and reand impromptu meetings happen.” So, planted around employees from the music, literary, the pyramid. film, and TV divisions, previously at The greatest challenge was “to figure three separate L.A. sites, are now toout new ways of working inside a 30gether in Beverly Hills. year-old building,” Riveire continues. Notable for a landmark fountain, a “By jamming things together, we could monumental pyramid, standing in the create an exciting design that changes front courtyard, the 1980’s building
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all the time.” The device that “moved the throttle setting toward more common spaces,” he explains, was the insertion of a central stair atrium— obviously the big move. “We had to whack out 1,000 square feet on two of the floors.”
No mere grand staircase, this. It’s not only the people connector between the three levels but also a multitasker. The lower, wider flight can serve as a vertical space for solo work, thanks to the
Previous spread: A custom reception desk in folded and welded mirror-polished stainless-steel stands on engineered European white-oak floor planks at Rottet Studio’s Los Angeles office for Paradigm Talent Agency. Opposite top: Milo Baughman–inspired chairs face a leather-covered sofa in the green room. Opposite bottom: Rising from reception’s sitting area, stairs offer additional seating on vinyl-covered cushions. Top: A Greg Bogin artwork was commissioned for a corridor. Bottom, from left: Damien Hirst’s deck for Supreme is mounted with other skateboards in an office area. The courtyard’s new granite, concrete, and turf surfaces surround an existing Eric Orr pyramid fountain.
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This page: Erik Parker’s acrylic collage on canvas punctuates a corridor. Opposite left, from top: Nylon carpet in a private office. A corridor’s construction of album covers with wood and resin by David Ellis. The lacquered logo wall on a granite base. Opposite right, from top: Reception’s custom woolsilk rug. LED halos ringing the stair atrium. The lounge on two.
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blocky cushions scattered across the steps, or as a venue for all-hands company meetings, when combined with the reception area and an adjacent conference room. Flights aren’t stacked but slightly rotated inside circular openings that differ in size—difficult to engineer, to say the least. “LED halos accentuate the perimeters,” Dedeyan says. The ensemble presents quite a climb, especially for those with vertigo. A mirrored ceiling produces a dizzying kaleidoscope effect, making the height appear as six stories, not three. Sharing dramatic creds is the reception desk. Riveire, who’s highly knowledgeable about hospitality projects, too, compares it to “the front desk of a hotel.” He goes on to liken the long, purposely low form in mirror-polished stainless steel to “a squished pickle.” We see inspirations of sculptures by Anish Kapoor. Regardless, it’s an Instagram moment. Speaking of art, there’s no shortage of spectacular pieces, some of them commissioned. Initiated by Gores, the program was assembled by a DJ-curator, DB Burkeman, in collaboration with a more conventional art consultant. Standouts include the atrium’s colorful text-based screen prints, kinetic blackand-white photographs of figures in the elevator lobbies, and a corridor’s collage inspired by comic books, hiphop, and graffiti. Surprisingly, knowing Rottet Studio as we do, furnishings are generally not custom. Widely available residential pieces, they could be found in many a stylish living room. Flooring, consistent with that vibe, is white-oak planks in common spaces. “The wood is a contrast to all that stone on the walls,” Riveire explains. Carpeted work spaces follow the customary setup. Glass-fronted private offices for agents face assistants at a benching system. Most offices have sit-stand desks. (Many in the stand position during our visit.) Sprinkled among the offices are casual lounges, up for grabs as needed. What’s unusual is the lack of hierarchy among divisions. No single one ranks above any other. Conference and meeting rooms and the “signing rooms” encircle the stair atrium. Really, though, everything is an ad hoc meeting space, including
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The stair atrium’s mirrorfinished stretched membrane ceiling reflects a series of 21 screen prints by Eve Fowler.
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elevator lobbies fitted out with chic and super-comfy seating. There are also pantries and coffee bars aplenty, the best, no doubt, being the ground level’s coffee lounge opening onto the courtyard. Pull up a stool to the marble counter, or plop down on a sofa or armchairs anchored by a houndstooth rug that blends with the same pattern rendered in floor tile. The list of amenities goes on: a screening room with adjacent green room, another room filled with candy. According to Paradigm director of special services and guest relations Rozzana Ramos, clients come just to hang out. Linger long enough, and you might spot Antonio Banderas or Henry Golding reading a script or Chris Martin, Ed Sheeren, or Sia headed to the listening room where, Riveire says, they can “crank it up to 11.”
PROJECT TEAM
LOUNGE). GUS MODERN: SOFA. SHAW HOSPITALITY:
CHRIS JONES; THERESA LEE; PEGAH KOULAEIAN:
RUG. ANDREU WORLD: BARSTOOLS. THOMAS
ROTTET STUDIO. ESQUARED LIGHTING: LIGHTING
O’BRIEN: PENDANT FIXTURE. ZUO MODERN: CHAIRS
CONSULTANT. NEWSON BROWN ACOUSTICS: AUDIO-
(COFFEE LOUNGE), CHAIRS, TABLE (LISTENING ROOM).
VISUAL CONSULTANT. LENDRUM FINE ART: ART
TANDUS: RUG (RECEPTION AREA). NIENKAMPER:
CONSULTANT. THORNTON TOMASETTI: STRUCTURAL
CHAIR. H.D. BUTTERCUP: ARMCHAIRS. WEST ELM:
ENGINEER. ARC ENGINEERING: MEP. AMA PROJECT
WHITE SIDE TABLE. BERNHARDT DESIGN: BENCH.
MANAGEMENT: PROJECT MANAGER. CLUNE CON-
THROUGHOUT MONARCH PLANK: FLOOR PLANKS.
STRUC TION COMPANY: GENERAL CONTRACTOR.
BENTLEY: CARPET. BARISOL: STRETCHED CEILING
PRODUCT SOURCES
MEMBRANE. BENJAMIN MOORE & CO.; DUNN-
FROM FRONT AM CABINETS: CUSTOM DESK (RECEP-
EDWARDS CORPORATION: PAINT.
TION). PALECEK: COFFEE TABLE (GREEN ROOM). RH: CHAIRS, SOFA (GREEN ROOM), SOFA (LISTENING ROOM). CB2: CONSOLE (GREEN ROOM), SIDE TABLES (HALL), SOFA, COFFEE TABLE (LOUNGE), TABLE (OFFICE), DINING CHAIRS (COFFEE LOUNGE). TAI PING CARPETS: CUSTOM RUG (SITTING AREA). DAVIS FURNITURE: SOFAS. HOLLY HUNT: CHAIRS. WEST ELM: SIDE TABLES (LOUNGE, COFFEE LOUNGE, RECEPTION AREA). MARTIN BRATTRUD: CUSHIONS (STAIRWAY). BLU DOT: BENCHES (HALL), STOOLS (ATRIUM), CREDENZA (LISTENING ROOM), SOFA (RECEPTION AREA). SUMMER CLASSICS: CHAIRS (COURTYARD). ANDREU WORLD: CHAIRS (OFFICE). ALUR: STOREFRONT SYSTEM. MITCHELL GOLD + BOB WILLIAMS: COFFEE TABLE (COFFEE
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Opposite top: Patricia Urquiola chairs appear in a private office. Opposite bottom: In the coffee lounge, a focal wall includes artwork by Raymond Pettibon and Ed Ruscha. Top: On three, the reception area features an armless chair by Karim Rashid. Bottom, from left: Laser-printed photographs by Kenton Parker energize an elevator lobby. The listening room is acoustically isolated.
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here comes the sun
Tsao & McKown lets history shine at Sunbrella’s headquarters, a century-old former mill in North Carolina
text: nicholas tamarin photography: eric laignel
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“We truly cross the divide,” Calvin Tsao begins, meaning: “We’re equally comfortable with architecture and interior design.” So naturally Tsao & McKown was among the talented mix-masters that members of the Gant family wanted to meet when they were planning headquarters in Burlington, North Carolina, for their growing Sunbrella brand. The Gants had their eye on converting the early 20th–century former mill they owned across the street from a building Sunbrella shared with its parent company, Glen Raven. “We had the aha moment, literally, in looking at our birthplace,” Glen Raven chairman Allen Gant Jr. says. “So we weren’t looking for an architect who could design us the most beautiful building—we felt we already had that. But instead for someone who could understand the functionality of the business.” Interior Design Hall of Fame members Tsao and his life partner Zack McKown were introduced to the Gants by two reliable sources. First was our own editor in chief Cindy Allen, who had recommended the firm. Then, around the same time, Sunbrella consultant Sherri Donghia also put their name forward—Tsao and McKown having designed furniture for her own family-run company in 2004.
“Sherri set us up on a blind date,” says Allen Gant III, whose great-grandfather founded Glen Raven, which invented panty hose in 1958 but is now known for its performance fabrics. “We’d interviewed a half dozen world-class architects,” Gant Jr. explains. “Then we met Calvin and Zack,” Gant III continues. “And Calvin said, I want to know how people feel when they get here. He’s so in touch with the human aspect of design that he felt like part of the family. He and Zack are infectious.” And so a year-long courtship began. Tsao elucidates, “After we agreed on this ‘dating period,’ we began interviewing all the staff, creating questionnaires, and holding workshops—‘diagnostics’ we call it.” But both sides continued to keep their options open. “It gave the Gants the latitude to serial date—neither of us wanted to spend a year on this only to end up breaking up and never see each other again. But it was successful, so we got engaged,” Tsao adds with his trademark chuckle.
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Previous spread: By demolishing a 60-year-old addition to a 1901 former mill and restoring its original brick, Tsao & McKown created the lobby for the Sunbrella headquarters in Burlington, North Carolina. Opposite top, from left: A new custom window brightens samples in the sales showroom. Original pine flooring, which was just refinished, still has imbedded metal shavings from the mill’s old looms. Opposite bottom: Removing a floor slab resulted in a central atrium that maintained the original structural pine columns and beams. This page: A Jens Risom chair and an Eero Saarinen table face a built-in sofa inspired by Donald Judd designs in the café.
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Tsao & McKown started by knocking down an unsightly 60-year-old addition to the 118-year-old mill, leaving its original 100,000 square feet over two levels and exposing an original brick facade that was in need of a little love. Luckily, the Gants had a friend with a 1905 mill built by the same brick mason that had recently been torn down, so the architects were able to seamlessly integrate the renovations amongst the original structural columns and ceiling beams. Installing a new glass curtain wall and windows and removing a floor slab resulted in adding copious natural light, most notably in the lobby, where massive stadium seating greets employees as does an adjacent café for their morning coffee fix. A requested auditorium was niftily inserted beneath the lobby seating, with corridors running past to an atrium at the core. There, a new stairway allows access to the employee lounge as well as various office areas and meeting rooms that run to the sunny perimeter. “There’s so much light coming in that you can actually grow plants,” McKown notes. “So we put in two internal gardens.” The gardens are part of what Tsao refers to as unprogrammed social spaces, “for casual meetings,” he states. “Which is a really hard thing to understand for people trying to get the maximum out of real estate, but we explored that there needs to be a gamut of spaces for working. You’ve got your desk, your meeting rooms, places to hang out, and then there are what we call ‘accidental spaces’. The Gants had to have faith in us that these social spaces are actually effective.” And they did. “I truly believe you need to remove the shackles from Beyond the new glass-and-steel curtain wall, a 46-foot-wide swath of pine stadium seating fills the lobby. Cushions covers rotate a selection of Sunbrella fabrics.
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people,” Gant Jr. says. “This building provides a place where our associates can innovate beyond our wildest dreams. We’re 138 years old and I expect for us to be here for another 138.” The staff, many of them locals who have been with the company for decades, even generations, are equally enthusiastic. “I walk in each morning and take a deep breath in awe,” division controller Crystal Coleman says. “This space has relaxed my muscle tension,” assistant division controller Sandy Filarski adds. “It’s a match made in heaven,” McKown concludes. “Rarely do we work with someone who doesn’t lord over us but instead sits beside us. The Gants respect people, which makes them an extraordinary client.” A client that has him and Tsao finishing up a contiguous ground-up visitor’s center and a footbridge that will connect the old and new buildings in what will be a three-building campus. The relationship also led to the Sunbrella Great Hall by Tsao & McKown, a magnificent swooping fabric installation at the River Pavilion in New York for Interior Design’s annual Hall of Fame gala. So do architect and client finally consider it a marriage? “Of course,” Tsao laughs, “we’re already in therapy.” PROJECT TEAM RICHARD RHODES; JUSTIN SCURLOCK: TSAO & M C KOWN. PLAGEMAN ARCHITECTURE: ARCHITECT OF RECORD. BUROHAPPOLD ENGINEERING: LIGHTING CONSULTANT, FACADE ENGINEER. SILMAN; STRUCTURAL SOLUTIONS: STRUCTURAL ENGINEERS. LANDMARK FACILITIES GROUP: MEP. HARRISON INDUSTRIES; STRUCTURAL WOOD SYSTEMS: WOODWORK. SAMET CORPORATION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MILES TALBOTT: SOFAS, CHAIRS (SHOWROOM). UNIQUE CONCEPTS: COFFEE TABLE. BIG ASS FANS: FANS (ATRIUM). KNOLL: CHAIR, TABLE (CAFÉ). STITCH NYC: CUSTOM SECTIONALS (LOUNGE). SIEN + CO: PILLOWS. SEDIA SYSTEMS: CHAIRS, DESKS (AUDITORIUM). COALESSE: STOOLS (DESIGN STUDIO). THROUGHOUT GLEN RAVEN CUSTOM FABRICS: UPHOLSTERY. LIZ COLLINS: CUSTOM CURTAINS.
Top, from left: A lounge is scattered with custom sectionals. The auditorium seating 118 was added beneath the lobby. Opposite bottom: A newly landscaped courtyard adjoining the entry accommodates indoor-outdoor events. Opposite top, from left: A Sunbrella acrylic-blend covering the auditorium’s chairs. A new staircase in wood-clad steel. An original structural column. Opposite center, from left: A sample of Ghislaine Viñas’s Mr. Dimple, an HBF Textiles fabric made with Sunbrella acrylic. Lievore Altherr Molina stools in the design studio covered in Shift, a Sunbrella acrylicpolyester blend. The design team’s Sunbrella-covered pin-up boards. Opposite bottom, from left: Sunbrella’s acrylic Select collection. Ferns growing in one of two indoor gardens. A custom stool made from a roll of Sunbrella acrylic-polyester felt.
interiordesign.net/sunbrellagreathall for a time-lapse of the Tsao & McKown installation
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stepping it up A&D firms boost corporate identities with their own elevated workplaces
text: georgina mcwhirter See page 198Â for the Mantab Group office in Kuala Lumpur, Malaysia, by S/Lab10. Photography: Heartpatrick. 194
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“Our new space embodies the values of minimalism and openness” site Toronto. standout The warm oak envelope throughout the firm’s mostly open plan is particularly highlighted in the café, courtesy of a customized version of a curvaceous LED ceiling fixture by Bjarke Ingels Group. photography Maris Mezulis.
KPMB Architects
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“Intentional mismatches are evident throughout”
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S/Lab10 project Mantab Group, Kuala Lumpur, Malaysia. standout Appropriately, a former residence has been transformed into the property developer’s office, reception’s tinted-acrylic screens and sculptural PVD-coated stainlesssteel stairway also supporting the company’s frequent entertaining. photography Heartpatrick.
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Enter Projects Asia project Time Realty, Sydney, Australia. standout Pressed bricks, old wallpaper, and 19th-century stucco (revealed after existing plaster was stripped from the salon turned developer office) pair with new built-ins and LED fixtures formed from polypropylene sheets. photography Brett Boardman.
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“We created an inclusive office with meandering circulation” MAY.19
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“The concept of a box served as the starting point”
Peng & Partners project Centaline Property, Shenzhen, China. standout In a palette reminiscent of Piet Mondrian paintings, the developer’s hallways and flex meeting areas are wrapped in monochromatic medleys of nylon carpet and wool-felt wall covering. photography Clockwise from top left: Wang Peng; Zhao Hongfei; Wang Peng (2); Zhao Hongfei.
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text: michael lassell photography: eric laignel
group therapy Advertising giant WPP looks to HOK to gather its scattered New York offices under one roof
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In one sense the remit was straightforward: WPP, the Londonbased international advertising and public relations behemoth, wished to gather the New York offices of several subsidiaries into a single location. They chose 3 World Trade Center, the 80-story tower by Pritzker Architecture Prize–winning Richard Rogers of Rogers Stirk Harbour + Partners, and HOK won the bid to design the consolidated workplace. Many factors raised the complexity of the commission, however, starting with its sheer size: 700,000 square feet (that’s more than 16 acres) on 14 floors, including a 3,000-square-foot outdoor terrace. Additionally, WPP wanted an innovative, creative habitat; maximum interconnectedness among its 4,000 on-site employees; and a high degree of versatility for potential growth and reconfiguration over the course of its 20-year lease. The company also asked that each corporate entity’s space be individually designed in accordance with its function, branding, and mission. Two major WPP subsidiaries moved to 3WTC: Kantar, a global market-research consultancy, and GroupM, the planet’s largest media investment conglomerate, which places approximately one-third of all ads worldwide. The latter oversees seven smaller divisions—Essence, MediaCom, Mindshare, [m]Platform, OpenMind, Xaxis, and Wavemaker—all of which had to be accommodated, too.
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While the sprawling project was helmed by HOK director of interior design Tom Polucci, each subsidiary was assigned its own designer to provide it with a unique environment. This involved a special event: “We had a ‘mixer’ where we brought 12 or 13 of our designers together with the CEOs and creative teams of all the different brands,” Polucci explains. First the designers made short presentations about themselves, their personal passions, and their inspirations. Then each company did the same about its culture, brand, and staff. Next they met, one-on-one. “I had a bell,” Polucci reports. “Every two minutes the designers moved onto another brand.” It was designer/client speed dating—“an equal-opportunity event for
Previous spread: LED strips separate wall and ceiling plates of blackened steel in an elevator lobby at WPP’s multi-brand 14-floor office in New York by HOK. Opposite top: The bistro for MediaCom, one of the agencies owned by WPP, includes dinerlike booths and oak picnic-style tables and benches. Opposite bottom: In the adjacent pantry, a custom media installation hangs above the solid-surfacing countertop. Top: Lievore Altherr Molina’s sofa and a custom wool rug in MediaCom’s corporate colors furnish its reception area. Bottom, from left: Oak paneling backs a stairway at Mindshare, another agency. A wall of LED-backlit logos of all Kantar and GroupM divisions dominates the main reception area.
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both parties”—and it succeeded in pairing number-one choices “across the board.” Polucci and his team devised a master plan to maximize creative variation while meeting the client’s budget and schedule. The envelope was kept consistent and neutral, with a color palette of black, white, and grays, and materials like stone, steel, laminate, and wood. The overall look is “refined industrial,” so ducting suspended from the ceiling remains visible, downtown-loft style. And individual spaces are broken into three unequal zones: the truly bespoke, the flexible, and the fixed. Fully custom spaces include reception and other client-facing areas. Fixed areas house “pantries, coffee/tea points, small and medium conference rooms, and huddle and focus spaces,” Polucci enumerates, but even these have been individualized to a limited extent with colors and finishes. Most of the square footage, however, is devoted to flexible work space, conceived to provide utmost adaptability as needs evolve. While differing from company to company,
Opposite: Wool-nylon covers cushions in the town hall, which serves all the WPP subsidiaries in the building. Top: A custom steel pergola shelters the terrace. Center: Employee locker areas on all floors feature a custom wall covering. Bottom: A MediaCom office area has a closeup view of Santiago Calatrava’s Oculus transit hub.
these areas are all created from the same kit of parts, which includes such furnishings as sitting and standing desks, oval oak conference tables, and engulfing podlike chairs that take their cue from first-class airline seats. Initial layout decisions were based on a survey of more than 3,000 WPP employees. Planning was helped enormously by the building, which has few internal structural columns to get in a designer’s way. (WPP occupies the top five floors and part of the setback terrace of the building’s 16-story podium, and floors 28 through 35 in the tower above, which have 70,000and 30,000-square-foot floor plates, respectively.) “The entire project is designed on a grid of power and data locations,” Polucci explains. “That offers the ultimate amount of flexibility in being able to switch out the furnishings over time.” At the core of the project is WPP’s shared communal space, dubbed the “town hall,” where “brand-agnostic” graphics pull together the colors of all the WPP subsidiaries. At its center, a two-story atrium features stadium-style bleachers that connect the 15th and 16th floors. Rising from a capacious lounge with views of the World Trade Center and the Hudson River beyond, the wide steps lead to a cluster of employee amenities above. These include the bistro, a grab-and-carry food vendor; the wellness center, staffed by a full-time nurse; and the tech hub, an electronics-repair station designed like a snack bar. (Every subsidiary’s space includes a canteen and multiple coffee spots.) Topping it all off is the landscaped terrace on the building setback immediately overhead. Even in today’s world of the activity-based workplace, Kantar and GroupM’s thrumming new quarters feel like a giant leap away from the past. The ambiance is part hotel lobby, part mall, part think tank, and part student-activities center at a particularly savvy university. According to Mark Sanders, CFO for GroupM North America, the entire project has helped put a more cutting-edge face on the companies’ work than their former scattered locations in pre-tech buildings, which did MAY.19
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In reception for OpenMind, another agency, a panel of preserved lichen is installed across from a conference room furnished with Sava Cvek chairs.
“Even in today’s world of the activity-based workplace, the quarters feel like a leap away from the past”
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nothing to reinforce a forward-looking corporate gestalt. Indeed, the client has expressed satisfaction in the sincerest possible way: WPP is moving even more of its business to 3WTC and HOK will design the additional space. PROJECT TEAM STEPHEN BEACHAM; ANTHONY SPAGNOLO; ERIKA REUTER; ELIZABETH MARR; JULIA COOPER; EMILY DUNN; BOB ELLIOT; SARAH GUNNINK; YASAMAN HOORAZAR; JEREMY JONET; MATTHEW JORDAN; CLAIRE MC POLAND; KERRI MC SHEA; YELENA MOKRITSKY; JESSICA PEPITO; JUSTIN PING; SCOTT SMITH; ADAM STOLTZ; CHRISTINE VANDOVER; KRISTI ZOREF; BILL BOUCHEY: HOK. LIGHTING WORKSHOP: LIGHTING CONSULTANT. SHEN MILSOM & WILKE: AUDIOVISUAL CONSULTANT. ACOUSTIC DISTINCTIONS: ACOUSTIC CONSULTANT. JONES LANG LASALLE: LEED CONSULTANT. WSP: STRUCTURAL ENGINEER. LILKER ASSOCIATES CONSULTING ENGINEERS: MEP. 9WOOD; TERRAMAI: WOODWORK. MISTRAL ARCHITECTURAL METAL + GLASS: METALWORK. GARDINER & THEOBALD: PROJECT MANAGER. JRM CONSTRUCTION MANAGEMENT: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT RICH BRILLIANT WILLING: SCONCES (BISTRO). BOLD FURNITURE: CUSTOM TABLES (BISTRO, ESSENCE COLLABORATIVE AREA, PHONE ROOMS). ERG INTERNATIONAL: BANQUETTES (BISTRO, PANTRY). HAY: TABLES, BENCHES (BISTRO), CHAIRS (PANTRY), TABLE, CHAIRS (KANTAR LOUNGE). GUBI: STOOLS (PANTRY).
HALL). EXTREMIS: PICNIC TABLE (TERRACE). LOLL DESIGNS: LOUNGE CHAIRS, TABLES.
LG HAUSYS: COUNTERTOP. TILES BY TINA: BACKSPLASH. ARPER: TABLES (PANTRY),
HOLLMAN: LOCKERS (LOCKER AREA). BOSS DESIGN: SOFAS (MEDIACOM OFFICE AREA).
SOFA, ARMCHAIR, OTTOMANS (MEDIACOM RECEPTION). MAHARAM: STOOL FABRIC,
KNOLL: TABLES. INTERFACE: CARPET TILE (MEDIACOM OFFICE AREA, KANTAR LOUNGE).
BANQUETTE FABRIC (PANTRY), CHAIR FABRIC, OTTOMAN FABRIC (RECEPTION,
BENETTI HOME THROUGH COVERINGS ME: MOSS PANEL (OPENMIND RECEPTION). COLOR
KANTAR LOUNGE), CUSHION FABRIC (TOWN HALL), RUG (ESSENCE LOUNGE), SIDE
CORD COMPANY: PENDANT FIXTURES (OPENMIND RECEPTION, ESSENCE COLLABORATIVE
CHAIR FABRIC (ESSENCE PHONE BOOTH). CASSINA: SIDE TABLES, COFFEE TABLES
AREA). BERNHARDT FURNITURE COMPANY: TABLE (CONFERENCE ROOM). STYLEX:
(MEDIACOM RECEPTION). KASTHALL: CUSTOM RUG. HAWORTH: RAISED FLOOR.
CHAIRS. DTANK: CUSTOM WALL (WAVEMAKER STAIRWAY). HERMAN MILLER: CHAIRS
DAVIS FURNITURE: LOUNGE CHAIRS, SIDE TABLES (MEDIACOM RECEPTION, KANTAR
(ESSENCE COLLABORATIVE AREA), SOFA (ESSENCE LOUNGE). ARMSTRONG: DROPPED
LOUNGE). KONCEPT: TABLE LAMP (MINDSHARE STAIRWAY). NAUGHTONE: STOOL.
CEILING (ESSENCE COLLABORATIVE AREA). TACCHINI: CHAIRS (ESSENCE COLLABORATIVE
CARNEGIE: PANELING (MAIN RECEPTION). MUUTO: STOOLS (MAIN RECEPTION), SIDE
AREA). LAPALMA: OTTOMANS (KANTAR LOUNGE). FLOS: PENDANT FIXTURES. SANDLER
CHAIR (ESSENCE PHONE BOOTH). VIBIA: PENDANT FIXTURES (MAIN RECEPTION,
SEATING: LOUNGE CHAIR (ESSENCE PHONE BOOTH). CAMIRA: LOUNGE CHAIR FABRIC.
WAVEMAKER STAIRWAY). LUKAS LIGHTING: CUSTOM PENDANT FIXTURES (TOWN
HBF: SOFA FABRIC (ESSENCE LOUNGE). CONNOX: COFFEE TABLE. VITRA: SIDE TABLES.
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Opposite top: Jordi Vilardell and Meritxell Vidal’s pendant fixture and a custom MDF zigzag wall flank the stairs connecting agency Wavemaker’s two floors. Opposite bottom: A custom natural-edge table sits under a metalmesh dropped ceiling in a collaborative area at the agency Essence. Top: A lounge for Kantar, a WPP company, boasts Hudson River views and Michael Anastassiades pendant fixtures. Bottom, from left: Custom neon signage hangs above Essence’s telephone booth–inspired work nooks. In the same firm’s lounge, BassamFellows’s sectional sofa hugs a wall paneled in white oak.
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never again
The USC Shoah Foundation in Los Angeles by Belzberg Architects throws light on the darkest events in modern history text: edie cohen photography: bruce damonte 214
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In 1994, a year after the release of Steven Spielberg’s movie Schindler’s List, the director founded a nonprofit organization to videotape and preserve the testimonies of survivors and witnesses of the Holocaust (or Shoah in Hebrew). Initially, its home was a series of trailers on a Universal Studios Hollywood backlot. A dozen years later, the organization relocated to the University of Southern California in Los Angeles, where, renamed the USC Shoah Foundation–The Institute for Visual History and Education, it occupied cramped offices on the ground floor of the Leavey Library. Since then, the foundation’s purview has broadened to include other modern genocides, Armenia, Cambodia, and Rwanda among them. An expanded mission—to research these instances of hate and help ensure such Previous spread: In Los Angeles, visitors interact with touch screens in the lobby of Belzberg Architects’s USC Shoah Foundation, a nonprofit organization dedicated to preserving survivor testimony of the Holocaust and other modern genocides. Top: The visitors lounge has seating upholstered with custom fabrics printed with vivid patterns derived from traditional artifacts from Rwanda and Guatemala. Bottom: Allied Maker’s pendant fixture illuminates a table and chairs by Minimal in the distinguished guests conference room. Opposite: Nicola Anthony’s stainless-steel sculpture in a skylit area off the lobby incorporates the testimony of a Holocaust survivor.
atrocities are never forgotten or repeated—calls for an expanded footprint. So, it has moved again, upstairs this time, to the library’s 10,000-square-foot fourth floor, which offers enough room to accommodate expansive offices, dedicated exhibition and outreach space, sequestered facilities for visiting scholars and research fellows, and a mini film studio where not only can survivor testimonies be recorded and edited but also visitors are able to take part in virtual-reality experiences. Designing and constructing the new headquarters was a 3 ½-year, multifaceted project, but one that was full of resonance and personal meaning for Belzberg Architects. While the firm had already shown poetic sensitivity in its 2010 design of the mostly subterranean Los Angeles Museum of the Holocaust, founding partner and Interior Design Hall of Fame member Hagy Belzberg can also recall hearing stories of his own father’s escape from Poland and the Nazis. The foundation’s previous chopped-up quarters had fostered tribal work habits among the permanent staff, which now numbers 82. “We aimed for an open, hyper-functional plan,” Belzberg begins. “There would be a level of scales: from neighborhoods and clusters to the larger whole,” lead architect Lindsey Sherman Contento adds, outlining the collaborative, flexible environment they envisaged, which would include opportunities of respite from the frequently harrowing work. This dual essence—remembering hatred in order to overcome it, an endeavor at once painful and healing—is palpable right out of the elevator into the central lobby, which functions as both reception and an exhibition space. “It’s intentionally warm and dark,” Belzberg notes of this public zone, an environment designed to generate a sense of safety while providing museum-quality viewing conditions. Subdued LED light filters through 216
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perforated powder-coated-aluminum ceiling panels. Opposite the elevator bank, a wall sheathed in seven floor-to-ceiling touch screens offers a panorama of interactive content. Visitors can further explore foundation programs at freestanding digital kiosks—individual touch screens set in totemlike panels of backlit perforated aluminum framed in dark walnut—that fill the room. “It’s like walking through a forest,” Belzberg says. The tenebrous space doesn’t feel claustrophobic, however, because a broad portal at one end opens onto a semicircular skylit area that commands views of the campus and cityscape beyond. Suspended beneath the skylight, Nicola Anthony’s stainless-steel text sculpture incorporates the testimony of a Holocaust survivor. Passageways on the left and right lead to private wings. The larger, predominantly open-plan wing houses most of the full-time staff. A broad blond pathway of engineered-oak flooring and nylon-carpet tiles cuts a diagonal swath through the light and airy work space. Right up front, a casual visitors lounge hugs the wall of windows so that its colorful ottomans and cushy lounge chairs sit in the abundant sunshine. Facing them across the central aisle is an open kitchen that, for film screenings and other events, conjoins with adjacent classroom and conference spaces via sliding glass panels.
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7
1
8 9
6 4
2
3
5
4
1 RECEPTION
4 VISITORS LOUNGE
7 CONFERENCE ROOM
2 LOBBY
5 OFFICE AREA
8 DISTINGUISHED GUESTS LOUNGE
3 SKYLIT AREA
6 THINK TANK
9 EDITING ROOM
0
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N 0 5
Top left: In the office area, bays of bench-style workstations flank a broad pathway of carpet tiles and engineered-oak flooring. Top right: Custom benches with upholstery patterns inspired by traditional Chinese and Armenian designs furnish “think tank” booths. Bottom: Panels on the lobby’s interactive kiosks are perforated bronze-anodized aluminum.
15
35ft
As the pathway proceeds deeper into the office area proper, it is flanked by open bays of workstations that provide bench seating, sit-stand desks, and other individual or group work options. Every staff member has a designated place, but each “neighborhood” includes a central table that encourages collaboration. Sculptural built-in banquettes, finished in gleaming white paint, line one section of the path, which culminates in what Belzberg calls the “think tank”—a quiet space divisible by pocket doors into two separate niches. The smaller wing accommodates distinguished guests and researchers needing the privacy of enclosed rooms. It also has facilities for recording and editing survivor testimonies—the most compelling example of which can be viewed in the distinguished guests lounge: Here, Pinchas Gutter, a Polish survivor born in 1932, appears as a life-size interactive-screen image to tell his story and answer viewers’ questions with the help of AI. The wing is notable for its tranquil, light-filled atmosphere. “Early on, we learned that trauma victims can be sensitive to certain triggers,” interior design lead Jennifer Wu explains, which determined the calm, neutral Top: Molded MDF with bronze insets forms custom banquettes and standing-work desks. Bottom: Sliding glass panels open the kitchen and adjacent classroom space for large events. Opposite: In the distinguished guests lounge, custom acoustic panels, installed in a custom pattern, span the wall and ceiling around an interactive display of a Holocaust survivor.
palette with particularly thoughtful textile and wall-covering choices. “We called for artwork and artifacts from affected countries and used them as inspiration for digitally printed patterns.” Examples appear on lounge seating, pedestal cushions, and phone-booth walls. Despite the overwhelmingly painful histories with which the foundation must deal, its aura remains positive and hopeful. “We were able to avoid genocide tropes,” Belzberg says. “There is no manipulated emotional response.” With perseverance, study and education will preserve the past and help prevent its recurrence. PROJECT TEAM CORY TAYLOR; ASHLEY COON; ADRIAN CORTEZ; BARRY GARTIN; AARON LESHTZ; CORIE SAXMAN; J. JOSHUA HANLEY; ALEXIS ROOHANI; SUSAN NWANKPA GILLESPIE; KATELYN MIERSMA; MELISSA YIP: BELZBERG ARCHITECTS. EGG OFFICE: CUSTOM SIGNAGE. MAUDE GROUP: EXHIBITION CONSULTANT. MAD SYSTEMS: AUDIOVISUAL CONSULTANT. NEWSON BROWN ACOUSTICS: ACOUSTICS CONSULTANT. BUROHAPPOLD ENGINEERING: LIGHTING CONSULTANT, STRUCTURAL ENGINEER, MEP. USC CAPITAL CONSTRUCTION DEVELOPMENT: PROJECT MANAGEMENT. CLUNE CONSTRUCTION COMPANY: GENERAL CONTRACTOR PRODUCT SOURCES FROM FRONT ROCHE BOBOIS: OTTOMAN (LOUNGE). PEDRALI: LOUNGE CHAIR. CB2: SIDE TABLE. BERNHARDT DESIGN: SOFA. MAHARAM: SOFA FABRIC (LOUNGE), CURTAIN PANELS (CONFERENCE ROOM). ORITZ CUSTOM UPHOLSTERY: STOOLS (LOUNGES). COALESSE: TABLE, CHAIRS (CONFERENCE ROOM). DESIGNTEX: CHAIR FABRIC. ALLIED MAKER: PENDANT FIXTURE. HAWORTH: WORKSTATIONS, STORAGE UNITS (OFFICE AREA), TABLES (BOOTHS). TEKNION: TASK CHAIRS (OFFICE AREA). SPECTRUM OAK: CUSTOM BANQUETTES. MARTIN BRATTRUD: CUSTOM BENCHES (BOOTHS, LOUNGE). RESIDENT: PENDANT FIXTURES (BOOTHS). GUILFORD OF MAINE; VALLEY FORGE FABRICS: WALL COVERING. WEST ELM CONTRACT: BARSTOOLS (KITCHEN). ICF GROUP: TABLES. FORNASARIG: CHAIRS. EUREKA LIGHTING: PENDANT FIXTURES. SEELEY BROTHERS: CUSTOM CABINETRY. CAESARSTONE: COUNTERTOPS. SCHOOLHOUSE ELECTRIC: CABINET PULLS. DE LA ESPADA: SIDE TABLE (LOUNGE). LINDSTROM RUGS: RUG. THROUGHOUT KOSTER CONSTRUCTION: CUSTOM METAL PANELING. OPUZEN: CUSTOM FABRIC. ARKTURA: CUSTOM CEILING, WALL PANELING. STILE: WOOD FLOORING. TANDUS CENTIVA: CARPET TILE. THROUGH VISTA PAINT: PAINT.
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B O O K s edited by Stanley Abercrombie Herman Miller: A Way of Living
Gio Ponti: Archi-Designer
edited by Amy Auscherman, Sam Grawe, and Leon Ransmeier New York: Phaidon, $90 614 pages, 2,000 illustrations (1,000 color)
edited by Sophie Bouilhet-Dumas, Dominique Forest, and Salvatore Licitra Milan: Silvana Editoriale, distributed by Artbook/D.A.P., New York, $75 312 pages, 380 illustrations (235 color)
There have been many books about Herman Miller, its ethos, designers, and furniture, but none as comprehensive as this. As Ralph Caplan (himself the author of The Design of Herman Miller from 1976) writes in his foreword, “Now the big one has appeared. . .The story is all here.” That story is told by Herman Miller’s corporate archivist Amy Auscherman, its former global brand director Sam Grawe, and industrial designer Leon Ransmeier, creator of seven products for the company. It’s a generously illustrated continuum emphasizing 10 highlighted milestones that the editors consider key: the 1933 “Design for Living” model house by Gilbert Rohde, “The story of Herman Herman Miller’s first modern designer, for the Century Miller is nothing less of Progress exposition in Chicago; George Nelson’s than the story of mod- 1944 Storage Wall, his first work as the company’s ern design itself” new design director; Charles and Ray Eames’s first molded plywood furniture, in 1946; the company’s revolutionary furniture catalog of 1948, also by Nelson; 1961’s Textiles & Objects showroom conceived by Alexander Girard; Action Office 2 from 1968 by Nelson and Robert Propst; then, as an example of corporate high spirits in 1970, Herman Miller Summer Picnic Posters; William Stumpf’s first ergonomic chairs, in 1976; the company’s new production facilities in 1999; and, finally, Ayse Birsel’s 2013 open-plan office system, Resolve. The exhaustive survey is also neatly summarized in a 12-page timeline (also illustrated) that takes us from 1905, when Herman Miller founded the Star Furniture Co. in Zeeland, Michigan, for the manufacture of the Princess dresser for Sears Roebuck, to the present and Studio 7.5’s ultramodern Cosm chair.
“His work contains a refined play of composition expressed in three dimensions”
Italy, as we know, was fertile ground for early modernism, and no one tended it better than Gio Ponti (1891-1979). He founded Domus, the magazine of which design luminaries including George Nelson kept every issue, in 1928 and edited it for decades. Ponti’s svelte Pirelli Tower (designed with Pier Luigi Nervi), perhaps still the most graceful of all skyscrapers, was finished in Milan in 1958. His D.270.2 folding chair from 1970 has just been reissued by Molteni & C and furnishes the cafeteria for this year’s Triennale Milano. Ponti worked in ceramics, wood, metals, glass, fabrics, and papiermâché. Some of his furniture was custom, some for manufacture. He designed schools, houses, churches, and hotels. He did interiors for university buildings, shops, showrooms, a stock market, and a half dozen transatlantic liners including the Andrea Doria. He reimagined espresso machines, sewing machines, automobiles, dinnerware, lighting, graphics, and costumes for theater and dance. His experiments with modernity could be austere, relaxed, or even quirky (for the Denver Art Museum in 1971, he freely and happily scattered the fenestration in no discernible pattern). This multitude of interests and talents is assessed, in this accompaniment to an exhibition recently seen at the Musée des Arts Décoratifs in Paris, by a multitude of critics from many disciplines and countries, 26 authors in all. The subtitle’s phrase “archi-designer” may make you wince, but, beyond that, here is a valuable and thorough book about a prodigious and immensely influential figure.
What They’re Reading... Dymaxion Car: Buckminster Fuller
Joey Shimoda Spotting this 2010 title in a pop-up bookshop in Los Angeles, Joey Shimoda was immediately smitten. “I’ve always Founder of Shimoda been a fan of Norman Foster and Buckminster Fuller and, like them, I’m a car nut,” he says. “The Dymaxion Car was Design Group a revolutionary design that was ultimately killed by a corporate culture threatened by change. I find parallels to the current tension in the world of design and technology today.” With the book combining so many of his interests, “I had to get it,” he admits. It’s a good thing he did—it’s now sold out (although copies are selling on Amazon for more than $300). As an architecture student, Shimoda met Foster at an exhibition of the latter’s work in Florence, Italy, and was later offered a position at Foster + Partners in London. “But I didn’t take it,” Shimoda recalls. “I was already working for Peter Wilson, a rising star, in his small three-person firm, executing projects of equal interest and stature. But Mr. Foster has always been a big influence.” Fuller has been, too. “He was a visionary leader, a pioneering voice in questioning how the consumption of resources is affecting our planet.” “I’ve always been influenced by the kinetic emotion cars and motorcycles express, and the book shows interesting combinations of curved shapes made from wood that become the car’s framework,” the architect notes. “My studio is inspired by the idea of using wood to create a structure for complex modern shapes: It just might find its way into our next interiors project.” Currently, Shimoda and team are at work on schematics for a new recording studio for Warner Music Group. —Nicholas Tamarin 222
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BOTTOM: MARTA ELENA VASSILAKIS
by Norman Foster and Jonathan Glancey Madrid: Ivorypress, $N/A 224 pages, 219 illustrations (87 color)
C O N TA C T s
DESIGNERS IN SPECIAL FEATURE
DESIGNER IN HOTSHOTS
Enter Projects Asia (“Stepping It Up,” page 194), enterprojects.net.
Kvistad (“A Family Affair,” page 47), kvistad.co.
KPMB (“Stepping It Up,” page 194), kpmb.com. Peng & Partners (“Stepping It Up,” page 194), pengpartners.com. S/Lab10 (“Stepping It Up,” page 194), slab10.com.
DESIGNER IN WALK-THROUGH Perkins + Will (“Blurred Lines,” page 61), perkinswill.com.
PHOTOGRAPHER IN WALK-THROUGH Eric Laignel Photography (“Blurred Lines,” page 61), ericlaignel.com.
PHOTOGRAPHERS IN FEATURES
DESIGNER IN CENTERFOLD
Bruce Damonte (“Never Again,” page 214), brucedamonte.com.
Wutopia Lab (“Love Triangle,” page 153), @wutopialab_sh.
James John Jetel (“Splash of Campari,” page 166), jjjetel.com.
Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semimonthly in March, May, June, and 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 email: subscriptions@interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.
Eric Laignel Photography (“The Ceiling Effect,” page 158; “Agent of Change,” page 176; “Here Comes the Sun,” page 186; “Group Therapy,” page 204), ericlaignel.com.
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design
annex
Springboard Launching Q!, a unique line of frameless, mobile working surfaces perfect for office, education or healthcare environments. Q! is made in the USA and crafted from premium low-iron glass for bright whites and crisp colors. To learn more, please visit us online at springboard-us.com
Adotta 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
Whiting & Davis Digitally Printed Metal Mesh Made in USA Since 1876. Escape the traditional with digitally printed metal mesh fabric. Your pattern or photograph printed on Whiting & Davis’ Flat Spider mesh fabric will transform your environment with modern and dramatic appeal. Feel the difference. Please contact us at 800.876.MESH or visit wdmesh.com
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QM Drain
Donovan Lighting
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. t. 954.773.9450 qmdrain.com
Inspired by Danish modern design Donovan Lighting created this offering of wood veneer pendant or semi-flush fixtures. Walnut, mahogany, cherry or custom veneers on wood core cylinders, with high quality LED array lighting in many sizes and configurations. Flush mounted opal acrylic diffusers in matte or gloss. Please call 607.256.3640 or visit us online at donovanlighting.com
Edition Modern
Pratt & Larson Add surface interest and color depth to your next ceramic tile installation by incorporating Pratt and Larson textured field shapes. Textures are available in multiple sizes, shapes and colors. Our handmade ceramic tile is made to order in Portland, Oregon. Please contact us at 503.231.9464 or visit prattandlarson.com
Forêt Collection, now availablHandcrafted in the Los Angeles atelier of French modernist devotee Denis de la Mésière, Edition Modern pays homage to iconic designersPierre CHAREAU, Jean ROYERE and others with scrupulous attention to detail and materials that are faithful to the timeless spirit of their original masterpieces. editionmodern.com
The Art of Recycling
Davis Furniture Poise Occasional combines function and style flawlessly. A variety of heights and finishes allow Poise Occasional to fit any need in every environment. For more information please call 336.889.2009 or visit davisfurniture.com
Integrate recycling into your environment with our modular recycling bins. Slide-in panels coordinate with any design. Single to Quad sizes. Shown: Single Bin with 3Form Tiger Thatch panels. Wood, recycled plastic, slate, laminate, and more. Lifetime Structural Warranty. t. 305.857.0466 DeepStreamDesign.com
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I N T E R vention
Parking garages are often the most uninspiring structures in an urban landscape. Not so for the Novel Stonewall Station in Charlotte, North Carolina, host to the state’s largest public artwork. Created by Marc Fornes/TheVeryMany, Wanderwall’s psychedelic swirls of blue and green instantly catch the eye, even amidst the rapidly expanding, ultramodern downtown skyline. The facade was assembled onsite from nearly 6,000 individual aluminum pieces—each one painted a different shade of a nine-color gradient—creating a continuous pattern that spans nearly 300 feet across the south and east elevations without gaps or seams. There’s no substructure either, since the super-thin 1⁄8-inch installation hangs like a gently pleated curtain on the eight-story building. It’s what Fornes calls “a structural nappe,” a geological term describing a sheet of rock draped like cloth over a fault. The hypnotic work has different effects when viewed from different angles and distances. Seen from a passing car on adjoining highway I-277, the pattern is kinetic, a gleaming beacon in the sun; viewed from a neighboring sidewalk, the pleats become more noticeable, the individual motifs that make up the pattern more pronounced. And inside the garage, sunlight casts dynamic shadows as it filters through the skin. “It’s abstract continuity,” Fornes says. Whatever it is, it’s certainly fun.
living wall
—Wilson Barlow
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WALK RIGHT IN. OPEN TO THE PUBLIC M-F 9–5 SAT 10–3 Shop the world’s largest collection of premier boutiques for home building and renovation. 45 BOUTIQUES. 1 LOCATION. theMART, CHICAGO
KITCHEN
BATH
TILE
CABINETRY
APPLIANCES
HARDWARE
LUXEHOME.COM 312.527.7939
FLOORING
WINDOWS
PAINT
LUXEHOME BOUTIQUES INCLUDE: Ann Sacks Artistic Tile Belwith-Keeler
Devon&Devon
Katonah Architectural Hardware
Porcelanosa Tile/Kitchen/Bath/Hardwood
Divine Flooring
Lefroy Brooks | Cooper & Graham
Scavolini Store Chicago
DOM Interiors
Middleby Residential/Viking Range/La Cornue
The Shade Store
Miele Experience Center
Sherwin-Williams Color Studio
Moen Design Center
SMEG USA
Monogram Design Center
Studio Snaidero Chicago
NEFF of Chicago
Sub-Zero, Wolf, and Cove Showroom
New Style Cabinets
True Residential
Bentwood of Chicago
Ernestomeda Chicago
Brizo and Delta Chicago
Experience & Design Center
Carlisle Wide Plank Floors
Exquisite Surfaces
The Chopping Block
FANTINI | THE GALLEY
Christopher Peacock
GRAFF – art of bath design center
Paris Ceramics
Vicostone
Dacor Kitchen Theater
House of Rohl Studio
Pella Windows & Doors
Waterworks
de Giulio kitchen design
Italcer
Poggenpohl
Wood-Mode Lifestyle Design Center
F O L D E D PA P E R S TA R T I N G W I T H T H E S H A P E S O F L I G H T A N D S H A D OW C R E AT E D PA P E R , O U R D E S I G N S T U D I O H A S C R A F T E D C A R P E T PAT T E R N S THE GEOMETRY OF STRAIGHT-LINE FOLDS AND THE ORGANIC C O M P R I S E D O F T H R E E PAT T E R N S : C R E A S E ( 2 4 ” X 2 4 ” T I L E S ) , P L A N K S ) , A N D T U C K ( 1 2 ” X 4 8 ” P L A N K S ) . 1 2 C O LO R WAYS . EFCONTRACTFLOORING.COM
BY M A N I P U L AT I N G T H AT T R A N S L AT E H A N D O F PA P E R . P L E AT ( 1 2 ” X 4 8 ” SHOWN: TUCK
Sonnhild Kestler