Interior Design November 2019

NOVEMBER 2019

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CONTENTS NOVEMBER 2019

VOLUME 90 NUMBER 17

ON THE COVER Emmanuelle Moureaux Architecture + Design's Tokyo installation of 140,000 paper cutouts celebrated the 100th birthday of the Japanese beverage Calpis.

Photography: Daisuke Shima.

FEATURES 116 COMRADE CARIOCA

by Peter Webster

Celebrating the 40th anniversary of its completion, Oscar Niemeyer’s French Communist Party headquarters continues to bring a sensual Brazilian lilt to Paris.

124 LIVE, WORK, PLAY

by Jesse Dorris

ODA transforms an old New York brewery into Denizen Bushwick, a convivial Brooklyn complex offering apartments and much more.

134 FESTIVAL OF COLOR

by Winifred Bird

A Tokyo installation by Emmanuelle Moureaux celebrates a beloved Japanese brand.

142 A ROUND THE CAMPFIRE

by Jessica Dailey

ZHANG JING/THREEIMAGES

Anacapa Architecture, Geremia Design, and M-Rad Architecture gather to create AutoCamp Yosemite, a unique hospitality project in Northern California.

150 URBAN RENEWAL

by Tate Gunnerson

Knoll’s new flagship in Chicago by Gensler reinforces the furniture company’s design philosophy—and reflects the city’s dual nature.

158 ON THEIR OWN

TWO FEET

by Casey Hall

A sprawling Shanghai kindergarten by ELTO Consultancy gives children lots of room to explore.

166 FACE VALUE

by Colleen Curry

Go ahead and judge these international destinations by their fantastic facades.

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158

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CONTENTS NOVEMBER 2019

VOLUME 90 NUMBER 17

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special hotshots section 77 DEEP FOCUS

by Nicholas Tamarin

This group of emerging talents have their eyes on the prize.

79 RENAISSANCE WOMAN

by Karine Monié 83 AGENTS OF CHANGE

by Wilson Barlow 87 APPLAUSE ALL AROUND

by Colleen Curry 91 MULTI FACETED

by Edie Cohen 97 SHOW ME THE SUGAR

by Edie Cohen 101 MIX MASTERS

by Colleen Curry 105 INSTANT BEAUTY

by Wilson Barlow

departments 25 HEADLINERS 29 DESIGNWIRE

by Annie Block 34 PINUPS

by Rebecca Thienes 40 BLIPS

by Annie Block 43 MARKET

by Rebecca Thienes,

Mark McMenamin, and

Georgina McWhirter 111 CENTERFOLD

by Colleen Curry Repetition Is the Key to Learning

An installation at a South Korea university by Lawrence Kim/A+U Lab is seemingly endless.

176 BOOKS

by Stanley Abercrombie

83

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183 INTERVENTION

by Wilson Barlow

SHAO FENG

178 CONTACTS

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All Designs and Images ©1989 - 2019 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

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ACOUSTIC SOLUTION SCULPTURAL IMPACT

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SANDOW was founded by visionary entrepreneur Adam Sandow in 2003 with the goal of building a truly innovative media company that would reinvent the traditional publishing model. Today, SANDOW is a fully integrated solutions platform that includes leading content, tools, and services, powering innovation for the design and luxury industries. Its diverse portfolio of media assets includes Interior Design, Luxe Interiors + Design, Galerie, and NewBeauty.

Materials Innovation brands include global materials consultancy Material Connexion, game-changing material sampling and logistics platform Material Bank, and materials reclamation program Sample Loop. SANDOW brands also include research and strategy firm ThinkLab. In 2019, SANDOW was selected by the New York Economic Development Council of New York to become the official operator of NYCxDESIGN Week, beginning in 2020.

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e d i t o r ’ s welcome

November, which marks our last all-out editorial push before the holidays, is indeed the time for all hands to be on deck. We are dead-set on accomplishing the humanly impossible before the closing bell of the year, and the reckoning that goes with that—the cold-hard facts and the even harder numbers, judging from our work. For us at Interior Design, an early gauge of our deeds and breakneck pace gives a final count of 21 issues for 2019—with magazines, special editions, and even a book—plus a slew of events, conferences, round tables, and umpteen videos and social diaries! One would

labor of love think this amazing performance should grant us the chance to rest on our laurels for the balance of the year. However, that is…well…totally out of the question. We always have your back, and just in time to support your own redoubled professional efforts, our November issue is all about hard-driving achievements and the people who show how it’s really done. We set out to “explore” explorations—as good a cause for winning innovations as one could ever find. Our inexorable march produced an exceptional crop of new travelers and an outstanding portfolio of projects like our over-therainbow cover installation in Japan and a fantastic facade face-off with a library in Spain boasting colored ceramic half-cylinders symbolizing book spines. Some astonishingly young guns paving their own design path even merited an entire section called Hot Shots, and the projects are as diverse as the talent: A workplace designed by architects who were once Berlin nightclub owners, a boutique hotel by an ex-toy designer now hospitality maven, and a mixed social space called, aptly, Morph, by a dynamic international duo doing everything from spatial to interactive.

Our November issue is a labor of love and an exemplary anthology of great design. But here’s another truth about it: It really has to be. Because come the end of the month, it will have to stand up to, or at least stand tall with, the titans of our industry, the 2019 Hall of Fame inductees, always colossal in stature. I want to take the opportunity to cheer this year’s illustrious honorees: Rick Joy, India Mahdavi, SCAD founder and president Paula Wallace, and Paul Lewis, Marc Tsurumaki, and David Lewis of LTL Architects. May you continue to lead us into design’s bright future!

See ya in glitter and black ties, xoxo

MONICA CASTIGLIONI

Follow me on Instagram

thecindygram

NOV.19

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INTERIOR DESIGN

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HEADLINERS

Emmanuelle Moureaux Architecture + Design “Festival of Color,” page 134 principal: Emmanuelle Moureaux. firm site: Tokyo. firm size: Five architects and designers. current projects: Installations for Issey Miyake in Tokyo and Patek Philippe in Singapore. honors: Aesthetica Art Prize; International Design Award. role model: Miyake for his architectural approach to clothes and always evolving and surprising techniques. three: A native French speaker, Moureaux’s Japanese is much better than her English. one: She only eats once a day, in the late evening after work. emmanuelle.jp

“For me, color is a medium to create space and emotion” NOV.19

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h e a d l i n e rs

M-Rad Architecture

Geremia Design

Gensler

“Around the Campfire,” page 142 founder, ceo: Matthew Rosenberg. firm site: Los Angeles. firm size: 15 architects and designers. current projects: Green Street cannabis coworking club in L.A.; Ring headquarters in Hawthorne, California. role model: Bjarke Ingels for building a business out of an architecture studio on the back of a media and communications company.

“Around the Campfire,” page 142 principal: Lauren Geremia. firm site: San Francisco. firm size: Eight designers. current projects: Purple Patch elite-athlete training center in San Francisco; residences in Berkeley and Belvedere Island, California. role model: One of many is early 20th– century architect Julia Morgan, her work ethic, designing over 700 California buildings, “is something I reflect on daily.”

“Urban Renewal,” page 150 office sites: Chicago and New York. office size: 537 architects and designers. principal, co-managing director: Todd Heiser, AIA, IIDA. current projects: Willis Tower in Chicago; Nvidia in Santa Clara, California. honors: Interior Design HiP Award; AIA Henry Adams Medal. principal, senior project director: Helen Hopton, AIA, IIDA. current projects: Pritzker Group and Wiss, Janney, Elstner Associates in Chicago. role model: Florence Knoll for humanizing and shifting the paradigm of modern design.

high: An alumnus of RISD, Geremia tries to paint every day. low: The name of her Monday night Skee-Ball league team is Skeebums. geremiadesign.com

architect: Heiser has a master’s from SCAD. artist: In addition to an interior architecture degree from RISD, Hopton also has one in fine arts. gensler.com

ELTO Consultancy

Anacapa Architecture

ODA

“On Their Own Two Feet,” page 158 design director, founder: Chloe Liew. firm site: Shanghai. firm size: Seven designers. current projects: DEE Future Academy in Shanghai; Coca-Cola Café, Universal Music, and Air Asia, all in Kuala Lumpur, Malaysia. role model: Mentor and designer Henry Leung for encouraging Liew to give every space its own story.

“Around the Campfire,” page 142 founder, principal: Dan Weber, AIA. office site: Santa Barbara, California. office size: 10 architects and designers. current projects: Zoom headquarters in Santa Barbara; a resort in San Juan del Sur, Nicaragua; a hotel in Al Ula, Saudi Arabia. role model: Ludwig Mies van der Rohe, the genre of modern architecture as we know it wouldn’t exist without his influence.

“Live, Work, Play,” page 124 founder, principal: Eran Chen, AIA. principal: Ryoko Okada. firm site: New York. firm size: 70 architects and designers. current projects: Collective co-living space in New York; Book Tower in Detroit; Post Tower in Rotterdam, Netherlands. role model: Norman Foster for his pioneering use of green practices and technologies.

candy: Liew has collected wrappers for their graphics since she was a young girl. cat: Now her 3-year-old cat named Lufa, she says, “inspires me a lot.” eltoconsultancy.com

one: In 2016, Weber launched his firm on and named it after Anacapa Street, synonymous with ecology, creativity, and start-ups. two: He opened a second office in Portland, Oregon, in 2017. anacapaarchitecture.com

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father: Eran builds cardboard models with his kids. farther: Ryoko’s next vacation will be spent exploring the countryside of her native Japan. oda-architecture.com

GEREMIA: MOLLY DECOUDREAUX; CHEN, OKADA: RINZE VAN BRUG (2)

food: Rosenberg cooks every day because it allows him to “create something unique much quicker than creating a building.” scent: He mixes all of his own fragrances one drop at a time, a process he finds “extremely meditative.” m-rad.com

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ephemeral mansion It’s a bird, it’s a plane, it’s a… nearly 2-acre earthwork captured from a drone. And it was only up for one day, on the grounds of the Grade I–listed Houghton Hall in Norfolk, U.K. Called Estate, it was the folly of British artist Richard Woods, known for turning trompe l’oeil on its head.

For this installation, 70 volunteers spent the morning pinning down

design wire

edited by Annie Block

NORWICH UNIVERSITY OF THE ARTS MARIEL FERRER DAVID STAFFORD

1¼ miles worth of black cotton fabric in the shape of a generic house. The purpose of the exercise for Woods was manifold: to create a work similar to such ancient hill figures as the Uffington Horse and Cerne Abbas Giant that can only be seen from above, a notion relevant today with inventions like Google Earth; address planned green-field mass development; and juxtapose two architectural styles, one that took hours to complete, the other many generations. “It also continued my ongoing interest in blurring the boundaries between art, design, and architecture,” Woods says. His current exhibition, at Albion Barn in Oxford, consists of paintings of doors and windows hung on gallery walls, creating a “place where those three disciplines get all mixed up,” he adds, “the place I like the most.”

Estate, by Richard Woods, was installed for just one day, October 13, on the orna­ mental lawn of Houghton Hall in the U.K.

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the space between us “As a child of immigrants, and an immigrant myself, my fixation on space is a particularly meaningful one. How it can affect and shape its occupants,” says Loribelle Spirovski, the 29-year-old visual artist who was born in Manila to a Filipino mother and a Yugoslav father and lives today in Sydney, Australia. In addition to her identity, her father, a structural engineer with a “huge interest” in design, also contributed to the leitmotiv of her body of work: surrealist portraits backdropped by detailed architectural environments.

Two dozen of them compose “Love, Death and the Time I Knew You” at the House of Fine Art gallery in London, Spirovski’s first solo show in the city. Fittingly, the paintings, at 4 feet tall, are room-size, their settings, featuring archways and tilework, informed by an artist residency at Palazzo Monti in Brescia, Italy. One work, The Solipsist, contains a chair that could be a Michael Thonet, but it was inspired by a beloved bentwood rocking chair in the artist’s childhood home.

d e s i g n w ire

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COURTESY OF LORIBELLE SPIROVSKI AND THE HOUSE OF FINE ART

Clockwise from top: Loribelle Spirovski’s The Solipsist, The Candidate, The Emissary, and The Ingenue, all 2019 paintings in oil and acrylic on linen, are on view at the House of Fine Art in London through December 11.

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And now she has designed shortboards. Colorless With a Hint of Blue is a 20-piece series of one-of-a-kind surfboards by celebrated German painter Katharina Grosse. But they represent even more than artistic beauty. Proceeds from their sales—they’re $50,000 each, available at Gagosian Shop in New York—go to Parley Global Cleanup Network, an organization with the aim of ending marine plastic pollution. Reducing foam, resin, and fiberglass use, the boards themselves were made by Firewire Surfboards of sustainably grown and sourced paulownia wood, which Grosse painted directly on with water-based acrylics.

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rising stars edited by Rebecca Thienes text by Mark McMenamin, Georgina McWhirter, and Rebecca Thienes

01 lucie roy In the small town of Favières, in the north of France, a collective of young female glass designers is making waves. Dubbed KalÊidosco, its five founding members include Roy, whose Blue Lands float-glass wall tiles play with translucency and opacity in aqueous hues. The puddled effect of pigment on the roughly 6-inchsquare, beveled-edge tiles is obtained from multiple enamels and three successive firing processes. Subtle gold-painted details provide the glimmering finishing touch. kaleidosco.fr NOV.19

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m a r k e t collection rising stars

MARIAH PERSHADSINGH AND DANA HURWITZ

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CLOCKWISE FROM TOP LEFT: COURTESY OF BOND HARDWARE; PAUL QUITORIANO; JONATHAN GRASSI (2)

FROM TOP: JONATHAN GRASSI (2); PAUL QUITORIANO

PILLORY

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02 Turning scrap metal into edgy jewelry has been Bond Hardware’s body of work.

But founder Dana Hurwitz and partner Mariah Pershadsingh have recently added furniture for the home to their offerings.

“Our pieces were always sharp and aggressively minimal,” Hurwitz says. “Now, they’re monumental in scale.” Some rendered in equally monumental materials, too. Marble, for instance, either black Nero Marquina or white Carrara, forms the tops of the Pillory end table and the asymmetric Single Blade cocktail table, both supported by stainless-steel legs, and the fresh-sawn relief surround of the Buzzsaw Monolith standing mirror. Transparent resin meets tempered glass in the 3 Cinder Block end table. The trompe l’oeil Giant Nail sculpture in polished aluminum is available for custom order.

BUZZSAW MONOLITH GIANT NAIL

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CLOCKWISE FROM TOP LEFT: COURTESY OF BOND HARDWARE; PAUL QUITORIANO; JONATHAN GRASSI (2)

FROM TOP: JONATHAN GRASSI (2); PAUL QUITORIANO

“Larger designs mark our next step as a lifestyle brand”

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NOV.19

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manufacturer Erickson Aesthetics. product Halo Drippp. standout A rainbow spectrum enlivens a fundamental form.

Growing up in rural Vermont and New Jersey informed Erickson’s penchant for austere minimalism. But the furniture designer discovered newfound flamboyance in a collaboration with surfboard designer Andrew Zinicola. The same pigmented epoxy resin used to glass boards is methodically dripped onto the cocktail table’s conical birch-plywood base. “Depending on the viscosity, the colors either slowly melt into each other or brightly stripe the piece,” Erickson says. After several coats of clear resin, the tip of the stack-laminated cone is sawn off, then reconnected to the base through the 52-inchdiameter glass top with a securing threaded rod. ericksonaesthetics.com

“The effect is like a volcano flowing with psychedelic lava”

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M A R K E T collection rising stars

FIVE-TIER LEANING SHELF

DOUGHNUT

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soft geometry

“It leaves you with the kind of sugar high that spaces should inspire” PALAASH CHAUDHARY AND UTHARAA ZACHARIAS

Their parallel paths have taken them from India’s National Institute of Fashion Technology Delhi for college to the Savannah College of Art and Design, where they completed their master’s in 2017. Settling in northern California, Palaash Chaudhary and Utharaa Zacharias have since founded Soft Geometry, a reference to their easygoing personalities and passion for shapes. Their latest furniture collection, Dessert Menu, embodies the youthful anticipation of after-dinner treats via solid-wood pieces. Take Doughnut: It’s a glass-topped coffee table centered on a plump ring of a base formed from CNC-carved oak. Cotton candy is on the menu with Fluff Bench Jr. in maple trimmed with furry acrylic-polyester. The duo’s clean-lined proclivities are palpable in the Five-Tier Leaning Shelf in white ash. soft-geometry.com 48

INTERIOR DESIGN

PALAASH CHAUDHARY

FLUFF BENCH JR

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MARKET rising stars

asa pingree 05 “Fiberglass is not just your grandfather’s molded chair”

Apprenticing in his father’s boatbuilding shop in Maine, Pingree learned how to solve the challenges of designing and fabricating. His sense of discovery endures today at his Brooklyn workshop, where he recently began experimenting with fiberglass. “It frees me to play with the form,” he explains. “I can explore simple shapes for beauty or fun without the structural engineering tendencies in me having a say.” One of the first fruits of his labors: Monitor, a stool named after the cylindrical turret on the Civil War battleship. The pert seat is formed from fiberglass over a foam core, then finished with a gel coat to boost durability. The latex foam cushion is upholstered in hand-stitched silk velvet. asapingree.com

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While feng shui expert Colleen McCann was arranging the chi in an apartment by this NYCxDesign Award winner, she remarked that quartz increases natural energy. It was a lightbulb moment for di Leo, who proceeded to channel the notion into Amplifier, a 15-inchhigh table constructed from pure quartz crystal. “It was originally designed as a meditation altar, a place to work with sacred objects,” he says. “But whether used as that or a coffee table, the intention is for it to help clients release and transform.” With a built-in hidden shelf, it can also help them organize. judeheslindileo.com

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08 Marie Schumann products Softspace #5 and #6. standout Lively tapestries with haptic fringing and draped threads are woven by the Swiss designer from shimmering Lurex and Trevira CS or cotton on an industrial jacquard loom.

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09 product Liquorice. standout The shelves, available in a vertical or horizontal orientation, are made with Lankapaja metalsmith from black rods of bent and powder-coated steel reminiscent of the candy after which they’re named. Through Young Finnish Design. youngfinnishdesign.com

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10 Felicia Arvid product Addéra. standout Knowing the value of mix and match, the woolcovered cushions, arm and backrests, and painted-birch tablet of this daybed by the former fashion designer are all reconfigurable, thanks to their ability to slot into the tubular-steel base. feliciaarvid.com

Emiliana Gonzalez and Jessie Young product Flecha. standout The Estudio Persona founders and creative directors are Uruguay natives, but to celebrate the opening of their Los Angeles showroom and studio, they launched the angled side table made of mahoganyveneered plywood. estudiopersona.com

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M A R K E T rising stars product Aracne. standout Like the name implies, the 40-inch-diameter glass top is supported by eight legs in light oak or dark walnut, creating a coffee table that the LatoxLato creative directors say “brings the novelty of unexpected structure.” latoxlato.com

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WHY CARBON MATTERS Its Impact on Human Health and the Future of Design

Presented by

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SHOULD WE RETHINK THE DEFINITION OF HUMAN-CENTERED DESIGN? It’s a ubiquitous term in the interior design industry — and rightly so. After all, if we’re not designing for people, who will recognize great design? And how will we continue to provide value and drive continued business?

Human-centered design has been around forever, and its meaning continues to evolve. We’ve recently expanded the definition to not only include how a person experiences a space but to also consider how the materials in the space may affect the people in it.

It’s now time to expand our definition again.

In our quest for biophilic design, our conversations around “healthy materials,” and our drive to create experiences that go beyond meeting basic needs, we’ve completely glossed over the greatest threat to human health in the 21st century: climate change.

And as designers, we’ve left the job of reducing carbon emissions to professionals that consider the operational energy use of buildings and haven’t paid attention to all the carbon emissions that come from producing the building materials themselves.

Until now.

It’s a fact that buildings and construction account for 40 percent of total global greenhouse gas emissions. And experts say that carbon emissions from the built environment need to peak within the next 15 years for Earth to have a chance of staying below the global warming tipping point.

Within that same time period, we will construct 900 billion square feet of new buildings and major renovations globally.

Knowing this, architects and designers have a huge opportunity to consider the humans of the present and the humans of the future in our process. Human-centered design needs to consider the humans involved in the supply chains of materials and products we specify into projects. It needs to consider the humans who will live, work, learn, and heal in the buildings we’re designing now. And it needs to factor in the carbon emissions of the products and buildings we work with every single day.

Seem impossible? With the right knowledge and tools, it’s easier than you might think.

Lisa Conway Vice President, Sustainability Interface Americas

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A CLOSER LOOK AT CARBON With concern mounting for our warming planet, how well do you understand the relationship between carbon and human health?

Scientists studying climate change say rising temperatures and sea levels will set in motion more health risks around the globe. As designers, architects, and manufacturers, you are uniquely positioned to mitigate this impending crisis by taking steps to neutralize, and potentially reverse, our impact on the climate.

Time is of the essence, though. The urban built environment accounts for 75 percent of annual global greenhouse gas emissions, with buildings alone accounting for 39 percent1. If the design community implements greener manufacturing processes and building principles now, the Earth’s ecosystem will have a chance to retain its balance. By familiarizing yourself with the science behind carbon emissions and offset opportunities, you’ll be better equipped to protect the planet, and our health.

© Geoff Livingston\Kasigau Corridor REDD+ Project, Kenya\Courtesy of Wildlife Works & Everland Marketing

CARBON DEFINED Carbon dioxide—a colorless gas produced by burning fossil fuels, such as coal, natural gas, and oil, and through respiration—is the most prevalent greenhouse gas in the atmosphere2.

And since greenhouse gases absorb heat, warming the planet, a key to preserving clean air and water and slowing the effects of climate change is understanding carbon.

Today, the concentration of carbon in the atmosphere is dangerously high. When levels in the atmosphere surpass 400 parts per million (ppm), the Earth becomes warm enough to melt off chunks of ice in Greenland and Antarctica.

We’re already at that point. Carbon dioxide in the atmosphere surpassed 400ppm in 2013 for the first time in recorded history and continues to climb—making our current levels higher than ever recorded in the last 400,000 years3.

How did we get here? The industrial revolution marks a known tipping point. Though this era brought many innovations, namely the transition from hand production to machine manufacturing processes involving chemicals, iron, and steam power, it also required burning fossil fuels, significantly increasing the amount of carbon released into the atmosphere. These changes have profound effects on our health.

CARBON EMISSIONS AND HUMAN HEALTH In the study of geology, monumental change happens at a glacial pace—literally. Scientists estimate that at the time of the last ice age, about 20,000 to 11,000 years ago, carbon dioxide

levels increased from 200 to 280ppm—a shift that occurred over the course of 6,000 years. More recently, we’ve seen carbon levels rise from 280ppm to more than 400ppm in less than 200 years. “I call it an explosion,” says Pieter Tans in a documentary chronicling climate change called Ice on Fire. Tans leads the Global Greenhouse Gas Reference Network. “It’s instantaneous in the geologic timeline,” he adds.

Climate change impacts core determinants of human health, such as clean air, safe drinking water, sufficient food, and shelter5. According to the Centers for Disease Control and Prevention (CDC), climate shifts caused by increased carbon dioxide levels lead to more air pollution and allergens, while also impacting water quality and supply—in turn causing respiratory allergies, asthma, Lyme disease, mental health issues, and more.

The solution? We need to emit less carbon into the atmosphere and remove some of the excess that currently exists there to create a climate fit for life. Interface, the global flooring leader in sustainability, is committed to viewing carbon as a resource, rather than an enemy6. Since the mid90s, the company has implemented strategies to reduce waste, energy, water usage, and greenhouse gases by setting aggressive goals and continuously innovating. Though Interface products already have an embodied carbon reduction focus, the company is determined to do more, with a goal of being carbon negative by 2040. As members of the design community tasked with imagining and bringing to life the buildings and products of tomorrow, you have the ability to set in motion profound change by lowering your carbon footprint and pushing forward the climate change dialogue.

1 Architecture 2030: https://architecture2030.org/2030_challenges/2030-challenge/ 2 Environmental Protection Agency: https://www.epa.gov/ghgemissions/overview-greenhouse-gases 3 NASA. The Relentless Rise of Carbon Dioxide: https://climate.nasa.gov/climate_resources/24/graphic-the-relentless-rise-of-carbon-dioxide/ 4 Spencer Weart, August 2012. https://www.scientificamerican.com/article/discovery-of-global-warming/ 5 World Health Organization: Climate Change and Health. Published February, 2018: https://www.who.int/news-room/fact-sheets/detail/climate-change-and-health 6 Interface video: FYI | Carbon. Released January, 2019: https://www.youtube.com/watch?v=mumgbxLdz_E&feature=youtu.be

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ADVERTORIAL

CALCULATE YOUR CARBON FOOTPRINT WITH EC3 Resources that can help you compare the amount of embodied carbon emitted by each product are essential, such as the newly available Embodied Carbon in Construction Calculator (EC3) tool. The EC3 tool enables users to assess the embodied carbon in their supply chain, which allows them to specify and procure lower-carbon options, based on available products.

With the EC3 tool, designers can ask: How many carbon emissions are being released to make the product I’m specifying? “If you’re not choosing carbon-smart finishes, you’re missing the biggest opportunity you have to make a difference on climate,” says Mikhail Davis, Director of Technical Sustainability at Interface. To better understand the relationship between embodied carbon emissions and the built environment, utilizing the EC3 tool is a great place to start.

CARBON BY THE NUMBERS According to the World Health Organization

7 MILLION premature deaths are caused by air pollution every year

250,000 additional deaths are projected to result from climate-sensitive diseases (heat stress, malnutrition, dengue, and malaria) from 2030 onward 2 TO 1 BENEFIT-COST RATIO Health gains from climate action are double the cost of mitigation policies at a global level

$2-4 BILLION/YEAR = the projected cost of health concerns caused by climate change by 2030

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Perkins & Will/Interface Global Headquarters/Photo: Nick Merrick

Go to buildingtransparency.org to learn more.

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Perkins & Will/Interface Global Headquarters/Photo: Nick Merrick

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THE FUTURE OF DESIGN IS SUSTAINABLE Through research and strategic specification of materials, designers can create spaces that produce measurable benefits backed by science.

“Those of us specifying and making products for the built environment every day can have such a positive impact on both the planet and overall health outcomes,” says Lisa Conway, VP of Sustainability at Interface. “The power of smart specification decisions and understanding what is behind the materials we use is immense.”

Sourcing materials that limit or reduce carbon emissions is a vital step, and one manufacturers and designers can take today.

Interface is currently exploring raw materials that absorb carbon from the atmosphere and using them to make products. The company’s CircuitBac™ Green Carpet tile backing, available on specific products manufactured in Europe, actually stores more carbon during its life cycle than it emits. Sourcing materials that limit or reduce carbon emissions is a vital step, and one manufacturers and designers can take today.

Spreading awareness and education also is essential. Interface co-founded the Materials Carbon Action Network (materialsCAN) to offer the industry a forum to discuss carbon and explore specification solutions. Major firms, such as Gensler, are part of the network, making carbon a more visible topic7.

This fall, the design community also will have access to the Embodied Carbon in Construction Calculator (EC3), created in collaboration with the Carbon Leadership Forum by Skanska USA, Microsoft, and C Change Labs.

UNDERSTANDING CARBON OFFSETS When manufacturers know their products are not yet carbon neutral, even with carefully sourced materials and cleaner processes, they can seek out ways to achieve a net-zero impact. Here is where carbon offsets can make a significant impact. Carbon offsets serve as a catalyst for the change needed to improve the health of the planet by enabling manufacturers to take responsibility for their own carbon footprint. Companies, such as Everland and Bluesource, ease the process of identifying offset projects by providing manufacturers guidance about their levels and sources of carbon emissions as well as a database of opportunities to reduce them.

For manufacturers, the first step to reducing carbon emissions is calculating how much is being produced by a given process, project, or product.

Next, it is imperative manufacturers implement greener processes and more environmentally conscious decisions where possible to neutralize or reduce their overall footprint. When internal reductions are uneconomical or even impossible, such as emissions necessary for the transport of materials, then offset projects provide additional opportunities to pull carbon out of the atmosphere.

This is especially important since companies rarely control every element of a product’s supply chain.

While carbon offsets are by no means the single solution to the climate problem, they do fund real action. High-quality offset projects are thoroughly vetted by a third party to ensure the emission reductions are impactful and that the revenue from offsets flows to those enacting the change, creating a demand for others to conserve the environment. In the process of offsetting carbon, you’re also ensuring more positive—and necessary—changes become a reality.

As we move toward another pivotal point in the fight to preserve our health and quality of life—one where carbon levels in the atmosphere could hit 600-700ppm, which is warm enough to melt all land ice masses and significantly raise seas8—large and small changes to reduce carbon emissions matter more than ever. To preserve our natural resources and replenish the quality of our air and water, start with carbon smart specification choices and cleaner building design.

The time to act is now.

7 Interface materialsCAN website: materialsCAN.org 8 Ice on Fire Documentary. Directed by Leila Conners. Produced by Leonardo DiCaprio, Leila Conners, George DiCaprio, Mathew Schmid. HBO Films, Appian Way Productions. Released May, 2019.

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ADVERTORIAL

HOW TO TALK ABOUT CARBON When it comes to the carbon lexicon, where seemingly opposite terms such as climate positive and carbon negative carry the same meaning, scientific language can be challenging to navigate. As architecture and design firms evaluate ways to reduce their carbon footprint and make better choices for customers by designing projects with carbon in mind, understanding these core terms is a vital step.

GREENHOUSE GAS Greenhouse gases are gases that absorb and trap heat in the atmosphere—including carbon dioxide, methane, and nitrous oxide—thereby warming the planet. These gases are emitted through various manufacturing processes, including the creation of building materials.

Why it matters? Carbon dioxide is the most prevalent greenhouse gas in the Earth’s atmosphere, accounting for about 82% of all greenhouse gas emissions9, and it’s one we can proactively reduce.

EMBODIED CARBON Embodied carbon encompasses the carbon dioxide emitted during the extraction, manufacture, transport, and construction of building materials. For the design community, reducing embodied carbon needs to be a priority.

Why it matters? Architecture and design firms have an immense opportunity to push climate change initiatives forward by proactively working to reduce embodied carbon.

OPERATIONAL CARBON Operational carbon is defined as the carbon dioxide emitted during the operational or in-use phase of a building. Architects, manufacturers, and designers can limit and reduce operational carbon through strategic systems and processes.

Why it matters? Operational carbon accounts for current and long-term use of a building, which means the amount of carbon dioxide emitted during its life cycle will greatly impact our carbon footprint in the near future and long-term.

WHOLE CARBON Whole carbon includes operational carbon + embodied carbon. Architecture and design firms can design operational efficiencies and specify products with the goal of reducing whole carbon to minimize overall emissions.

Why it matters? All carbon emissions contribute to climate warming, so both operational and embodied measures need to be accounted for when considering ways to offset the carbon footprint of your project or product.

CARBON FOOTPRINT A carbon footprint is the total amount of carbon emissions produced by an individual, event,

company, or product. In the design realm, this includes the measure of everything from the energy required to produce a product to the emissions associated with material sourcing— each step is assigned an “emissions factor.”

Global Warming Potential (GWP) is a means of measuring carbon footprint and can be found on a product’s Environmental Product Declaration (EPD).

Why it matters? A product’s carbon footprint provides a holisitic measure of its impact on climate change.

CARBON NEUTRAL Carbon neutrality occurs when the amount of carbon emitted in the atmosphere is equivalent to the amount of carbon pulled out of it, creating a net-zero impact. Achieving carbon neutrality is the only way manufacturers and companies can ensure they are not contributing to a warming planet.

Why it matters? It’s completely possible to achieve carbon neutrality today through strategies such as purchasing carbon offsets.

CARBON OFFSET A carbon offset is a reduction in the emissions of carbon dioxide to compensate for those made elsewhere, often by funding projects that remove carbon from the atmosphere or prevent it from being released.

Why it matters? Even the most clean and efficient manufacturing processes may emit carbon somewhere in their life cycle, including the supply chain. By funding offsets, like Bluesource’s clean-cookstove initiative, companies can achieve a zero carbon impact.

CARBON NEGATIVE A negative carbon footprint is a good thing and describes the reduction of a company’s or product’s carbon footprint to less than neutral, meaning it actually removes carbon dioxide from the atmosphere. This is sometimes referred to as “Climate Positive.”

Why it matters? Over the next 30 years, it’s estimated that three-quarters of the built environment will be new or renovated10, which means architects and designers must act now to ensure carbon emissions do not continue to climb.

9 The U.S. Environmental Protection Agency: https://www.epa.gov/ghgemissions/overview-greenhouse-gases 10 Architecture 2030: https://architecture2030.org/about/faq/#toggle-id-3

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6

IMMEDIATE STRATEGIES TO REDUCE EMBODIED CARBON

materials, material waste, and 1 Reuse buildings whenever possible to eliminate the need to create new materials and construction.

potential “heavy hitters� from 2 Understand a carbon standpoint and pay attention to the embodied carbon of those materials, such as concrete, steel, irresponsibly sourced wood, glass, insulation, aluminum, carpet, wallboard, and ceilings.

for transparency documentation, 3 Look such as Environmental Product

Declarations (EPDs), on the products you specify. Take note of recycled and bio-based content, as this can be a sign of reduced embodied carbon.

and educate suppliers, partners, 4 Engage and other vendors about embodied

Perkins & Will /Interface Global Headquarters/Courtesy of Interface

carbon and ask for their current and future strategies for reducing its impact.

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each project as an individual 5 View carbon footprint and introduce

strategies for getting clients to a carbon neutral state. Potentially, encourage clients to purchase carbon offsets for any remaining carbon footprint.

up on your carbon knowledge with 6 Brush resources including Project Drawdown

(drawdown.org), the Carbon Leadership Forum (carbonleadershipforum.org), Architecture 2030 (architecture2030.org), and the book: The New Carbon Architecture: Building to Cool the Climate by Bruce King.

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CERTIFICATIONS AND LABELS Design certifications, such as LEED and the International Living Future Institute’s Declare Label program, now include language around reducing carbon emissions rather than solely relying on indirect measures of such, like energy use or recycled content. The latest version of LEED—LEED v4.1—also is more accessible, with simplified credits to strengthen participation. At the same time, shifts in the Declare Label program further encourage companies to disclose a product’s carbon emissions. Incorporating carbon metrics into these core environmental certifications sets a high precedence for the future of design and its impact on our environment.

KEY CHANGES IN LEED V4.1 - Confusing credits with little or no adoption have been simplified (EPD Option 2 and Material Ingredients Optimization) or eliminated (Raw Material Source & Extraction Reporting).

- EPD Option 2 (“Multi-Attribute Optimization”) now gives manufacturers multiple options for showing how they have reduced their product’s carbon footprint.

DECLARE LABEL UPDATES The International Living Future Institute’s Declare Label program traditionally provides LEED v4 compliant ingredient disclosures and maintains a Red List of ingredients they consider worth avoiding, if possible, offering a narrow definition of what makes a material “healthy.” In October, manufacturers unveiled the first Declare Labels that also disclose the product’s carbon footprint, bringing climate impact into the “healthy materials” discussion for the first time.

GREEN CIRCLE CERTIFIED ENVIRONMENTAL FACTS LABEL Many designers are used to looking for green certifications and labels when they select products, but what labels can we look for to find lower embodied carbon products? The clear leader in this area is the Certified Environmental Facts Label from GreenCircle Certified, LLC which shows over 30 environmental facts on the label, including the carbon footprint and any reductions in carbon footprint of the product. This label can also tell designers whether the product contributes to the Multi-Attribute Optimization (EPD Optimization) point in LEED v4.1, which now requires reduced embodied carbon.

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Perkins & Will /Interface Global Headquarters/Courtesy of Interface

- Stronger focus on reducing the climate impact of the full lifecycle of a building, for both Operational Carbon emissions from building energy use and Embodied Carbon emissions from building material supply chains.

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HOW TO TALK ABOUT CLIMATE CHANGE WITH PROJECT DRAWDOWN’S KATHARINE WILKINSON

Interior Design and Interface spoke with Dr. Katharine Wilkinson, author and VP of communication and engagement at Project Drawdown—a global research organization that identifies climate solutions— about how to move forward conversations about carbon neutrality and sustainable design while calling others to action. Wilkinson recommends a seven-point strategy for talking about climate change: 1.

Own your voice, 2. Tell the truth, 3. Make space for “feels,” 4. Share solutions, 5. Connect the dots, 6.

Picture possibility, and 7. Talk together. Here, she addresses all seven in a Q&A. How can architects and designers use their influence to mitigate climate change?

Katharine Wilkinson: A good place to start is with some personal reflection. If this is an issue you care about, why do you care about it? You don’t have to be a scientist, an activist, or a policywonk to make a really important contribution— so starting from a personal place and then rippling out from there is one way to bring your professional perspective to the conversation. What is really powerful is when people come to this topic with an authenticity rooted in who they are and what they care about.

Where can the design community find the most accurate and up-to-date information about the impact of carbon and ways to offset it?

KW: Project Drawdown aims to be a worldleading and expansive resource for climate solutions—so definitely check out Drawdown. org and our New York Times bestselling book Drawdown. I’ve learned a lot about design- and building-related climate solutions from the Living Building Challenge, the Rocky Mountain Institute, and leaders in the space like Erin Meezan, Lindsay Baker, and Jonathan Rose. Oh, and architecture2030.org.

In what ways can we shift climate-change discourse to be more emotionally intelligent?

KW: Questions are always an incredibly powerful place to start—not yes or no, fact-based questions, but questions that come from a place of inquiry and openness. For example: Is sustainable design something you have been thinking about generally or related to a particular project? There may be some folks who are incredibly committed to this topic, but there are a lot of people who are on the fence or slightly ambivalent, so beginning to tease out glimmers of interest or concern is a step. Co-creating a vision almost always feels better than “telling and selling.” That’s true on design and it’s true on climate.

What types of solutions can the design community implement now?

KW: In the world of design and architecture, I think there are three big solution areas. First, create or retrofit buildings and spaces to be highly energy efficient—utilizing natural and LED lighting,

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building automation or smart thermostats, efficient windows and insulation, green and white roofs, etc. Second, incorporate renewable energy, perhaps through on-site solar electricity generation or geothermal heating. Third, opt to use sustainable materials, like bamboo, reused items, or recycled materials. “Less” and “enough” are really powerful words. But that’s just the beginning. What opens up if you think about nature as a design partner?

For folks who may be less interested in climate change, are there other ways to engage them on solutions?

KW: Per our name, Project Drawdown hopes humanity actually reaches drawdown, which means the point in time when the rising concentration of greenhouse gases in the atmosphere actually stops rising and begins to decline year-over-year. But it’s also important to think about multi-solving. So we’re not just solving for emissions, we are solving for a lot of more near-term, tangible needs. In the process of shaping a climate-safe future, hopefully we can also create a much better present.

Are there distinctive contributions the field of architecture and design can make?

KW: So much so. We’re in this moment of really needing the power of imagination. As we think about how to build a climate-safe future, we need the creative horsepower of the design community. Designers also sit at such an interesting nexus of conversation, with clients, with suppliers. Being messengers across those spaces is really powerful.

What types of conversations are most effective when it comes to spreading awareness?

KW: It’s about an exchange. We should be relating as much as we’re relaying information.

If you’re trying to bring someone along this journey of doing something differently or trying something innovative, then being able to share stories about how that has worked and, particularly, about the people involved and the benefits, is meaningful. In a moment where we need to be engaging as boldly as we can, it’s important to think about what you uniquely can do and then use your magic to do that.

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CHIC WITH A FOCUS ON CARBON

INSIDE A PROJECT THAT GOES BEYOND LEED Imagine a commercial space that actually reduces the amount of carbon in the atmosphere through strategic design.

The Houston Advanced Research Center (HARC), a research hub that provides independent analysis on energy, air, and water issues in The Woodlands in Texas, exemplifies how this can become a reality.

The center, established as a not-for-profit research organization in 1982 under the vision of sustainability advocate and philanthropist, George P. Mitchell, taps into the ecology of its surroundings to further its mission: To provide independent analysis on energy, air, and water issues to people seeking scientific

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answers and to operate as a research hub by finding solutions for a sustainable future.

Working with external building and design partners, the design team succeeded in creating a LEED Platinum certified green building—the most environmentally stringent certification issued by the U.S Green Building Council. “From its program of work to its LEED Platinum facility, HARC walksthe-talk,” notes Lisa Gonzalez, HARC’s President and CEO. “The organization’s new headquarters is an exemplar for environmental stewardship, building efficiency, community outreach, and affordable net zero in the Gulf Coast Region.”

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Images courtesy of Gensler

To earn a LEED platinum certification, the design team limited use of finished materials, exposing much of the building’s construction, and implemented water stewardship systems, such as mitigating stormwater runoff with vegetated bioswales for landscape regeneration. A life cycle analysis (LCA) was done to select lower embodied carbon concrete and steel. For the interiors, the design team sought to minimize materials and waste. HARC’s headquarters manages to protect and restore the balance of its 3.5-acre site through strategic use of native and water-smart plant species. The building also utilizes energy efficient geothermal heat exchange, natural light, and solar photovoltaic roof panels.

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Nearly all aspects of HARC’s headquarters are designed to reduce carbon emissions, positioning it to become one of the first commercial ne-zero energy buildings in Texas. The building currently produces more on-site energy than it uses to realize a net zero operational energy goal. In terms of carbon, this means over the course of a 25-year lifespan, HARC could eliminate 2,415 tons of carbon dioxide in the atmosphere—the equivalent of planting 56,282 trees—making a strong case for green design.

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No ifs. No buts. Just Carbon Neutral Floors™.

To learn more visit interface.com/carbonneutral

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deep focus This group of emerging talents have their eyes on the prize

HOT shots Though we’ve been the industry bible for 87 years, Interior Design is not content to rest on its august laurels. And while we continue to showcase the ne plus ultra of the A&D community, it’s our constant search for new talent that keeps us fresh—and dare we say young.

For our annual section on design’s up-and-comers, we traveled from South Korea, where three bartenders turned architects served up a collaborative office for cosmetics giant AmorePacific, to a futuristic hair salon in central Italy by a homegrown maestro, to Southern California, where a pair of married architects have elevated the doughnut with a handsome café. Wherever we looked, we found the next generation moving us—and design—forward.

—Nicholas Tamarin

Dongzi Yang, and his Various Associates co-founder Qianyi Lin, are among our seven hotshots. See page 83 for Morph, the event space they designed in Shenzhen, China.

SHAO FENG

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hot shots

renaissance woman firm: @dorotheemeilichzon project: il palazzo experimental, venice own boss: age 27

KAREL BALAS

When not even 30 years old yet, Dorothée Meilichzon founded her Paris studio, Chzon. It was just five years after finishing industrial design studies at Strate School of Design and RISD, where she focused on toy design (she even interned at Hasbro).

Returning to Paris and working at creative agencies Dragon Rouge and Landor, her first solo interiors project was the speakeasy-style Prescription Cocktail Club. After, she laun­ch­ed her firm in 2009. In 2015, she was named the Maison & Objet Paris designer of the year. Today, she has an impressive portfolio of hospitality projects throughout Europe, including the Henrietta Hotel in London and Hotel Menorca Experimental in Spain.

Meilichzon’s latest commission is Il Palazzo Experimental, a boutique, 32-key property occupying a centuries-old palazzo in Venice. It’s her first project in Italy but her fifth for the Experimental hospitality group. “Each time, we research to The founder of the Paris studio, Chzon.

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create a different setting, one that’s deeply rooted in its environment,” she says. “Here, we imbued Venetian flair through hand-painted tiles and columns, curved furnishings and arches, and salmon and terra-cotta hues.”

The striped canopy at the hotel’s Ristorante Adriatica and local materials like terrazzo and marble follow in the same vein. But the color palette and custom furnishings also pay tribute to Italy’s Memphis movement.

Of course, the laguna surrounding the city was an influence, too. It’s represented in walls and window treatments in blues and greens.

—Karine Monié Clockwise from top: Chairs at Ristorante Adriatica in Il Palazzo Experimental are by Gae Aulenti. Flooring in reception is Venetian terrazzo. A suite features existing ceiling beams. Arches throughout nod to historic Venetian design. Color palettes were inspired by the Memphis movement and the city’s laguna. A guest room’s headboard is custom.

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KAREL BALAS

KAREL BALAS

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KAREL BALAS

KAREL BALAS

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hot shots From left: Co-founders Dongzi Yang and Qianyi Lin. Lounge chairs at the event venue are covered in a velvet custom-colored to represent the element of fire.

agents of change firm: @various_associates project: morph, shenzen, china launchpad: university of the arts london

They both hail from China, but Dongzi Yang and Qianyi Lin went abroad for school—and stayed there. In 2009, they met at the University of the Arts London, where Lin studied interior design and Yang architecture, and went on to the Royal College of Art for master’s degrees.

In 2017, both just 28 years old, they founded Various Associates, a collective of spatial, graphic, interactive, and product designers working on inter­ national research-based projects.

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One such project is Morph, an 11,000square-foot event venue in Shenzhen, Lin’s hometown and a relatively new city in a country grounded in tradition. To layer in national context, the designers began by researching Beijing’s Forbidden City. They found that the palace complex has a color palette of red, blue, black, gold, and yellow, and each, as defined by ancient Chinese philosophy, represents one of the five elements: fire, water, wood, metal, and earth.

Before applying their findings to furniture and finishes, they outfitted the site with rotating doors that open and close according to the needs of the performances or parties within. “It’s all about interaction,” Lin says.

“That’s what makes it a fantastic place to socialize.” Guests enter through a tall passageway of hand-dyed blue fabric. “Its height shows off the material’s quality,” Yang explains. Red velvet sofas populate the lounge area. The main functional space is the atrium, behind a wall covered in matte black tile. Throughout, gold-foil detailing replicates that found in Buddhist temples and travertine walls and ceilings represent the yellow element, earth.

—Wilson Barlow

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SHAO FENG

hot shots

SHAO FENG

Clockwise from left: Surrounded by travertine walls, a performer showcases the adaptability of the main space. The event venue’s ceiling reaches 23 feet. An aperture lined in gold foil connects its two floors. Surrounded by matte black tiles inspired by the Forbidden City, rotating doors open and close to accommodate the atrium’s different programming needs. The color of custom velvet-covered benches in the mezzanine is meant to recall water.

SHAO FENG

SHAO FENG

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Reefs

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hot shots

applause all around firm: @weareclapstudio project: her, hong kong design idol: dieter rams

Typically millennial, their first success was in the digital realm. Spaniards Jordi Iranzo and Àngela Montagud launched More with Less, an online gallery and magazine featuring architecture and design projects, in 2013, while he was studying product design at EASD València and she engineering at the Universitat Politècnica de València. But after several years in Germany, where Iranzo furthered his industrial design studies at Burg Giebichenstein and Montagud worked at Stoyke & Bamber Architekten, the couple returned home to find

A tinted mirror and lacquered display tables lend an otherworldliness to the women’s fashion boutique and coffee bar.

DANIEL RUEDA

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Clockwise from top: Clap Studio founders Àngela Montagud and Jordi Iranzo. The wave pattern on the lacquered aluminum bars keeps hangers equidistant.

Plinths clad in terra-cotta tile evoke the landscape of Mars and provide customer seating. Aluminum spans the entry arches. Another archway leads to a fitting room.

their growing editorial team needing headquarters—and to try their hand at interior design.

Soon after, in 2017, the duo founded Clap Studio. On the upswing since its first major project, Little Stories, a bricks-and-mortar children’s clothing store, the firm has recently completed Her, a Hong Kong women’s boutique owned by hometown stylist and influencer Hilary Tsui. Its design draws on Mars, in that its environment is like an undiscovered planet, with a “landscape of impressive mountains and pure materials,” Montagud explains.

Entry to the 1,800-square-foot shop is through two archways lined in space-agey aluminum.

Inside is a sleek setting of moon-white walls and ceiling anchored by a plinth-populated terrain of terra-cotta tiles. Edgy merch like Natasha Zinko jackets and Adidas Kiellor Xtra combat boot–inspired sneakers are displayed from minimalist hang bars and circular tables.

Since Tsui’s other passion is gastronomy, the store also features a coffee bar. Adds Iranzo, “We like to play with all five senses.”

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DANIEL RUEDA

FROM TOP: PEDRO JAREÑO; DANIEL RUEDA (2)

—Colleen Curry

FROM TOP: PEDRO JAREÑO; DANIEL RUEDA (2)

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A sound perspective

TUBULAR

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hot shots From left: The founder of Studio Svetti Architecture. Porcelain tile runs beneath the salon’s cube of resin-finished plasterboard.

multi faceted firm: @emanuelesvettiarchitetto project: un diavolo per capello, camucia, italy historical influence: renaissance-era architects

ANDREA BARTOLOZZI

Like the Italian region’s beloved Chianti, Emanuele Svetti is Tuscan to the core. Born in Cortona, he specialized in industrial design at the Università degli Studi di Firenze.

When he established Studio Svetti Architecture in nearby Camucia in 2004, he put that training to good use. First, he collaborated with companies including Del Tongo, Bross Italia, Henge, and Poltrona Frau on products, before segueing to interiors.

They reflect a background influenced by “a sense of craftsmanship, and a balance between decoration and minimalism,” Svetti explains.

Projects span the residential, hospitality, and retail sectors—he’s even done a dental clinic. In 2016, he opened a London office, which now has three projects in the works.

Closer to home, he created #Social White, a 2017 installation during Milan Design Week.

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proclivities coalesce. Un Diavolo per Capello, Italian for a devil for hair, is a striking 1,000-square-foot salon.

Its reduced materials palette—porcelain tile, marble, mirror, glass—provides a crisp backdrop for his main gesture: a floor-to-ceiling canaryyellow cube that’s visible from the street. “It’s a box within a box,” he explains. And it’s as pragmatic as it is spectacular. Its location behind the reception desk allows it to double function as an attention-getter to passersby and a privacy provider for clients at the hair-washing station, where they might look less than glam.

ANDREA BARTOLOZZI

ANDREA BARTOLOZZI

—Edie Cohen Clockwise from top left: The facade was painted and new window frames of blackpainted iron were installed. Customers wait in Konstantin Grcic chairs set on custom marble bases. The restroom is resin painted.

A column reveals the building’s original masonry. More than a dozen sheets of glass top the marble reception desk.

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show me the sugar firm: @fleetwoodfernandez project: sidecar doughnuts & coffee, del mar, california big break: wells fargo

Pendant fixtures by Brandon Ravenhill illuminate the café.

BENNY CHAN/FOTOWORKS

She is a Spaniard and he an American.

But Paz Fernandez and Hunter Fleetwood crossed paths as architecture students at Catholic University, after Fernandez’s admiral father was transferred from Mallorca to Washington, Fleetwood’s hometown. Upon graduation in the late 1990’s, the two stayed local, each taking a position at Lehman Smith & McLeish. Eventually, the kindred spirits headed to Los Angeles, feeling the pull of its experimental vibe, as evidenced in projects by Frank Gehry and Thom Mayne. “The modernist movement here is related to Spain’s,” Fernandez notes, “its optimism and relaxed attitude.” With dreams of starting their own interiors firm tucked away, Fleetwood landed at Frederick Fisher & Partners, Fernandez at Gensler.

In 2007, the married couple founded Fleetwood Fernandez Architects.

A seemingly inopportune time to launch a business, they sailed right through the Great Recession with commissions from Wells Fargo. The NOV.19

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Clockwise from top left: Founding principals Paz Fernandez and Hunter Fleetwood. Custom bronze signage and a stained, cold-rolled steel storefront. The housemade, small-batch doughnuts. All woodwork is white oak. Hand-poured terrazzo, a custom mixture infused with mother of pearl and marble chips.

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BENNY CHAN/FOTOWORKS

financial company was in the midst of buying failing banks and needed Fleetwood Fernandez to redesign all those interiors—more than 1 million-square-feet worth.

Today, the firm’s purview extends to residential and hospitality projects, including Sidecar Doughnuts & Coffee, a community-minded, 1,100-square-foot café in Del Mar, California, offering such artisanal flavors as vegan apple cider of my eye. Its scheme suggests an inverted donut, but the simplicity of the palette is as refined as powder sugar: White oak appears on walls and ceiling; a slightly iridescent terrazzo is nearly everywhere else, including the built-in seating. “Our reduced materials strategy,” Fleetwood says, “makes the design come through.” —Edie Cohen

CLOCKWISE FROM TOP LEFT: KACY JAHANBINI; BENNY CHAN/FOTOWORKS (3)

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CLOCKWISE FROM TOP LEFT: KACY JAHANBINI; BENNY CHAN/FOTOWORKS (3)

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firm: @kinzoberlin project: amorepacific, seoul, south korea ideal aesthetic: ’60’s sci-fi

mix masters From top: Co-founders Karim El-Ismawi, Martin Jacobs, and Chris Middleton. OSB forms shelves and seating in the library at the cosmetic company’s headquarters.

Visitors to a certain Berlin nightclub in 1999 likely didn’t realize its owners would someday run a creative studio.

But sure enough, its three proprietors were also Technische Universität architecture students in the midst of breaking into the design world. “When there weren’t enough projects, we were behind the bar,” Martin Jacobs recalls of the early days post-graduation, when he co-founded Kinzo Architekten with classmates Karim El-Ishmawi and Chris Middleton in 2004. That same year, they designed their studio’s own office.

It turned out to be the first of many.

Today, with a staff of nearly 60, the firm’s roster of corporate clients includes Adidas, Soundcloud, and Miele.

Most recently, Kinzo took on the top floor of AmorePacific’s headquarters,

hot shots

FROM TOP: SEBASTIAN DÖRKEN; SCHNEPP RENOU

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Clockwise from above: Live greenery at reachable heights is throughout the office, with artificial plants suspended from the ceiling. Natural OSB panels enclose a cosmetics-testing lab. Flooring is plywood. The same OSB is shaped into pods modeled after houses in Seoul’s Gahoe-Dong neighborhood. Corrugated painted metal composes the café’s coffee bar.

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SCHNEPP RENO

inside a Seoul high-rise by David Chipperfield Architects. From the get-go, ElIshmawi, who led the project, and team had to factor in the company’s scope— not just that it was already South Korea’s largest cosmetics brand but also that it’s growing, which meant providing ample incubation and flex spaces for in-house start-ups.

The result was outfitting the 33,000square-foot floor plan with various com­­m­unal and work areas. Chief among them are 10 break-out pods. They are modeled after the traditional houses of the city’s Gahoe-Dong neighborhood and equipp­ed with such brainstorming essentials as whiteboards and outlets.

The pods are joined by myriad social areas, including a circular library with tiered shelves that hold some 8,000 books and double as seating. In the café, greenery nods to the AmorePacific logo, while orange is the color of its bar—the other thing that Kinzo does well. —Colleen Curry

SCHNEPP RENO

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SCHNEPP RENO

SCHNEPP RENO

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Social Spaces Inspiring places to connect and refresh—indoors or out.

Learn more at haworth.com/socialspaces.

hot shots

instant beauty firm: @cactus.is project: ever/body, new york team building: making moqueca stew together

The meeting of the minds occurred in 2009, when Noah Waxman and Lucas Werthein were enrolled in the interactive telecommunications program at New York University. That’s where they met architect Marcelo Pontes, who was visiting from Brazil to check out student projects. In 2016, the three founded their collaborative, digital/ physical studio, Cactus, in Brooklyn, with Waxman in charge of strategy, Werthein technology and production, and Pontes, often working remotely from Rio de Janeiro, architecture.

One of the firm’s projects, the Ever/Body flagship in downtown Man­hat­tan, is remarkable—in appearance but also in speed. The team received the keys to the 5,000-square-foot site just eight weeks before the cosmetic dermatology clinic opened for business.

“We had to dramatically reduce the time it takes to open a retail space,” Pontes recalls. To do so, he, Waxman, and Werthein handled everything, from interiors to branding, themselves.

Matte vinyl decals decorate a vanity area complete with a branded “selfie mirror.”

NOAH HAVAKOOK/CACTUS

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NOAH HAVAKOOK/CACTUS

FROM TOP: COURTESY OF CACTUS (4); NOAH HAVAKOOK/CACTUS

Clockwise from opposite top: The custom reception desk varies in height to conceal phones and cords while displaying product and educational information. Plywood, particleboard, and MDF make up the modular treatment rooms. Custom signage is vinyl and acrylic. Existing alcoves function as waiting areas selling product. The treatment room modules were rendered in 3D Max and VRay software. Cactus co-founders Marcelo Pontes, Noah Waxman, and Lucas Werthein.

NOAH HAVAKOOK/CACTUS

FROM TOP: COURTESY OF CACTUS (4); NOAH HAVAKOOK/CACTUS

hot shots

Graphics in calming pale greens not only play well with the existing hardwood flooring and reference the Cactus-created Ever/Body logo but also “suggest plant life,” Waxman notes of the colors, “which helps create a trustworthy environment.”

The treatment rooms, prefabricated off-site from plywood, particleboard, and MDF, can be rolled out to multiple locations, Ever/ Body’s business plan. Inside them, LEDs can be programmed for any procedure, from dermal fillers to laser hair removal. “They enhance the patient experience and keep cost and assembly time down,” Werthein explains. “Great craft­ smanship can make humble materials look like a million bucks.” A concept that extends to the salon’s exterior, with its forestgreen vinyl-acrylic signage, and customers.

—Wilson Barlow

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repetition is the key to learning An installation at a South Korea university by Lawrence Kim/A+U Lab was seemingly endless

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D E S I G N E R S, fabricators, and graduate students led by Lawrence Kim

216 BOXES

1

8 MODULES PREFABRICATED

10 FEET TALL 2

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“It reminded viewers of design’s ability to transcend physical limitations, blurring the boundary between actual and fictitious realms”

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COURTESY OF LAWRENCE KIM/A+U LAB

1. An isometric drawing created in SketchUp, Illustrator, and Photoshop software depicts Formal Abstraction and Reflective Luminance, a temporary installation by Lawrence Kim/A+U Lab at South Korea’s Pusan National University, where architect Lawrence Kim is an associate professor of architecture and urban design. 2. Off-site at A+U Lab’s studio, fabricators assemble 7-foot-square modules consisting of boxes made from CNC-cut polystyrene boards, adhered with PVC glue in varying configurations, some lined with mirrored film. 3. The lined boxes are fitted with LED strips that converge into a concealed single-line wire, which connects to a standard power outlet. 4. On-site, fabricators suspend the completed modules from the ceiling with nylon and polyethylene wires normally used for carp fishing.

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c e n t e r fold

COURTESY OF LAWRENCE KIM/A+U LAB

Located in the university’s architecture and engineering building, which hosted A+U Lab’s similarly repetitionthemed Woolscape last year, Formal Abstraction and Reflective Luminance featured 14-inch boxes, some of which are open and empty and others that create the illusion of infinity.

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COURTESY OF LAWRENCE KIM/A+U LAB

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ALL IN THE MIX

ROLAND HALBE

nov19

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comrade carioca

Celebrating the 40th anniversary of its completion, Oscar Niemeyer’s French Communist Party headquarters continues to bring a sensual Brazilian lilt to Paris text: peter webster photography: maxime galati/living inside

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In 1967, Brazilian architect Oscar Niemeyer left his homeland for what would become almost two decades of self-imposed exile in France. Three years earlier, an American-backed military coup had overthrown Brazil’s government. Despite being renowned for designing the main buildings in Brasília—the spectacularly modern inland capital planned and built from scratch in a gobsmacking three and a half years—Niemeyer, who had been a member of the Brazilian Communist Party since 1945, found his work dried up under the implacably hostile rightwing dictatorship. So the displaced architect, who was twice refused entry to the U.S. because of his party affiliation, set up shop on the ChampsÉlysées in Paris.

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quarters for the French Communist Party, powerful enough at the time to win more than 20 percent of the national vote, though its fiercely proSoviet ideology would become increasingly unpopular and out of touch. The architect had abandoned his country but not his lifelong political principles: In a show of solidarity, Niemeyer worked on the project for free. But his Marxist-Leninist sympathies were not limitless. “On the politics, I’m with you,” he told a Moscow audience in 1963. “But your architecture is awful.” The French Communists would get one of the least-Stalinist buildings imaginable.

By the time he died in 2012, a few days before his 105th birthday, Niemeyer was generally regarded as the last of the 20th century’s great modernist masters—a protean talent who,

at his best, was as innovative and inventive an architect as any of his distinguished peers. From the beginning of his career in the ’30’s, working with Le Corbusier in Rio de Janeiro on the Ministry of Education and Health headquarters—Brazil’s first modernist building—Niemeyer’s cast-concrete structures infused the hard-edged, flat-planed International Style with his love of undulating lines and voluptuous forms. “I am attracted to freeflowing, sensual curves,” he wrote in his memoirs. “The curves that I find in the mountains of my country, in the sinuousness of its rivers, in the waves of the ocean, and on the body of the beloved woman.”

No wonder, then, that Niemeyer’s early biomorphic work, with its swelling shapes and fluid contours, is almost always compared to the

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Previous spread: At the French Communist Party headquarters in Paris, completed 40 years ago by Oscar Niemeyer, the Central Committee meets in a domed auditorium that’s mostly underground.

Top, from left: The vast subterranean lobby includes an exhibition space. A circular sunken courtyard at the rear of the site brings light and greenery to the basement facilities.

Bottom: The top of the auditorium dome rises in front of party secretariat, an undulating six-story slab, its steel-and-glass curtain wall designed by Jean Prouvé.

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Left, from top: Access to the auditorium is via pneumatically controlled sliding doors. Four iconic Alta lounge chairs gather around a coffee table—all designed for the headquarters by Niemeyer and his daughter, Anna Maria—to create a lobby meeting area. A curving concrete canopy defines the low platform stage.

Right: The 36-foot-high ceiling of the auditorium is lined with thousands of light-diffusing aluminum strips, which also help with acoustics.

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samba, the sensuous dance-rhythm that embodies Brazil’s nonchalantly eroticized culture. But by the late ’50’s, when he designed Brasília’s elegantly charismatic buildings, the architect’s style was closer in feel to the newly minted bossa nova: cooler, jazzier, more cadenced. It is this urbane, smoothly syncopated quality that pervades the complex Niemeyer devised for the French Communists.

Unlike the Brazilian capital, however, the headquarters, located in northeast Paris’s appropriately workingclass 19th arrondisement, were not

built overnight. Although the main building was inaugurated in 1971, for economic reasons the scheme’s most spectacular element—a mostly underground auditorium for meetings of the party’s Central Committee— was not completed until 1980.

Niemeyer went to great pains to preserve the openness of the sloping corner site, which faces the leafy oval of the Place du Colonel Fabien. He housed the party’s administrative offices in an undulating six-story slab set high on the hillock, well back from the street. Sheathed in a stainless-

steel and tinted-glass curtain wall designed by Jean Prouvé, the sinuous building sits on short concrete piers so that it appears to float above the broad paved forecourt, which swells upward to almost meet it. The main entrance, under a wavy concrete canopy, is surprisingly discreet: a slotlike aperture that leads down to a vast subterranean lobby. Principal access to the offices above is via a separate circulation tower tucked immediately behind the building.

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white concrete dome that rises mysteriously out of the earth like some space-age burial mound. It is, in fact, the top of the bunkered auditorium— a dazzling 450-seat circular chamber that’s like a smaller, more futuristic version of the General Assembly Hall at the United Nations in New York, another headquarters that Niemeyer and Le Corbusier worked on. The interior of the 36-foot-high cupola is hung with several thousand white anodized-aluminum strips, which turn the entire ceiling into a glowing nebula of diffused light. Beneath it, curving rows of delegate seating face a low platform stage defined by a sweeping white concrete canopy that echoes the one over the main entry.

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Set into the auditorium’s sloping walls, airlock-style sliding doors open onto the lobby and its adjoining subterranean facilities. These include lounges, an exhibition area, a bookshop, circular sunken courtyard, and, spread across three lower basement levels, various conference rooms (including a leaf-shape one for meeting foreign delegations), a cafeteria, and TV studio. Sleek curves abound, but the cast-concrete walls and other architectural elements bear the texture of the boards that formed them, giving the interiors an attractively handmade quality that saves them from looking too slick or movie-ready.

That hasn’t stopped the complex from becoming a favorite location for

art directors and fashion designers who have staged unapologetically capitalistic photo shoots and couture shows in and around it. Niemeyer was certainly aware that his building, which has been a listed monument since 2007, could serve such bourgeois ends. “Architecture does not change anything,” he said more than once. “It’s always on the side of the wealthy.” The important thing was to believe that beautiful buildings make life better for everyone, something even Georges Pompidou, the right-wing French president at the time, seemed to acknowledge when he said that Niemeyer’s coolly sensual landmark “was the only good thing those Commies have ever done.”

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Top: The main entrance comprises a slotlike aperture beneath a small concrete canopy.

Bottom, from left: Used to receive foreign delegations, the leaf-shape basement conference room has a light-diffusing ceiling like the auditorium’s. Board-formed concrete walls and leather-upholstered banquettes bring texture to a basement lounge.

Photography: courtesy of Artists Rights Society (ARS), New York 2019 / AUTVIS, Sao Paulo

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live, work, play ODA transforms an old New York brewery into Denizen Bushwick, a convivial Brooklyn complex offering apartments and much more

text: jesse dorris photography: eric laignel

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In the 17th century, Peter Stuyvesant landed in New Amsterdam, which eventually became New York City. As the Director General, he named one of the settlements he chartered Boswyck, Dutch for refuge in the woods. Hundreds of thousands of Previous spread: In the two-story main lobby of Denizen Bushwick, a Brooklyn rental-apartment complex by ODA New York, charred pine planks back the green wall and form the treehouse, accessed via a footbridge.

Top: A weathering-steel balustrade borders the lobby stairs.

Center: Re-created Rheingold labels are stenciled on an elevator bank. Bottom: A Key Food grocery store will soon open on the street level of the complex’s Y building, its titular supports matching its brick window frames. Photography: Miguel de Guzman/Imagen Subliminal.

Opposite: Planks of oak, pine, and Douglas fir, all reclaimed, envelop a lounge.

immigrants eventually called it home, including German and Austrian families who brought their beer culture across the Atlantic Ocean with them. By the turn of the 20th century, there were more than 40 breweries in the adjoining Brooklyn neighborhoods now known as Bushwick and Williamsburg. One was for Rheingold, which occupied several buildings spreading across two city blocks. Today, the 1854 factory is a memory. In its stead stands Denizen Bushwick, a complex encompassing 1 million square feet of rental apartments, leisure, work, and athletic spaces, and large-scale murals commissioned from local artists. Essentially, its residents don’t ever have to leave. Which was exactly the thinking of the firm that designed the project, ODA New York.

“It’s one of the biggest collections of street art in the city,” ODA founding principal Eran Chen begins. He even set up a public-engagement charity called OPEN to reach out to community organizers and nonprofits to find artists for the 10 mega murals lining Denizen’s glassed-in apartment corridors. “At night, the corridors are lit with projectors, so they are points of visual connection for people in and outside the building,” Chen says of the 70-foot-tall artworks. Six additional murals are in the amenity spaces and elsewhere.

“Everybody talks about the future of cities,” Chen continues. “What that means to me is high density and environmental responsibility.” Denizen is certainly dense, though, surprisingly, it doesn’t feel that way. Its two buildings—the nine-floor X and eight-floor Y, each named for the supports across their facades and connected by an underground tunnel—together house more than 900 studio and one- and two-bedroom apartments.

Oversize 2-foot-long bricks clad the street-facing facades, to keep them from appearing too hulking. “The idea is to break the scale,” Chen explains. “If the building is large, create components that are larger.”

Apartments around the interior core face a sizeable courtyard populated with ipe decks, limestone-paved paths, and lush plantings. The X building actually

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cantilevers over the courtyard, its underside serving as a canvas for yet another mural, a sort of rainbow pixilation replicating a neighborhood map which residents can gaze up at from patches of “lawn” (actually triangular mounds of artificial turf). More artistic nods appear nearby in the form of Richard Serra–esque weatheringsteel wells, which help direct daylight down to skylights topping the subterranean coworking space. “They have an organic shape with soft edges,” ODA principal Ryoko Okada says of the sculptural elements. “Like giant pebbles.” Planned to join those work spaces are studios for woodworking, painting, and photography as well as a spa. A living plant wall rises in the main lobby, and, atop both buildings, the roof deck is landscaped with indigenous bush­es, trees, and hydroponic gardens irrigated via graywater collection.

But to Chen, the social is as important as the environmental. “You can’t just put in a gym and hope residents will interact,” he says. Instead, he and Okada created a pared-down materials palette consisting of concrete, terra-cotta, steel, and wood—much of the latter treated to shou sugi ban, the Japanese charring technique— which comes and goes in unexpected ways throughout the project. The weathering steel in the courtyard, for example, reappears in the balustrade of the lobby staircase. “Or you see a band of concrete in the garden wall, then again on a wall in a lounge,” Chen says. “The materials are connecting spaces that are essentially unconnected.” In other words, they’re creating relationships, just like residents might.

Neighborhoods within the complex are defined by themed tributes to those four materials. In the steel zone, the elevator rises and descends within shipping containers; in the wood zone, it’s a packing crate. ODA then lined the elevator interiors with photographs of Bubble Wrap printed onto metal. “Inside the cab,” Okada notes, “you’re the artwork.”

Apartments also create narratives from the materials.

“We had three different kinds of people in mind,” Okada continues. “A woodworker, metalworker, and tech worker.

Kitchens and bathrooms are specifically designed to function with that concept.” The would-be metalworker’s abode is finished with steely melamine cabinets and fire engine–red plumbing valve knobs. “We found if you give a couple of accents with enough character, people will add more and make it their own,” she says. To that end, each apartment has a small “memory box” outside its entry door. “They act as a sconce but also like a kind of manual Instagram,” in which residents can add small personal artifacts or décor.

More places to mingle are found in the screening rooms, dog spa, bowling alley, and chef’s kitchen. There are also five exercise areas, a boxing ring, climbing Top: Images of a jungle are projected onto the walls of the base­ ment tunnel linking Denizen’s two buildings. Bottom: One of the five gyms features a custom 22-foot plywood climbing wall.

Opposite top: Rubber flooring and acoustic wall tile team with custom LED pendant fixtures in the cycling studio. Opposite bottom: Patricia Urquiola daybeds and Tord Boontje high-back chairs line up before Pixel Pancho’s mural in the pool room.

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“Denizen is certainly dense, though, surprisingly, it doesn’t feel that way”

Above: Brooklyn-based artist Aaron Li-Hill’s mural of the snowy owl spans six floors of the X building.

Opposite: Li-Hill’s mural starts on the building’s ground floor, where it backdrops the three-lane bowling alley.

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wall, and loft full of stationary bikes, treadmills, and StairMasters that could generate enough energy to power all of Denizen, among them. There’s even a 55foot indoor lap pool set beneath a vaulted ceiling supported by Tuscan columns. “It’s dreamy and a little bit Top: Beneath the ceiling’s vinyl wall covering printed with a custom graphic, preserved sphagnum moss tops boxes in the mailroom. Bottom: The X building with its diagonal concrete supports cantilevers over the courtyard. Photography: Miguel de Guzman/Imagen Subliminal.

Opposite: Joined by Eero Aarnio Pony and Stefano Giovannoni Rabbit stools, the mural under the X building replicating a Bush­wick map is by local artist Elle Balk, who employs math and data to create her works.

nostalgic,” Okada says of the space, which feels like a Venetian grotto.

Of course, there’s also a brewery where residents can not only socialize but also ferment their own ale. It’s a chance to connect not just with the Rheingold of yore but also Brooklynites of today. Cheers to that.

PROJECT TEAM YAARIT SHARONI; KRISTINA KESLER; HADAS BRAYER; JUNE KIM; BRONA WALDRON; CHRIS BERINO; JENNIFER ENDOZO; CAROLINA MOSCOSO; ROMAN FALCON; SOJIN PARK; TULIKA LOKAPUR; CHIA-MIN WANG; SEUNG BUM MA; CHARLES BURKE; ADRIENNE MILNER; EMMA PFEIFFER; ALEX SARRIA; JAEHONG CHUNG; DAWOON JUNG; JOSHUA WUJEK; ASUNCION TAPIA; HEIDI THEUNISSEN; FRANÇOIS BLEHAUT; BRIAN LEE; JOOHWAN SEO; PAUL KIM; STEVEN KOCHER; VI NGUYEN; SHRADDHA BALASUBRAMANIAM: ODA NEW YORK. ADG ENGINEERING: STRUCTURAL ENGINEER. MG ENGINEERING: MEP. PHILIP HABIB & ASSO­ CIATES: CIVIL ENGINEER. LAUFSED: FACADE CONSULTANT. JENKINS & HUNTINGTON: ELEVATOR CONSULTANT. TRACE POOL DESIGN: POOL CONSULTANT. FNA ASSOCIATES: EXCAVATION CONSULTANT. ARTBRIDGE; BUSHWICK COLLECTIVE; OPEN: ART CONSULTANTS. SCHUCO: CURTAIN WALL CONTRACTOR. AZZARONE CONTRACTING CORP.: CONCRETE CON­ TRACTOR. NYEG CORP.: WOODWORKER, GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MUTINA: FLOOR TILE (LOBBY). MOROSO: CHAIRS, TABLES (LOBBY), SEATING (POOL). SANCAL: SECTIONALS (LOUNGE). FRITZ HANSEN: CHAIR, OTTOMAN. RH: COCKTAIL TABLE, RUG. BLU DOT: SIDE TABLES. BDDW: FLOOR LAMPS. MODERN MASTERS: BLACK CEILING PAINT (CORRIDOR).

BOLON: FLOORING (CLIMBING GYM). ROCKWERX: CUSTOM CLIMBING WALL. BEGHELLI: PENDANT FIXTURES. ECORE: FLOORING (CYCLING STUDIO). BAUX: WALL TILE. HELLER LIGHTING: CUSTOM PENDANT FIX­T URES. SICIS: MO­S AIC TILE (POOL). MIRAGE: FLOOR TILE. U.S. BOWLING CORP.: EQUIP­ MENT (BOWLING ALLEY). VIBIA: PENDANT FIXTURES (MAILROOM). DUPONT: SOLID SURFACING. AF FLORENCE: MAILBOXES. FATBOY: ROUND TABLES (COURTYARD). KRIST­A LIA: CHAIRS. QEEBOO: RABBIT CHAIRS. STUDIO EERO AARNIO: PONY CHAIRS. VONDOM: CONE CHAIRS, ROCKING CHAIRS. THROUGHOUT BEN­JAMIN MOORE & CO.: PAINT. AGROSCI: PLANTS. ABET LAMINATI: WINDOW FRAMES. ARRISCRAFT: EXTERIOR BRICK.

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text: winifred bird photography: daisuke shima

festival of color A Tokyo installation by Emmanuelle Moureaux celebrates a beloved Japanese brand 134

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Previous spread: A mother and child explore Universe of Words, a Tokyo installation by Emmanuelle Moureaux Architecture + Design celebrating the drink Calpis, introduced in 1919.

Left: Emmanuelle Moureaux also designed the smaller concurrent 100 Message Bottles, which contained actual Calpis bottles. Right: The main installation featured 140,000 cutouts in a script called hiragana.

Opposite: The four-day installation coincided with the Tanabata festival of stars, when it’s customary to dress in colorful cotton yukata kimonos.

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Ask Emmanuelle Moureaux to name her favorite color, and she’ll laugh at the ridiculousness of the question. Ask her to name her top 100 favorite colors, however, and she’ll happily oblige. Emmanuelle Moureaux Architecture + Design relies on color as a primary tool for shaping and dividing space while conveying emotion. The Frenchborn, Tokyo-based architect even has a punny Japanese portmanteau word for the concept, shikiri. To select the rainbow palette she’s been using for her vibrant 100 Colors series of installations, she sorted through a mind-boggling 8,000 shades. A recent iteration of the series celebrated the 100th birthday of the Japanese beverage Calpis.

Calpis Co. came to her with a very specific request: to create an installation that represents the festival of Tanabata. The festival centers on the ill-fated love between the stars Vega and Altair, banished by the emperor of heaven to distant corners of the Milky Way and allowed to meet only once a year, on the night of July 7. As this also happens to be the exact date, a century ago, when Calpis first passed the lips of Japanese consumers, Tanabata is a touchstone for the brand. Blue dots on the wrapper of the bottle—containing a sweet and refreshing concoction of milk fermented with yeast and lactic acid bacteria—are meant to represent the Milky Way. For Tanabata, people write their wishes on colored strips of paper, then hang them from bamboo stalks, so Moureaux was asked to make that tradition a key symbol in her design. “I think the company imagined a lot of paper rectangles,” she says. “But I decided to ignore the rectangle and focus on the writing instead.” More specifically, she chose the Japanese writing system called hiragana, a script that’s much simpler to read than the characters adapted from Chinese.

Since hiragana is the first writing that children learn, it tends to evoke a childlike, nostalgic mood. “It gives people an opportunity to think about their wish­es and emotions,” she explains.

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Each of hiragana’s 46 symbols was cut out of medium-weight paper in 100 different colors, yielding 140,000 pieces about 5 inches high.

These cutouts were then strung onto thread to be suspended from the ceiling at the installation site, a former Tokyo school converted into a community center called 3331 Arts Chiyoda. Although the arrangement of the hiragana was random, Moureaux spent copious time making sure that combinations didn’t accidentally spell out anything with negative connotations.

Visitors arrived via a white tunnel, which delivered them into the 4,000-square-foot U-shape gallery containing the main installation, Universe of Words. From there, every step forward delivered a new kaleidoscopic view of tranquil pathways defined by blocks of color composed of the hiragana, suspended at equal intervals to form a three-dimensional grid. (Moureaux previously used numerals to create a similar effect for installations including Forest of Numbers, featured on the March 2017 cover of Interior Design.)

Top, left and right: Cut from medium-weight paper, the hiragana were strung on thread attached to the ceiling and sometimes the floor. Bottom: This configuration represented a Tanabata tradition, writing wishes on colored strips of paper suspended from bamboo.

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One path through the floating hiragana of Universe of Words led to a smaller room, approximately 1,000 square feet, containing a related installation. This one, 100 Message Bottles, focused on another theme of the Calpis anniversary, the importance of spending time with loved ones. That, of course, is the central message of the Tanabata festival overall—and an ever more pertinent subject in today’s digital world. Takuya Nire, a representative of Calpis’s parent company, Asahi Soft Drinks Co., puts it this way: “Calpis has always placed value on human connections. As we reached our 100th year and look forward to another 100, it was important to us to offer people a place where they could spend time, in person, with someone they care about.”

While Universe of Words did that in a generalized way, 100 Message Bottles got the idea across more pointedly. Moureaux started by asking her client to come up with 100 simple terms that could describe a relationship, such as love, warmth, and old friend. She then spelled out each word in colored paper hiragana cutouts, again suspended from the ceiling but this time weighted at the bottom with a similarly colored bottle of Calpis. Visitors were invited to find the word that best represented their relationship with whomever they had come with.

Both installations continue to explore a theme that has been central to Moureaux’s work ever since she arrived in Tokyo. Captivated by the intense, layered lights of the city, she says, “I really saw color for the first time.” She adds that her color interventions may appear in varied contexts, from a bank branch to a municipal auditorium, but her goal remains constant: “For people to feel color with their entire body.”

Left: Paths led through the U-shape space. Right: Moureaux used 100 colors.

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around the campfire

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text: jessica dailey

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Anacapa Architecture, Geremia Design, and M-Rad Architecture gather to create AutoCamp Yosemite, a unique hospitality project in Northern California

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No one visits Yosemite National Park to stay inside. The whole point is to commune with nature, the Sierra Nevada Mountain landscape specifically. Which was the driving force behind AutoCamp Yosemite, a hotel by Anacapa Architecture and Geremia Design. Although “high design” and “boutique” could be used as descriptors, it’s no typical hospitality project. The 102 rooms are a collection of custom Airstreams, luxury tents, and freestanding cabins. Its two-story clubhouse looks more like a contemporary home than reception. Guests can hike the park and “get a little bit woodsy,” then go to sleep on a Temper-Pedic mattress in a Wi-Fi–equipped, temperature-controlled setting.

Some would be tempted to call what AutoCamp does “glamping,” but the brand prefers “an outdoor hotel experience.” This third, and largest, location, had camping in its DNA: The 35-acre setting, located 25 miles from Yosemite, was formerly a Kampgrounds of America site. Anacapa made use of the existing infra­structure and roads during construction but it’s now a car-free retreat. An expanse of concrete next to what is now the clubhouse, where campers would park their RVs, was turned into a lawn with a fire pit, and the entrance was reoriented to let the clubhouse act as a transition for guests to leave their vehicles behind.

Made with walls of windows that slide open, the two-story clubhouse functions not only as reception but also a gathering place. “Our goal was to connect guests to nature—and to each other,” Anacapa founder Dan Weber begins. A heated swimming pool and a freestanding meeting room on the second level overlook the lawn and fire pit. Inside the clubhouse proper, a circular fireplace is the centerpiece of the lounge, which Lauren Geremia outfitted with pieces by small studios: deep club chairs by Crump and Kwash, a long communal table by Crow Works. It’s carefully curated but not precious; the spaces are meant to be used. It’s OK to return from a day-long hike, sweaty and covered in dirt, and sink into a leather sofa with a pint of craft beer poured from one of the nearby taps. Furnishings were chosen for comfort and durability. “Between dogs, kids, and marshmallows, everything had to be really washable,” Geremia notes.

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Previous spread: Anacapa Architecture and Geremia Design transformed a former Kampgrounds of America site into AutoCamp Yosemite, a hospitality complex in Midpines, California, 25 miles from the national park. Photography: Erin Feinblatt.

Opposite top: Overlooking a fire pit through walls of glass, the clubhouse is made of sealed pine, blackened steel, and boardformed concrete, a palette Anacapa pulled from the surrounding environment. Photography: Erin Feinblatt. Opposite bottom: The pine reappears inside, where Geremia’s custom screen of a Mike Wardynski photograph backs the reception desk and a pendant fixture by Workstead. Photography: Aaron Leitz.

Top: The second-story heated pool is 53 feet. Bottom: Armchairs and stools by Crump and Kwash and a Pfeifer Studio cocktail table furnish the clubhouse lounge. Photography: Aaron Leitz.

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This is the second AutoCamp on which Anacapa and Geremia collaborated, and it was an opportunity for the team to build on and refine their designs. At the start of the 18-month project, Weber and Geremia discussed whether the clubhouse should be a “kit of parts” based on the structure they had designed for AutoCamp Russian River, or if they should design an entirely new building. “When you go to a Taco Bell in Santa Barbara, it looks exactly like the Taco Bell in San Francisco,” Weber says. “We didn’t want that.” Instead,

they strove for the clubhouse, and the hotel overall, to have a strong connection to place, while maintaining aspects of the brand. The clubhouse’s material palette pulls directly from the environment. Pine was used for exterior cladding, and board-formed concrete with timber impressions forms the walls and floors. But glass and steel components mirror the modern style of other AutoCamp locations.

Site-specific artwork and lighting by Geremia add warmth and intimacy. Behind the reception desk hangs a photograph of Yosemite’s iconic Half Dome that she had printed on fabric and stretched across a screen; it hangs in front of a window, filtering light and turning a not-so-great view of another building into an art experience. For a corridor, she worked with designer Rosie Li on a large-scale map installation with lights representing summits guests can hike.

On a path about 50 yards from the clubhouse, the 81 silvery Airstreams are lined up. At 31 feet long, they’re like made-for-Instagram tiny homes, featuring large windows, clean-white interiors, separate bedrooms furnished with a queen-size bed, ceramic-tiled bathrooms with a rain shower, and living areas Top: The five ADA-compliant X suites are by M-Rad Architecture. Bottom: Their millwork is either American black walnut or walnut veneer. Photography: Kristopher Grunert.

Opposite: One of the 15 custom canvas tents, each 240 square feet, features a pendant fixture by In Common With.

Photography: Aaron Leitz.

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Top: Anacapa’s custom 31-foot Airstreams make up 81 of the hotel’s 102 rooms. Photography: Kristopher Grunert. Bottom: Their beds are dressed with pillows handmade in Chile. Photography: Aaron Leitz.

Opposite top, from left: The 35-acre site included two existing cabins that Anacapa updated with painted pine facades.

Geremia outfitted a cabin bedroom with a custom woven leather headboard. Opposite bottom: Corian clads the countertop in an Airstream kitchenette. Photography: Aaron Leitz.

PROJECT TEAM JESSI FINNICUM-SCHWARTZ; GEOFF APRIL; JOSE SANCHEZ; SABA ZAHEDI: ANACAPA ARCHITECTURE. STEPHANIE WILLEMSEN: GEREMIA DESIGN. PATRICK LUN; AGUSTINA ALAINES; CARLOS AUGUSTO GARCIA; ETIENNE SERVEAU: M-RAD ARCHITECTURE. ASHLEY & VANCE ENGI­ NEERING: STRUCTURAL ENGINEER. JMPE ELECTRICAL ENGINEERING: MEP. QUIRING: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT NOBUTO SUGA: CUSTOM BENCHES (LAWN). AMIGO MODERN: CHAIRS (LAWN, FIRE PIT). CHAMBERS ART & DESIGN: CUSTOM SCREEN (RECEPTION). WORKSTEAD: PENDANT FIXTURE. SHORE: CUSTOM MATS (POOL). DIPHANO THROUGH AKULA LIVING: CHAISE LONGUES, TABLES, SOFA. ARTERIORS: LAMP (LOUNGE). JUNIPER: PENDANT FIXTURE. CROW WORKS: CUSTOM COMMUNAL TABLE. CRUMP & KWASH: STOOLS, ARMCHAIRS. PFEIFER STUDIO: COCKTAIL TABLE. BLU DOT: SOFA (LOUNGE), COFFEE TABLE (TENT), OTTOMAN (AIRSTREAM GALLEY).

MILGUARD MANUFACTURING: WINDOWS (X SUITES). WESTERN STATES METAL ROOFING: SIDING. MADERA; PLANT PREFAB: WOODWORK. ZINUS: BED FRAME. ONEFORTYTHREE: CUSTOM SCONCE. SHERIDAN TENT & AWNING: CUSTOM TENT (TENT). COZUMEL: THROW BLANKET. KUSH: RUG. IN COMMON WITH: PENDANT FIXTURE (TENT), SCONCES (CABIN BEDROOM). CHOP WOOD CO.: CUSTOM HEAD­BOARD (CABIN BED­ ROOM). KUSH HANDMADE RUGS: CUSTOM RUG. BRONSEN: WALL ART (AIRSTREAM GALLEY). THROUGHOUT INNOVATION LIVING: FUTONS. CORIAN: SOLID SURFACING. TREKO: THROW PILLOWS.

with a sleek kitchenette. It rivals what you’d find in an upscale hotel suite, albeit on a miniature scale.

Outside, private lounge areas have a fire pit for open-flame cooking and furniture in the spirit of California modernism. “Everything ties back to what you’re experiencing in nature,” Geremia says.

The 15 canvas tents are larger than those at the other AutoCamps, but two cabins (renovations of structures from the KOA) and five X suites are new for this outpost. The latter, each 275 square feet, are by M-Rad Architecture to provide handicap-accessible accommodations. “They units don’t just serve ADA clients,” M-Rad founder and CEO Matthew Rosenberg explains, “we designed them to be the most soughtafter.” He worked separately from Anacapa and Geremia but echoed their aesthetic language, employing simple, natural materials: American walnut for floors, stone in bathrooms, and blackened-steel exteriors that match the metal of the clubhouse. “When you snap a photo, they look like they’re meant to be there.”

It’s how the entire project feels: like an extension of Yosemite. It’s a comfortable entry point to opening yourself up to nature. Maybe it’s drinking the Kool-Aid to call it an “experience,” but then again, there aren’t many places where you can hike to the top of a 2,000-foot waterfall, then come down to sleep on a memory foam mattress wrapped in organic cotton sheets.

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urban renewal

Knoll’s new flagship in Chicago by Gensler reinforces the furniture company’s design philosophy—and reflects the city’s dual nature

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In the past decade, the Fulton-Randolph Market District has evolved into one of Chicago’s most thriving neighborhoods.

Formerly industrial, inhabited by meat-packing companies and warehouses, Fulton Market, as locals call it, is now pop­ ulated by converted loft apartments as well as new upscale residential towers, restaurants, and boutique hotels. The buzz caught the attention of executives at Knoll, who, earlier this year, decided to move the furniture company’s local showroom from its longtime home in the Merchandise Mart to an expansive 24,000-square-foot space in Fulton Market.

“It has a vitality and youthfulness,” Knoll executive vice president of design Benjamin Pardo says of the area. “We wanted to be in the thick of things.”

The neighborhood’s raw yet refined character is what inspired Gensler’s concept for Knoll’s new flagship, which occupies the three top floors of a ground-up seven-story brick building by Hartshorne Plunkard Architecture. Large iron windows frame nearly 360-degree views of the city’s iconic skyscrapers, and, hanging in two of them, neon signs in Knoll’s signature red are like beacons to passersby. “The idea was that the showroom reflects Chicago, its grit and its grace,” Gensler principal and co-managing director Todd Heiser begins. And, of course, showcase the company’s staggering catalog of mid- and 21st-century furnishings by the likes of Anni Albers, Harry Bertoia, Florence Knoll, Ludwig Mies van der Rohe, Eero Saarinen, David Rockwell, Suzanne Tick, and Antenna Design.

“The architecture is rooted in classic modernism,” Heiser continues. “It grounds you in this company that has tremendous history,” Gensler principal and senior project director Helen Hopton adds. They are referring to the main level

Previous spread, left: In the atrium at the Knoll flagship in Chicago by Gensler, a screen of chrome-finished carbon steel rods and oil-rubbed bronze tubes by Ben Stagl references sculptures by Harry Bertoia, who designed furniture for the company in the 1950’s.

Previous spread, right: In the adjoining lounge, KnollTextiles Meroe fabric

by David Adjaye upholsters Eero Saarinen Tulip stools.

Left, from top: A vinyl mural of co-founder Florence Knoll at the main entrance. The atrium’s custom Rosso Rubino marble–topped round table.

Ludwig Mies van der Rohe’s Four Seasons stools serving the lounge’s leather-faced bar. Right: The 496-cubby KnollTextiles display.

Opposite: Extruded aluminum–framed skylights cap the concrete-floored, double-height atrium, furnished with a custom 25-foot-long communal table by Antenna Design and Saarinen chairs.

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housing the atrium—created from a cutout between the sixth and seventh levels, capped by an enormous skylight—and a generous lounge. The two areas are separated from each other by a double-height screen of steel rods that nods to Bertoia’s welded-metal sculptures from the ’60’s and ’70’s. Short tubes of oil-rubbed bronze are strategically strung onto the rods to spell out the company name. Industrial concrete flooring flows beneath. “Our concept of raw and refined aligns the iconic brand to the polished grit of the neighborhood, embracing the beauty of craft and attention to detail,” Heiser says.

Refined details come in the form of luxe materials. The wall of the elevator lobby, for example, is covered in a deep red Vino Cavallini hair on hide, which coordinates with the veiny book-matched burgundy Rosso Rubino marble on the adjacent walls and custom merlot sheers throughout. A pair of suspended TVs looping the company history hang nearby from braided silk cords. A few steps away, a honed Verde Alpi– topped bar with a barrel-tufted base upholstered in steelygray leather and a mirrored backsplash could be found in the lobby of a swanky hotel. “It’s like a prismatic box that reflects everything around it,” Hopton notes.

In the lounge, pieces from the company’s myriad collections easily commingle. In one zone, a pair of high-back red sofas

by Rockwell face a low-slung teal bench surrounded by small cubes, upholstered stools, and large round ottomans covered in a complementary array of KnollTextiles patterned fabrics in vibrant colors. “Chicago is a city of extremes, and we should not be timid,” Heiser states. “In the middle of winter, the last thing you want is a bunch of neutrals.” Along one side, a

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Top, from left: Seating by Iskos-Berlin (white), David Geckeler (black), and Anderssen & Voll (green) form a display on the floor devoted to Muuto, a Knoll-owned brand in Copenhagen.

Douglas fir paneling and a softer color palette impart a Scandinavian aesthetic to the floor. Bottom, left and right: Pendant fixtures by Form Us With Love and TAF hang throughout the Muuto cafĂŠ.

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series of phone booths offer privacy, and there are conference tables throughout. “All the areas support the notion of choice and mobility,” Hopton explains.

While the main level strikes a serious, albeit colorful, tone befitting Knoll’s rich history, the other floors are more freewheeling. Upstairs off the elevators, a playful mural in lavenders and greens is an abstract representation of company milestones, such as the origin dates of the Barcelona and Tulip collections. Farther in, a steel-framed glass railing with an integrated book ledge, a wrapped leather inset, and a velvet handrail overlooks the atrium below. “Mies said that God is in the details, and as you look around this space, the details are exuberant,” Heiser says.

The level downstairs from the main floor is devoted to furniture and accessories from Knoll’s 2018 acquisition, Muuto.

Pale Douglas fir paneling and a pastel color palette honor the Danish brand’s Scandinavian roots while demonstrating that the pieces coordinate seamlessly with the classic designs of the American company. “Gensler played up the characteristics of the floors in such a way that they express the brand historically, in a contemporary fashion, and where it’s going,” Pardo states. “That’s not easy to achieve.”

Soon celebrating its one-year anniversary, the showroom is functioning just as the Knoll and Gensler teams had envisioned, drawing in clients old and new and acting as a communal space for local architects and designers, who often pop in to work or eat their lunch. “I have such love for Bertoia, Mies, and the legacy of Knoll,” Heiser says. “To design the place that all that product fits into, and to have the design community feel as if they’re a part of that place, is humbling and amazing.” Ideally, Pardo notes, those visitors will seek to recreate the same vibe in their own spaces.

PROJECT TEAM JESSICA GRACEY; RILEY KING; JOHN BRICKER; PAUL HAGLE; ELIZABETH FALLON; MALLORY TAUB; KAMILA EDWARDS; SUE HARRINGTON; STEPHEN KATZ; MICHAEL SHAUB; CARLI PAPP; SABRINA MASON; ANDREA PLANTER; ERIC SHELTON; KALEY BLACKSTOCK; DAVID BRIEFEL: GENSLER. FOCUS LIGHTING: LIGHTING CONSULTANT. CE ANDERSON & ASSOCIATES: STRUCTURAL ENGINEER. WMA CONSULTING ENGI­NEER­ ING: MEP. LANDMARK SIGNS: CUSTOM SIGNAGE. PARENTI & RAFFAELLI: MILLWORK. CONOPCO: PROJECT MANAGEMENT. CLUNE CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT TRETFORD: CARPET (LOUNGE). FLOS: LINEAR PENDANT FIXTURES. THROUGHOUT KNOLL; MUUTO: FURNITURE. KNOLLTEXTILES: FABRIC. EDELMAN LEATHER; SPINNEYBACK: LEATHER. SUPER SKY PRODUCTS ENTERPRISES: CUSTOM SKYLIGHTS. SHERWIN-WILLIAMS COMPANY: PAINT.

Top: The new brick building is by Hartshorne Plunkard Architecture, and custom neon signage is in Knoll’s signature color. Center: Generation by Knoll Anniversary Collection chairs by Formway Design line up on the showroom’s top floor. Bottom: Rail, a circa 1960 Anni Albers fabric, inspired the custom Trevira CS drapery across from the textile wall.

Opposite top: An elevator lobby features murals by Paul Wackers illus­ trating Knoll’s 81-year history. Opposite bottom: Lit by custom LED linear pendant fixtures, the lounge, featuring Rockwell Unscripted red high-back settees, is open to members of the architecture and design community to come work.

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text: casey hall photography: zhang jing/threeimages

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on their own two feet

A sprawling Shanghai kindergarten by ELTO Consultancy gives children lots of room to explore

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Previous spread: In the play court at Avenue Green Sheshan, a kindergarten in Shanghai by ELTO Consultancy, wicker pendant fixtures are meant to resemble a starry sky.

Left, from top: A café off reception incorporates a built-in, 19-foot-long counter in engineered oak. The reception desk is custom. The volume housing the nurse’s office is also clad in engineered oak. Right: Stainless steel topped with mesh forms the custom slide.

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Two hills surrounded by a forested park make up Sheshan, a leafy suburb of Shanghai. Although just a 30-minute drive from downtown, the district feels far from the city’s gleaming skyscrapers, imposing Bund-side colonial structures, and neon lights, thanks to its rolling greenery (shan is Mandarin for hill). It’s this setting that informed Chloe Liew, founder and design director of ELTO Consultancy, when imagining how a private kindergarten in Sheshan should look and feel. The resulting Avenue Green Sheshan is her attempt to blend interiors with the outside environment through neutral colors, natural materials, and open, uncluttered spaces. It’s a departure from the plastic-fantastic rainbow aesthetic often utilized in early-education design. “The outcome is subtle and fresh-looking, allowing kids more imagination and focus,” Liew says. “It’s peaceful and cozy enough for interaction and a sense of homelike belonging.”

Occupying a former clothing factory with slanted beams and giant concrete structural columns, the project was a year in the making: three months in design and another nine in construction. But, partnering with GM Ling Architect, ELTO’s work resulted in 66,000 square feet and two levels of childfriendly, sprint-worthy spaces. In the large central court, for instance, the columns have been clad in wood veneer to resemble tree trunks, around which the children, ages 3 to 6, run and play hide-and-seek. The perimeter of this play area is lined with pale green–painted nooks in the shape of tiny houses. They’re used as rest areas and seating for when shoes come off before going into nearby classrooms. The flooring flowing through this expansive space is similar to the shockabsorbent vinyl used for indoor volleyball courts.

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Top: The building’s existing concrete structural columns have been reimagined as tree trunks thanks to woodveneer surrounds. Bottom, from left: Painted gypsum-board nooks are designed as rest or shoe-removal areas.

In a washroom, mirrors above the sinks have been sized to match the existing windows.

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when working on spaces for kids. But she also draws on her own childhood. “I think about what would have been fun for me when I was young,” she explains. That could explain the long metallic slide that twists its way from a mezzanine play area into the middle of the lobby, one of Liew’s favorite elements of the project.

It delivers the pint-size sliders in front of a series of soft seating, upholstered in dove-gray or sky-blue fabric, where parents wait for their kids or meetings with teachers. Opposite is the reception desk, a cantilevering form veneered in engineered wood, which appears throughout the school, backed by walls and ceiling painted a similar soft blue. The palette links to the natural world: blue for water, green for leaves, and wood for trees.

In another nod to the surroundings, the stairway in one of the playrooms is designed to resemble Sheshan Basilica, a prominent Roman Catholic church in Shanghai that dates to 1863 and is visible from the windows on the school’s top floor.

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Left, from top: Enveloped in more engineered oak, a classroom’s cotton-covered seating recalls river stones.

An aperture is upholstered in vinyl. The restrooms, divided by gender, feature sink troughs sized to the height of kindergarten-age children. Right: Sheshan Basilica, a nearby church, inspired the design of the staircase in a playroom.

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Throughout, the design itself is an indication that this is a different kind of educational institution, one in which input from teachers and parents led Liew to understand that creative and independent learning would be emphasized. Two noticeable elements in almost every room are space and light. They are employed to enable children to explore and play, an idea anathema to the traditional Chinese educational system of strict discipline and rote learning. Further, a built-in climbing net and upholstered tunnels connecting classrooms encourage the children to be active.

Naturally, Liew considered the toxicity of the materials—all paints are zero-VOC—along with fixture safety and usability for small children. All sockets and switches are located out of reach from little fingers. White walls are actually whiteboards, on which children can draw. Sinks and mirrors in the restrooms

are a custom kindergarten-children height. An on-site nurse’s office can take care of bumps and bruises.

One area where children weren’t the focus is the café. Liew ingeniously devised its wooden counter as an extension of the reception desk. And then furnished it with minimalist stools in a similar pale timber and installed a run of black-painted pendant fixtures overhead. Here and throughout, the effect is relaxed and calming—though perhaps less so when dozens of youngsters are running around the place.

PROJECT TEAM SAMME GOH: ELTO CONSULTANCY. ECUC HUADONG CHENGJIAN: ARCHITECT OF RECORD. PRODUCT SOURCES FROM FRONT PENG PENG BEAR: CUSTOM SLIDE (LOBBY). THROUGHOUT SENCHUAN FURNITURE: CUSTOM SEATING. GERFLOR: FLOORING.

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See page 170 for BN Asociados’s Biblioteca Central y Archivo Municipal en Leganés in Spain. Photography: Roland Halbe.

face value Go ahead and judge these international destinations by their fantastic facades text: Colleen Curry

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“It is the jewel at the development’s core”

Neri & Hu Design and Research Office project Aranya Art Center. site Qinhuangdao, China. standout Molded concrete panels channel the rippling tide of the nearby Bohai Sea at a spiritually minded residential development’s event venue containing an amphitheater, galleries, and a roof deck. photography Pedro Pegenaute.

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“The building is able to educate — and entertain”

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BN Asociados project Biblioteca Central y Archivo Municipal en Leganés. site Spain. standout Thousands of pigmented ceramic half cylinders represent book spines as they cover 23,000 square feet of surface area on the new library that has been nearly a decade in the making. photography Roland Halbe.

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AOE project Courtyard No. 1. site Heze City, China. standout Inspired by suprematism, the early 20th–century abstract art movement, a residential sales center’s glazing of UV-resistant panels is intercepted by geometric apertures framed in stainless steel. photography Ligang Huang.

“The concept expresses the interdependence between physical and virtual space”

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“The curves give the building an objectlike quality”

Pedro Reyes project Pedro Reyes Studio. site Mexico City. standout The fabricators who collaborate on the sculptor’s Brutalist-inspired art constructed a workshop to match, punching portholes into the building’s precast concrete panels, then connecting its three floors with a spiral staircase in the same material. photography Edmund Sumner.

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B O O K s edited by Stanley Abercrombie Ezra Stoller: A Photographic History of American Modern Architecture

by Pierluigi Serraino New York: Phaidon, $125 400 pages, 450 photographs (50 color)

SOLUTION

Ezra Stoller began photographing buildings when he was in architecture school.

Not long after he opened his own studio in 1939, he photographed Alvar Aalto’s Finnish Pavilion at the New York World’s Fair and Frank Lloyd Wright’s Taliesin East. Soon important design firms began to want all their best work “Stollerized.” These included Skidmore, Owings “While I cannot make & Merrill, Marcel Breuer, and Richard Meier (who, a bad building good, not coincidentally, had apprenticed with SOM and I can draw out the Breuer). But his subjects also included Louis Kahn’s strength” Salk Center, Ludwig Mies van der Rohe’s Seagram Building, I.M. Pei’s East Building of the National Gallery of Art, Philip Johnson’s Glass House, Paul Rudolph’s Yale Art and Architecture Building, and—taking his camera on a rare trip to Europe—Le Corbusier’s chapel at Ronchamp.

This handsome volume designed by Pentagram shows us several hundred more fine examples, both inside and out; and because we see them more or less chronologically, together they constitute, as the book’s subtitle claims, a history of modern architecture. It also demonstrates, if demonstration were needed, how much information about a building a fine photograph can give us and how comparatively little we sometimes need to depend on captions and texts.

The book also makes us speculate that some of these images may outlast their subjects. The author, Pierluigi Serraino, seems justified in concluding that “The historical permanence of Modern architecture resides firmly in the timeless photography of Stoller.”

Powerhouse: The Life and Work of Judith Chafee

by Christopher Domin and Kathryn McGuire New York: Princeton Architectural Press, $50 272 pages, 252 illustrations (149 color)

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American architect Judith Chafee (1932-1998) was a strict modernist and a pioneer in sustainability. After graduating from Bennington College, she studied at Yale University under Kahn “Chafee’s architecture com- and Rudolph (with Mies as a visiting professor). She then went to work bined sensitivity to place successively in the offices of Rudolph; with an uncanny ability to employ brutalist materials” the Architects Collaborative (while Walter Gropius headed it); Eero Saarinen; and Edward Larrabee Barnes. Thus equipped, in 1966 she established her own office in Hamden, Connecticut, before moving four years later to Tucson, Arizona, where she had lived as a girl. In this Southwestern desert landscape Chafee and her architecture would flourish.

This very welcome and attractive book focuses on six examples of Chafee’s early works and five later ones. Although she also designed for colleges and high schools and for the Arizona Nature Conservancy, most of her designs (and all 11 examples shown here) are residential. Though no two are similar, they share, in William Curtis’s introductory words, “deeply embedded patterns 176

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of visual and spatial organization.” They also recognize the freedom of wide open spaces and the restrictions of a desert environment, the desire for views and the necessity of shade, the need for sustainability, and the practicality of solar and wind power.

Chafee shared her wisdom and enthusiasm as a visiting lecturer or professor at the universities of Arizona and Texas, and at MIT. Part of an end to an era, her 1970 Merrill house was the first design by a woman to be shown on the cover of Architectural Record.

What They’re Reading...

Rebel Talent: Why it Pays to Break the Rules at Work and in Life

by Francesca Gino New York: Dey St., $28 283 pages

“I always relate everything I read or listen to back to design in some way, to see how it can influence what I’m working on, from workplace design to hospitality projects. By mystical fate, this book was served up to me by NPR social science correspondent Shankar Vedantam. On my drive to work, I had started listening to his podcast Hidden Brain about the unconscious patterns that drive human behavior, shape our choices, and direct our relationships. The very first episode I heard, You 2.0: Rebel With a Cause, is based on Gino’s book.

It totally struck a chord by summing up perfectly how I had been feeling about design, authenticity, uniqueness, and how we can push ahead in this world of global consciousness. The book discusses rebels not as disruptors for disruption’s sake but as individuals who rethink and challenge existing norms and create change. It is completely reframing how I approach work and life by allowing for more freedoms in the process. Design is messy, and it’s supposed to be. This book shows how to find gold in the mess of experimentation.”

Brooks Atwood Design Director at OfficeUntitled

ALUMINUM TRIM

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNERS IN HOTSHOTS

AOE (“Face Value,” page 166), aoe-china.com.

Cactus (“Instant Beauty,” page 105), cactus.is.

BN Asociados (“Face Value,” page 166), bnasociadossa.es.

Chzon (“Renaissance Woman,” page 79), chzon.com.

Neri & Hu Design and Research Office (“Face Value,” page 166), neriandhu.com.

Clap Studio (“Applause All Around,” page 87), weareclap.com.

Pedro Reyes (“Face Value,” page 166), pedroreyes.net.

Fleetwood Fernandez Architects (“Show Me the Sugar,” page 97), fleetwoodfernandez.com.

PHOTOGRAPHERS IN FEATURES

Kinzo (“Mix Masters,” page 101), kinzo-berlin.de.

Maxime Galati/Living Inside (“Comrade Carioca,” page 116), livinginside.it.

Studio Svetti (“Multi Faceted,” page 91), studiosvetti.com.

Zhang Jing (“On Their Own Two Feet,” page 158), ThreeImages, 3images.cn.

Various Associates (“Agents of Change,” page 83), various-associates.com.

Eric Laignel Photography (“Live, Work, Play,” page 124; “Urban Renewal,” page 150), ericlaignel.com.

DESIGNER IN CENTERFOLD

Daisuke Shima (“Festival of Color,” page 134), Ad Hoc, adhocfoto.jp.

Lawrence Kim/A+U Lab (“Repetition is the Key to Learning,” page 111), au-lab.net.

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.

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designannex

“Tubular” by Turf

Multipurpose, Squared

Tubular – for when design throws you a curve. Vertical channels carved into the surface of Tubular allow the tile to wrap a radius. Made from sound absorbing PET felt, the carved wall tile is available in a single color or two-tone styles. t. 844.TURF.OMG turf.design

Whether stacked or nested, BIXBY delivers multipurpose seating that puts innovation, design and flexibility at the forefront. Lightweight and versatile, BIXBY supports collaboration in dynamic spaces that demand ease of use without compromising comfort or performance. t. 888.234.5098 amqsolutions.com/REVI

Laser Cut Metal Solutions Móz Designs manufactures surfacing materials for commercial environments. Móz is merging their Laser Cut and Engraving technologies to introduce new unique materials which can be backlit, layered, or used as a screen. t. 510.632.0853 mozdesigns.com

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Newport Brass Luxnetic Showerheads create a luxurious, rain-like shower experience by controlling the speed, movement, and size of the water droplets. Delivering water in an oscillating stream, Luxnetic creates greater coverage than a standard showerhead flowing at the same rate. t. 949.417.5207 newportbrass.com

DeepStream Designs Screen Walls and Planters

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Interior/Exterior-grade Screen Walls and Planters with Lifetime Structural Warranty. Marine-anodized aluminum frame, no paint or powder coating to fail.

Coordinating Bins, Benches and Custom Fixtures also available. 3Form Resin Panels and 100% Recycled Plastic Lumber planters shown. t. 305.857.0466 DeepStreamDesign.com

InteriorArts is a curated collection of HPL design laminates focused on unique designs and impressive textures. Popular designs represent distressed surfaces and on trend wood grains, all with laminate ease. From the same people who bring you Chemetal and Treefrog. t. 800.807.7341 ialaminates.com

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QM DRAIN Supreme revolutionizes the installation of linear drains when the pipe is off-center. An independent base eliminates the need to relocate existing pipes. Supreme appears centered regardless of existing drainpipe location. Available in various lengths and finishes. Modern, impeccable, supreme. t. 954.773.9450 e. info@qm-us.com qmdrain.com

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

Shimmering, fluid and dramatic mesh creates a simple, yet lustrous pattern of texture unlike any other material. Feel the difference. t. 800.876.MESH wdmesh.com

SKIN SEATING | PETER PEPPER PRODUCTS

Industrial Chic A contemporary take on the industrial ethos, the Descanso Kitchen Series features textured knurling on the handles and distinctive hex nut accents.

Matching accessories harmonize the look. Handcrafted in Huntington Beach, CA, and available in 28 artisan finishes. californiafaucets.com

Skin, designed by Josep Llusca, offers refined and durable seating solutions for guest, desk, and public environments. The comprehensive lineup includes stools, 4 leg, sled base, spider leg, and adjustable height desk chairs. t. 800.496.0204 x7 peterpepper.com

Aura Lounge Chair by Beaufurn

Cubic Series Fireplaces by Wittus

Aura is a modern twist on a classic design with a unique profile and all-around comfort. Set upon a round wooden base, the chair rotates a full 360º. A medallion with metallic finish accentuates the simple, yet elegant design. t. 888.766.7706 beaufurn.com

A new generation of wood burning fire - the Wittus Cubic Series of five models, from 7� to 3½� high and wall mounted versions. Designed by the Danish architect Anders Nørgaard. High fuel efficiency with low atmospheric emissions. t. 914.764.5679 wittus.com

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Climate change is on everyone’s minds.

That’s especially true for the 4 million people who live in the Arctic, where the consequences of a warming planet are immediate and dire. Now until late 2021, an exhibition in the great hall of the Nordic Museum in Stockholm tells the story of the region’s peoples through an environmental lens.

“The Arctic—While the Ice Is Melting,” designed by exhibition veterans and Museea co-founders Sofia Hedman and Serge Martynov, takes inspiration from the large fissures that form in the ice pack as it melts. “Cracks have a symbolic meaning,” Hedman explains. “With the climate crisis, they arise within nature, traditions, and generations.”

The exhibition is contained in a massive 22,000-square-foot timber-and-plywood “ice block” covered with a reusable textile of recycled PET and linen. Objects, artworks,

chilling effect and information about life on the ice are accessed through a jagged crevasse. Look up and the great hall’s glass skylights 75 feet above are visible, juxtaposed against a constellation of fiber-optic lights representing the Arctic night. “We had to work with this im­pos­ing building,” Martynov says, “not against it.”

“Cracks in the ice make humans seem so small,” Hedman adds. “We want visitors to leave with a sense of urgency to tackle this crisis.”

Perhaps that’s the perspective we need. —Wilson Barlow

HENRIK ZEITLER/NORDISKA MUSEET

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