AUGUST 2020
the shape of things
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The place where land, sky, water, and horizon meet is always shifting. As landscapes change, our natural world adapts. So it is in the spaces we occupy. Shifting Fields brings that notion down to earth. The collection captures our need to design for ever-shifting environments. And to adapt gracefully. A portion of the proceeds from our Shifting Fields collection will be donated to the Greater Chicago Food Depository - a member of Feeding America, the national network of food banks. Explore Shifting Fields at shawcontract.com
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CONTENTS AUGUST 2020
VOLUME 91 NUMBER 9
ON THE COVER To serve Bildungscampus Heilbronn, a three-university, 10,000-student campus on a compact site in Germany, Auer Weber designed a 550-seat cafeteria, and then buried it under a pair of pitched walkable lawns. Photography: Roland Halbe.
features 82 FERTILE GROUND by Rebecca Dalzell
Auer Weber’s multiple structures on a German university campus teach lessons in innovation and resourcefulness. 92 FORCE OF NATURE by Jane Margolies
A rural Connecticut residence by Desai Chia infuses a serene and restorative setting with contemporary drama. 100 RAINBOW CONNECTION by Monica Khemsurov
In Stuttgart, Germany, the headquarters of industrial paint manufacturer Wörwag is awash in color courtesy of Ippolito Fleitz.
108 RATIONAL VALUES by Joseph Giovannini
The classical interiors of Felix Meritis, a landmarked Enlightenment building in Amsterdam, get a thoughtful update from i29. 118 A WHOLE NEW WORLD by Edie Cohen
JSA Architecture and Nomah transform a 19th-century Mexico City structure into the boutique Hotel Umbral. 126 ROOM TO BREATHE by Nicholas Tamarin
Wood-clad or lightfilled, rural or urban, these private residences share an invigorating architectural vision.
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CONTENTS AUGUST 2020
VOLUME 91 NUMBER 9
walk-through 37 LOVE-ALL by Colleen Curry
rising giants 45 FORGING AHEAD by Mike Zimmerman
departments 25 HEADLINERS 29 DESIGNWIRE by Annie Block 32 PINUPS by Wilson Barlow 61 MARKET by Rebecca Thienes, Georgina McWhirter, Jen Renzi, and Colleen Curry 77 CENTERFOLD Silver Lining by Colleen Curry
Atop an office building in Eastern India, a celestial outdoor canopy by Abin Design Studio encourages an upward perspective. 136 BOOKS by Stanley Abercrombie 138 CONTACTS
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e d i t o r ’ s welcome
08/2020 August. One more off-site issue—slightly fleshier— under our belts and in your hands via our superb subscription-department acrobatics and our friends at Material Bank, who are including issues, surprise, in your sample boxes! And one month closer to finally silencing all the professional doom-, gloom-, and kaboom-sayers! According to these wretched souls, nothing will ever be the same. Kids will stay put with their families at home for the foreseeable future, so poof—there goes Education! Fraternizing, socializing, and particularly mating are things of the past, so ditto Hospitality! Even our irresistible urge to create and be productive will be history, entirely replaced by bits and bytes, so away with you, too, Workplace! (Insert deep breath here.) Along with staying healthy and safe—and seeing you so—silencing that useless noise is high on my list of future goals. I can’t help it: Ignorance peeves me to no end. Residing 24/7 in design and architecture as we do, it’s clear we all know better. Our craft is squarely an art form, but it is also a science—with a capital S. And since we believe in science and not in hocus-pocus, we know this murderous trial will be over eventually. We will, however, treasure all the hard lessons the last five months have imparted and put them to good use. I may be guilty of überchanneling positive developments, but as hard as I look, I don’t see any incentives to do otherwise. So, then: Not without a copious amount of pride, I offer you our summer lock down edition, an impeccable report on mastery and innovation, jam-packed with inspiration from a wide-and-varied cross section of our trade. Education goes green in Germany with a remarkable underground cafeteria, deftly designed by Auer Weber, that we placed on the cover; JSA Architecture and Nomah reimagine hospitality from a derelict 19th-century pink-stucco office building in Mexico City; Ippolito Fleitz’s workplace for a Stuttgart paint manufacturer celebrates all the colors of the rainbow...and glows like a Rubik’s Cube to boot! All this, plus a glorious roundup of new architecture and our annual Rising Giants report, should be a surefire tonic for your blues—and a true window on our future. A virtual (this is getting old) hug,
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AUG.20
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Nomah “A Whole New World,” page 118 founder, partner: Laura Natividad. partner: Dania Gutiérrez. firm site: Mexico City. firm size: Six architects and designers. current projects: Galería Plaza Hotels in Mexico City and León Guanajuato; Tamar restaurant in Mexico City. honors: Noldi Schreck Award. role model: Charlotte Perriand for her functional living spaces and belief that better design creates a better society. local: Natividad earned her bachelor’s in architecture from Universidad Iberoamericana. afar: Gutiérrez graduated from the Art Institute of California–San Diego, after spending a year at Sorbonne Université. nomah.mx
“We create unique experiences and sophisticated atmospheres that tell stories, achieving harmony between architecture, interior design, and art”
JSA Architecture “A Whole New World,” page 118 founding partner: Javier Sánchez. office site: Mexico City. office size: 48 architects. current projects: Hotel Río Volga in Mexico City; Alila Hotel in Baja California Sur, Mexico; HWAK Bad Wiessee in Munich. honors: Mexico City Architecture Biennial Gold Medal; Ibero-American Biennial of Interior Design and Landscaping Award. role model: Donald Judd for his concept of “never building on new land.” head: Sánchez earned his master’s in architecture at Columbia GSAPP in New York. heart: He’s also an ultramarathoner. jsa.com.mx
RIGHT: ZAICKZ STUDIO (2)
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“We aim to connect the city through subtle interventions, ones that lead the boundaries between private and public to fade away”
headliners
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Auer Weber
Desai Chia Architecture
“Fertile Ground,” page 82 managing partner: Achim Söding. office site: Stuttgart, Germany. office size: 55 architects and designers. current project: Campus Founders Lab in Heilbronn, Germany. honors: Appreciation Architecture State Prize BadenWürttemberg; IOC IAKS Architecture Award. role model: Bruno Taut, an early 20th–century German architect with a strong sense of social responsibility.
“Force of Nature,” page 92 principal: Katherine Chia, FAIA. principal: Arjun Desai, AIA. firm site: New York. firm size: Five architects and designers. current projects: Residences in Roxbury, Connecticut; Mexico City; and Bampton, U.K. honors: Interior Design Best of Year Award; AIA NY Awards; Boston Society of Architects Housing Design Awards; Residential Design Architecture Award. role model: Arne Jacobsen and his multidisciplinary, holistic, and humane approach to design.
wheels: Söding likes to cycle through northern Germany. feet: He also hikes the Bavarian Alps. auer-weber.de
sport: Chia played women’s rugby at Amherst College, then set aside her cleats for a junior year abroad in Denmark to study architecture. art: Born in Mumbai, Desai today collects Indian miniature paintings. desaichia.com
Ippolito Fleitz Group
i29 “Rational Values,” page 108 founding partner: Jeroen Dellensen. founding partner: Jaspar Jansen. firm site: Amsterdam. firm size: Eight architects and designers. current projects: Booking.com headquarters and Hotel Casa in Amsterdam; Red7 residential development in Moscow. honors: IFI Global Award. role model: Ronan and Erwan Bouroullec, because their work is always a pleasing mix of aesthetics, function, and superb detail. chef manqué: Dellensen loves to cook dinners for friends. body and mind: Jansen is a keen sportsman and reader. i29.nl
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“Rainbow Connection,” page 100 managing partner: Peter Ippolito. managing partner: Gunther Fleitz. office site: Stuttgart, Germany. office size: 100 architects and designers. current projects: Four Frankfurt 4 office development, Bionade headquarters in Bad Vilbel, and Ritter Sport headquarters in Waldenbuch, all in Germany. honors: Interior Design Best of Year Awards; iF World Design Award. role model: Painter Ben Nicholson for his passionate and humanistic celebration of the ubiquitousness of the sacred and the profane. founders: Ippolito and Fleitz launched IFG in 2002, after stints at Studio Libeskind and Steidle+Partner Architekten, respectively. members: Ippolito belongs to the German Designers Club and Fleitz to BDA Baden-Württemberg. ifgroup.org
AUG.20
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PHOTOGRAPHY TOM ARBAN
PROJECT TORONTO CENTER FOR THE ARTS, TORONTO, ON ARCHITECT DIAMOND SCHMITT ARCHITECTS GENERAL CONTRACTOR GILLAM GROUP BUILT BY EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM
TORONTO | NEW YORK | DETROIT
design wire edited by Annie Block
the great outdoors Across much of the globe, galleries and museums have begun reopening. But with COVID-19 still persisting, outside art venues enable cultural enlightenment along with easier social distancing. One such is Houghton Hall, the majestic British estate anchored by an 18thcentury Palladian residence. Opened to the public in 1976, its expansive 4,000 acres have hosted monumental sculptures by the likes of Henry Moore and James Turrell. This summer and fall, the hall showcases the work of Anish Kapoor. The exhibition features 24 of his large-scale sculptures across the grounds as well as a selection of his drawings and smaller sandstone pieces shown inside the house, all created by the artist over the past 40 years. Particularly noteworthy is the 16-foot-diameter Sky Mirror, which Kapoor conceived in 2018 in polished stainless steel. The result is a massive, brilliantly shiny round that reflects the world, fittingly, upside down.
The stainless-steel Sky Mirror and the onyx Eight Eight appear in “Anish Kapoor at Houghton Hall,” in Norfolk, U.K., through November 1.
COURTESY OF ANISH KAPOOR AND LISSON GALLERY
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From top: Freedom Now, Reginald Adolphus Gammon’s 1963 acrylic paint on board, appears in “Soul of a Nation: Art in the Age of Black Power,” at the Museum of Fine Arts, Houston, through August 30. Elizabeth Catlett’s cedar Black Unity, 1968. Middle Passage, a 1970 mixed media on canvas by Frank Bowling. The 1964 gelatin silver photograph Rhythmic Cigarettes, Greenwich Village, New York by Albert Fennar.
pushing for progress Talk about timely. It was 2018, long before the death of George Floyd and the worldwide demonstrations it incited, when “Soul of a Nation: Art in the Age of Black Power” had been scheduled to appear at the Museum of Fine Arts, Houston, early this spring, after its run in the U.K., Arkansas, New York, and California. But due to another horror, the coronavirus, museums closed to the public. On May 23, however, the MFAH reopened to visitors and the exhibition, now more impactful than ever, has been extended through summer. 174 works by more than 60 Black artists, including the site-specific addition of over a dozen pieces by Texans, span eras—from the Civil Rights movement to the early ’80’s— and mediums, organized into 13 sections, East Coast Abstraction, Black Heroes, and AfriCOBRA among them. The museum has also planned a series of panels with artists featured in the show, plus weekly films, all live-streamed from mfah.org/virtualexperience.
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FROM TOP: COURTESY OF THE NATIONAL AFRO-AMERICAN MUSEUM AND CULTURAL CENTER IN WILBERFORCE, OHIO, AND THE ESTATE OF REGINALD GAMMON/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY; EDWARD C. ROBISON III/COURTESY OF CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVILLE, ARKANSAS, AND CATLETT MORA FAMILY TRUST/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY; ADAM NEESE/COURTESY OF THE MENIL COLLECTION, HOUSTON, AND FRANK BOWLING/ARTISTS RIGHTS SOCIETY (ARS), NY; COURTESY OF MIYA FENNAR AND THE ESTATE OF ALBERT R. FENNAR
D E S I G N w ire
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Nuez by Patricia Urquiola Closed Table by Estudio Andreu
P I N ups text by Wilson Barlow
drawn to life A barstool’s graphic silhouette reveals Sylvain Willenz’s talent for illustration 1. Totem in steel lacquered Castaño, Champagne, or Negro, and leather in Chestnut, Gabriel’s Atlantic polyester in 61166, or Febrik’s Razzle Dazzle woolnylon blend in Natural by Sancal. sancal.com
COURTESY OF SANCAL
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parallel thinking Stripes and grids are parked all over pieces by Kokot founder Marine Vola
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pi n ups 1. Shade side table in electroplated steel by Kokot Studio. 2. Grid vase in hand-painted porcelain by Kokot Studio. kokotstudio.com
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Kayo | Jonathan Prestwich
walk through
love-all firm: ghislaine viñas site: montauk, new york JAIME VIÑAS
An official umpire’s chair has been custom painted for a private house’s tennis pavilion called Floritauk. AUG.20
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One of the East End’s chicest spots isn’t open for business. But it has nothing to do with the pandemic. Instead the Floritauk Tennis Club is the entirely private venture of a Montauk, New York, homeowner, a contemporary art collector and former gallerist with a passion for entertaining and vivid vignettes. She’d been seeking an environment where she and her guests could mix athletics and leisure, something like a traditional country club—but with a touch of retro irony. Who better to call on than her comrade in color Ghislaine Viñas, who’s designed nearly a dozen projects for this client, including the property’s main house up the hill. On the outside, the white-brick pavilion is restrained in appearance, with a planted roof that effectively camouflages the single-story structure when viewed from the main residence. But any sense of subtlety stops there: Its 1,650 square feet are rife with exuberant greens and yellows and contemporary forms, plus a dash of calculated kitsch. “We were playing off the old country clubs of Florida and suburban Philadelphia,” Viñas explains. “It’s all very tongue in cheek.” Indeed, clubby diamond-tufted leather stools line the bar and prim lattice prints abound. But they are countered by the unexpected. An acid-green cotton-viscose blend akin to the shade of tennis balls upholsters the lounge’s banquette; Viñas had discovered it years earlier, but never had occasion to use it. “I was almost worried it had been discontinued,” she recalls. A sister shade coats the umpire chair supervising the court outside the pavilion’s French doors. Back inside, Viñas introduced graphic
MICK HALES
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Opposite, clockwise from top left: A 40-inch-diameter pendant fixture by Stacy Kunstel and Michael Partenio hangs above wool-viscose carpet in the locker room. Beneath a custom mirror in the bathroom, bird-shape sink fittings are powder-coated brass. Ottomans by Tomoko Mizu populate the lounge, with graphics by Jaime ViĂąas. The painted-brick, 1,650-square-foot pavilion structure is by Arcologica. Christian LaCroix fabric upholsters the chaise longues.
MICK HALES
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black and white in the custom ping-pong table and the striped indoor awning above it. The mode turns decidedly sunny in the locker room, wrapped nearly top to bottom in a saturated citrus, from the carpet to the parrot-patterned wallpaper. But black-and-white pops of modern contrast turn up again in the oversize wheel of a pendant fixture and the powder-coated sink fittings shaped like birds. To mastermind a branding package for the project, Viñas turned to another frequent rallying partner, her graphic designer husband, Jaime Viñas. “Even though it is not a real club, it needed to feel authentic,” he notes. He conceived a Floritauk crest and applied it to tennis balls, ping-pong paddles, hand towels, and even cocktail napkins, which go perfectly with a post-match martini. —Colleen Curry
w a l k through
FROM FRONT NET WORLD SPORTS: UMPIRE CHAIR (COURT). ZAZZLE: CUSTOM TENNIS BALLS. CUSTOM ON IT: CUSTOM TOWEL. BOB COLLINS & SONS: WALLPAPER (LOCKER ROOM). SERENA & LILY: TABLE. KRAVET: CHAIR FABRIC. KIRKBY DESIGN: CHAIR PIPING FABRIC. ARDWYN DECORATIVE TRIM: LOCKER TASSELS. DUNES AND DUCHESS: PENDANT FIXTURE (LOCKER ROOM), SCONCES (BATHROOM). ARONSON’S: CARPET (LOCKER ROOM), RUG (LOUNGE). P.E. GUERIN: SINK FITTINGS (BATHROOM). COL LECTOR: CUSTOM MIRROR. KAUFMANN KERAMIK: TILE. THROUGH 1ST DIBS: SCONCES (LOUNGE). NEW YORK ART UPHOLSTERY: CUSTOM BANQUETTE. S. HARRIS: BANQUETTE FABRIC. THROUGH PROPERTY FURNITURE: OTTOMANS. ROSE HYLL STUDIO: CUSTOM AWNING. SUNBRELLA: AWNING FABRIC. SAMUEL & SONS: AWNING TRIM. THROUGH DDC: CHAISE LONGUES. THROUGH OSBOURNE & LITTLE: CHAISE LONGUE FABRIC. KNOLL: COCKTAIL TABLE. REGENERATION: CREDENZA. PABLO DESIGNS: PENDANT FIXTURES. PERINI: BAR TILE. RICHARDSON SEATING: BARSTOOLS. DOUGLASS FABRIC: BARSTOOL UPHOLSTERY. FLORENCE BROADHURST: WALLPAPER. SIKA DESIGN: CHAIRS (TERRACE). SCENARIO HOME: STOOL. ANTHROPOLOGIE: TABLE. URBAN ARCHAEOLOGY: SCONCE. THROUGHOUT ARCHITECT OF RECORD: ARCOLOGICA. TOM O’DONOGHUE ASSOCIATES: GENERAL CONTRACTOR.
Clockwise from top left: Eero Saarinen designed the cocktail table. Napkins, tennis balls, and ping-pong racquets bear the custom Floritauk crest. Danish rattan rocking chairs on the terrace coordinate with the French door frames.
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OZARK
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r i s i n g giants
GARRETT ROWLAND
forging ahead
HDR (#25) designed their own headquarters in Omaha.
Revel Architecture & Design [8] designed offices for an alternative-tech client in Austin, Texas. JULY.19 AUG.20 INTERIORDESIGN.NET INTERIORDESIGN.NET
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We have news to report. The data is in on business trends for the annual Interior Design Rising Giants, the 100 largest firms after our top 100 Giants. However, there’s a catch: It’s 2020. Which means our entire world is in various stages of flux—actually, upheaval may be a better word. No one knows what will happen next week, let alone next year. So while these new numbers can give you a fine idea of what kind of year the Rising Giants had in 2019, all bets are off on guessing how the design industry and the economy overall will weather the rest of 2020 and beyond. That said, business has been strong for these Giants—in 2019 and the years leading up to it. Total fees for the year came in at $604 million, a sizeable 21 percent jump from the previous year’s $500 million take. That’s stellar, but the Rising Giants’s forecast of $640 million for
2020—less than 6 percent growth and the lowest forecast in five years—is about as tangible as a puff of smoke. We just don’t know. What we do know: Hospitality has overtaken corporate work as the biggest moneymaker for the group. The former brought in $195 million, 32 percent of all fees in the group (up from 28 percent in 2018), while the latter fell to $173 million, or 29 percent (from 33 percent in 2018; the two sectors have essentially traded places). Healthcare (11 percent) was the only other area to reach double digits as a percentage of the overall pie. Other sectors—education, government, retail—racked up single-digit percentages of total fees, though one area in particular, residential, has trended downward from 13 percent in 2016 to 8 this year. Work volume was a big reason for the bump in overall fees. The Rising Giants finished just
The San Francisco office of Symantec is by AP+I Design [82].
over 70,000 projects last year, totaling 332 million square feet. The second figure is massive compared to the 221 million square feet logged in 2018. That may be an outlier, but these Giants still made a pre-pandemic prediction of 361 million square feet in 2020. Volume was up as well for furniture-fixtures and construction product installation in 2019, with $19.8 billion, up from $18.7 billion the previous year (construction takes 69 percent of the total). That may sound impressive, but the
46
INTERIORDESIGN.NET
new total falls well short of the original forecast of $22 billion. Still, for some perspective, consider that the furniture-fixtures/construction total back in 2015 was $9 billion. The Rising Giants do the majority of all this work in the U.S. Only 15 percent is done outside the states (the 100 Giants do 23 percent globally). The locations aren’t surprising: Canada, Europe, and Asia/Pacific Rim. What is surprising about the percentage? It’s almost triple the 6 percent rate from 2018. The vast majority of Rising Giants expect the U.S., particularly the Northeast, to be busier than previous years business-wise, though it will be interesting to monitor that overseas growth. In-house, 3,261 designers produced a median fee per staffer of $197,000 and a median fee per square foot of $102 (that’s the highest total since $77 in 2017). The Rising Giants are employing about 500 more design staffers than 2018, but salaries haven’t budged much. Designers make about $70,000, project managers $109,000, and principal/partners $175,000. Time, generally, is well spent with 81 percent of hours billed to clients. Finding great new employees is a core business concern among the Rising Giants. Twice as many claim “recruiting qualified staff” is more important than retaining staff. With all that work, perhaps this isn’t surprising. As far as clients, the Rising Giants still grapple with the holy trinity of client, firm, and the project at hand. “Getting clients to understand value” and “pay what a job is worth” remain major business concerns, as well as “dealing with clients’ increasing demands.” Part of the issue is clients becoming more educated about the process. “They are becoming more sophisticated in their expectations of design and project delivery,” a firm representative from Figure3 says. Others chime in as well about “hands-on,” “more engaged,” and “savvy” clients. Which isn’t necessarily a bad thing, as more communication can lead to better understanding of value—and better design. But it will be interesting to see how this development will affect the business going forward. As for 2020, we’ll have to see what happens and hope for the best—and a miracle or two. The phrase unprecedented times may be played out, but that doesn’t make it any less true. Stay safe, and good luck out there. —Mike Zimmerman
JOHN SUTTON
r i s i n g giants
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fu r n it u re
lig hting
a c c e sso r ie s
1 3 4 M a d is o n Ave N e w Yo r k ddcnyc.com
syste ms
r i s i n g giants WORK INSTALLED
RANK 2020
FIRM,  headquarters, website
DESIGN FEES
VALUE $
SQ. FT.
(millions)
(millions)
(millions)
ID STAFF
RANK 2019
Areen Design, London areen.com
15.60
50.00
0.43
84
-
2
Design Republic Partners Architects, New York designrepublic.us.com
10.16
250.00
1.10
14
83
3
BLINK Design Group, Singapore blinkdg.com
10.10
2340.00
5.20
38
-
4
Wolcott Architecture, Culver City, CA wolcottai.com
9.68
55
89
5
Brereton Architects, San Francisco brereton.com
9.60
320.10
1.94
35
115
6
Duncan Miller Ullmann, Dallas designdmu.com
9.50
9.70
98.00
73
94
Dyer Brown, Boston dyerbrown.com
9.41
330.00
4.60
46
93
8
Revel Architecture & Design, San Francisco revelers.com
9.40
315.00
1.90
44
106
9
Margulies Perruzzi, Wayne, NJ mp-architects.com
9.35
145.00
1.10
39
88
10
Tricarico Architecture and Design, Boston tricarico.com
9.35
0.51
3.50
55
98
11
Simeone Deary Design Group, Chicago simeonedeary.com
9.33
54
125
12
Array Architects, Conshohocken, PA array-architects.com
9.25
3.10
18
92 121
7
395.00
13
CO Architects, Los Angeles coarchitects.com
9.10
8.40
3.55
70
14
CID Design, Durham, NC cid-designgroup.com
9.00
680.00
12.09
33
86
15
Alliance Architecture, Naples, FL alliancearchitecture.com
9.00
165.00
1.60
41
103
16
HFS Concepts 4, Long Beach, CA hfsc4.com
8.96
132.00
39
-
17
Wright Heerema Architects, Chicago wharchs.com
8.83
466.00
23
104
18
FXCollaborative, New York fxcollaborative.com
6.20
126.00
3.00
24
101
19
Chambers, Baltimore, MD chambersusa.com
8.77
112.00
1.20
32
97
20
TVSdesign, Atlanta tvsdesign.com
8.70
38
109
21
Resort Interiors, Myrtle Beach, SC resortinteriors.net
8.60
12
-
22
E4H Environments for Health Architecture, Boston e4harchitecture.com
8.50
680.00
2.27
15
138
23
Kenneth Park Architects, Boston kennethpark.com
8.50
80.00
0.60
24
KCCT Architecture, Washington, D.C. kcct.com
8.41
25
NK Architects, Morristown, NJ nkarchitects.com
8.32
180.00
26
Algiere Design & Purchasing Services, Plano, TX algierehospitality.com
7.80
0.20
27
Whitney Architects, Chicago whitney-architects.com
7.76
28
Architecture, Incorporated, Reston, VA archinc.com
7.70
29
Looney & Associates, Dallas looney-associates.com
30
DesignAgency, Ontario, Canada thedesignagency.ca
305.00
31
EDG Design, Novato, CA edgdesign.com
7.50
32
StudioSIX5, Austin, TX studiosix5.com
33 34
26
110
56
135
0.33
9
-
1.40
18
-
102.81
0.93
41
123
1800.00
5.50
12
112
7.59
52
108
7.58
0.90
68
139
16.00
6.00
66
116
7.23
3.00
20.00
55
118
H. Hendy Associates, Newport Beach, CA hhendy.com
7.18
320.00
1.25
36
117
Merriman Anderson/Architects Dallas, TX merriman-maa.com
7.14
144.48
5.00
15
127
35
Hendrick Inc. Atlanta, GA hendrickinc.com
7.00
200.00
38
113
36
Premier Project Management, Dallas premierpm.com
6.81
288.75
3.50
23
-
48.00
300.00
22
122
0.50
34
120
37
Loffredo Brooks Architects, New York lbarch.com
7.00
38
Ziegler Cooper, Houston zieglercooper.com
6.75
39
ICrave, New York icrave.com
6.60
29
128
40
Dialog, Ontario, Canada dialogdesign.ca
6.57
39
105
41
Smallwood, Atlanta smallwood-us.com
6.26
796.21
4.81
49
126
42
Cuningham Group Architecture, Minneapolis cuningham.com
6.15
175.00
0.65
134
145
43
Roger Ferris + Partners, Westport, CT ferrisarch.com
6.10
300.00
2.00
35
-
44
Figure3, Ontario, Canada figure3.com
6.08
489.00
6.79
56
133
45
KZF Design, Cincinnati kzf.com
6.02
1.30
69
111
46
Intec Group, Fairfax, VA intecgroup.net
5.90
20
130
47
Klai Juba Wald Architecture + Interiors, Las Vegas klaijuba.com
5.80
30
179
48
Meyer, Ardmore, PA meyerdesigninc.com
5.70
65
141
49
Abel Design Group, Houston abeldesigngroup.com
5.60
515.34
12.88
33
140
50
Legat Architects, Chicago legat.com
5.55
170.00
1.70
4
159
100.00
1.25
*NR - not reported 48
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Redefining
Glass Mosaic by
This is glass mosaic, but not as we know it. The story of SICIS fiberglass mesh mosaic is the story of EVOLUTION. ANSI DCOF COMPLIANT
Available upon request
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SICIS The Art Factory Showroom and Warehouse: 150 Bruckner Blvd Bronx NY 10454 Inquiries: sicis@sicisna.com Tel: 917 291 0399
r i s i n g giants WORK INSTALLED
RANK 2020
FIRM,  headquarters, website
DESIGN FEES
VALUE $
SQ. FT.
(millions)
(millions)
(millions)
ID STAFF
RANK 2019
Bar Napkin Productions, Phoenix bnp-llc.com
5.39
99.22
1.65
25
52
Davis, Carter, Scott, Tysons, VA dcsdesign.com
5.33
306.00
0.63
19
137
53
Rowland+Broughton, Aspen, CO rowlandbroughton.com
5.30
33
156
54
HBG Design, Memphis hbg.design
5.12
33
151
55
HYL Architecture, Washington, D.C. hylarchitecture.com
5.10
2.00
21
150
56
Arris, a Design Studio, Baltimore, MD arrisdesign.com
5.10
45.00
1.25
29
143
57
iN Studio Design, Ontario, Canada instudiocreative.com
5.10
125.00
1.00
25
158
58
Rule Joy Trammell + Rubio, Atlanta rjtrdesign.com
5.06
27
134
59
Studio 11 Design, Dallas studio11design.com
5.00
6.00
2.50
52
162
60
Kamus Keller, Long Beach, CA kkaia.com
4.91
300.00
2.75
25
144
61
Greymatters, Singapore grey-matters.com
4.77
49.71
0.32
54
-
62
BraytonHughes Design Studios, San Francisco bhdstudios.com
4.50
1100.00
2.95
30
-
63
OZ Architecture, Denver ozarch.com
4.49
8.25
5.60
27
124
64
Anderson Mikos Architects, Oak Brook, IL andersonmikos.com
4.44
12
157
65
Studio DADO, Coral Gables, FL studiodado.com
4.38
579.00
3.00
20
200
66
Quadrangle, Ontario, Canada quadrangle.ca
4.26
443.75
2.75
102
114
67
RD Jones + Associates, Baltimore, MD rdjones.com
4.10
39
161
68
MSR Design, Minneapolis msrdesign.com
4.05
0.65
0.13
9
129
69
THW Design, Atlanta thw.com
4.00
90.00
5.00
18
196
70
Parker-Torres Design, Sudbury, MA parkertorres.com
3.84
6.00
0.30
27
173
71
JRS Architect, Mineola, NY jrsarchitect.com
3.80
76.00
0.39
18
164
72
//3877, Washington, D.C. 3877.design
3.80
55.00
3.20
26
190
73
Mojo Stumer Associates, Greenvale, NY mojostumer.com
3.75
85.00
0.36
24
166
74
Orsini Design Associates, New York orsinidesignassociates.com
3.82
4.00
9
160
75
Kay Lang + Associates, Los Angeles klangassocs.com
3.74
4.00
1.00
19
178
76
Flick Mars, Dallas flickmars.com
3.71
10.12
1.03
21
182
77
Spacesmith, New York spacesmith.com
3.65
26
181
78
Klawiter and Associates, Los Angeles klawiter.com
3.64
22
170 142
115.96
250.00
1.11
0.80
147
79
J. Banks Design Group, Hilton Head, SC jbanksdesign.com
3.60
27
80
LMN Architects, Seattle lmnarchitects.com
3.60
2.90
6.00
13
-
81
DAS Architects, Philadelphia dasarchitects.com
3.58
140.93
0.23
18
165
82
Api(+), Tampa apiplus.com
3.50
30.00
0.25
18
163
83
Parisi Portfolio, Tampa parisiportfolio.com
3.56
322.06
1.84
17
172
84
Hatch Design Group, Costa Mesa, CA hatchdesign.com
3.45
28
169
85
Ballinger, Philadelphia ballinger.com
3.31
45.00
23
180
86
Design Development Company, Agoura Hills, CA designdevelopment-group.com
3.26
30.00
87
GH2 Architects, Tulsa gh2.com
3.21
49
191
88
JOI-Design, Hamburg joi-design.com
3.20
45
174
89
Clive Wilkinson Architects, Culver City, CA clivewilkinson.com
3.20
21
149
90
KNA Design, Los Angeles knadesign.com
3.10
22
119
91
Indidesign, Los Angeles indidesign.com
3.00
15
189
92
McCarthy Nordburg, Phoenix mccarthynordburg.com
3.01
12
177
93
C2 Limited Design Associates, Fairfield, CT c2limited.com
2.84
15.00
3.00
13
186
94
C+TC Design Studio, Atlanta ctcdesignstudio.com
2.79
60.42
0.34
27
175
95
BG Studio International, New York bgstudio.com
2.75
55.00
0.60
15
-
96
Felderman Keatinge + Associates, Culver City, CA fkastudio.com
2.70
0.23
13
-
97
IEI Group, Philadelphia ieigroup.com
2.67
16.00
0.37
16
187
98
HapstakDemetriou+, Washington, D.C. hd-ad.com
2.63
48.00
3.20
25
183
99
SKB Architecture and Design, Washington, D.C. skbarch.com
2.50
20
148
100
Dawson Design Associates, Seattle dawsondesignassociates.com
2.47
16
192
0.64
15.00
0.50
100.00
1.60 0.70
1.50
171
*NR - not reported 50
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Winter Sky™ relaxed and reďŹ ned...
A Colour & Design Inc. Company
denovowall.com | 1.866.556.9255
How has the pandemic affected your business and your outlook on the industry overall? “This time has allowed us to explore areas beyond the workplace, understanding even more the importance of partnerships outside our industry, realizing we’re all connected. For instance, we’ve been working with scientists on new directions in vertical farming, air circulation, and nonintrusive design solutions to create healthier environments.” —Felderman Keatinge & Associates
“Climate change, systemic racism, and health and wellness are all within our abilities to impact in a meaningful way.” —FXCollaborative
“We’ve learned we can work effectively in a mode of isolation and that client engagement can be productive in virtual settings. Going forward, we imagine a hybridized model where the studio remains our locus, but a percentage of work is undertaken remotely.” —CO Architects
“Residential work is up for us. All in all, however, we’ll be down about 15 percent in billing. But we’re looking at that, and how well we’ve come through this, as home runs.” —Mojo Stumer Associates
“Although WFH challenges the collaborative nature of our approach, we all benefit from the reduction of the carbon footprint and stress with less travel to attend face-to-face meetings. We’re also finding a stronger awareness of ways to stop lip service and truly embrace diversity and inclusion in our communities, industries, firms, and lives. There are silver linings that will come from enduring this unique moment in history.” —Spacesmith
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“It took a few “We’re producing “We’ve changed “We are being weeks to get into called on to some of our the type of a virtual groove, explore how the best-ever work. conversations but productivity Hopeful that experience of we’re having is solid. Although place should be empathy will with our clients. there have been play a greater reinvented, and We are seeing downturns in role in design, the potential more discussion hospitality and for a new studio we believe about the restaurant work, companies will framework is value of design single-family and see the value wide open. thinking, thus small multifamily We’re asking in spending have become a residential their money ourselves how strategic resource projects are differently now, we can come for them, which picking up. We’ve together in more focusing more on has led to new seen great unique ways for people’s needs. service offerings empathy and We’re practicing three- or fiveand growth for camaraderie that ourselves, day retreats.” our company.” in our industry realizing personal —Quadrangle —ICrave reassuring interaction and our faith in connectivity are humanity.” critical, especially —//3877 for young designers to learn by example in their formative years, supporting a balanced work culture, where staff can choose how they will be most productive.” —Figure3
“The only constant is change and designers are well equipped for that. As we begin to come out of this unprecedented period of change, there will be opportunities for architects and interior designers to leverage our skills for problem-solving— and be part of the solution.” —Dyer Brown
CHRIS COOPER
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firms with most fee growth 2020
training staff 44%
recruiting qualified staff 82%
creating new business/diversifying into new services/segments 42%
retaining qualified staff 40%
marketing capabilities 23%
staff pay and benefits 22%
managing vendors 11%
managing growing need for sustainable design 13%
cutting-edge design solutions 22%
interference from client consultants 24%
uncertain economy 34%
understanding design value 56%
client willingness to pay what it’s worth 54%
managing client expectation 43%
finding new clients 40%
willingness to take design risks 36%
handling micromanaging clients 23%
retaining current clients 17%
practice issues
client demands 60%
client issues
2019
E4H Environments for Health Architecture $8,500,000
$5,670,000
Klai Juba Wald Architecture + Interiors
$5,900,000
$3,109,576
Simeone Deary Design Group
$9,325,000
$6,912,000
Studio DADO
$4,500,000
$2,244,946
KCCT Architecture
$8,410,055
$6,200,000
CO Architects
$9,100,000
$7,100,000
DesignAgency
$7,592,179
$5,655,000
THW Design
$4,262,000
$2,700,000
Legat Architects
$5,601,500
$4,125,000
Revel Architecture & Design
$9,400,000
$8,200,000
business issues earning appropriate fees 63%
tracking profits and expenses 11%
firm
other design staff $100
principal/ partner $250
designer $135
project manager/ job captain $179 median hourly rate
median annual salary
principal/ partner $175.000 The Bill & Melinda Gates Center for Computer Science & Engineering at Seattle’s University of Washington is by LMN Architects [80].
other design staff $56,000
project manager/ job captain $108,750
TIM GRIFFITH
designer $70.000
54
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TAGWALL
INFINITE POSSIBILITIES Discover the possibilities today at tagwallny.com
321 West 44th Street, Suite 200 New York, NY 10036 212.354.9255
fees by project type
actual (2019) $195,292,474
forecast (2020 )
hospitality
$213,291,804
$173,146,402
office
$170,607,080
$66,834,274
healthcare
$72,945,906
$48,778,329
residential
$52,242,346
$33,864,604
retail
$35,252,817
$22,030,962
educational
$23,040,482
$15,435,223
government
$10,983,596
$7,845,654
cultural
$6,294,762
$2,312,006
transportation
$2,305,447
other
$37,913,388
$35,748,000
most admired firms voted by the 2020 rising giants
R I S I N G giants
*These same three firms have been voted most
CO Architects [13] designed the Cedars-Sinai Advanced Health Sciences Pavilion Outpatient Surgery in Los Angeles.
admired for six straight years
Gensler Yabu Pushelberg Rockwell Group
new to the rising giants rank
firm
62
BraytonHughes Design Studios
5
Brereton Architects
25
NK Architects
38
Ziegler Cooper
other (private/for profit) 14%
% of firms working on educational projects
k-12 35%
KIM RODGERS
college/university 65%
56
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WO O L S T R U C T U R E
me m o s a m p l e s . c o m
other 9%
weekend/ vacation 28%
suburban 32%
urban dwelling 45% real-estate development 69%
A house in Aspen, Colorado, is by Rowland+Broughton [53].
% of firms working on residential projects
project categories
refresh 9%
renovation 47%
new construction 44%
domestic 85%
international 15%
office 63%
library 17%
medical 22%
courthouse/ correctional 15%
% of firms working on government projects
military 9%
educational 30%
lab/training 22%
other 13%
R I S I N G giants The second installment of the two-part annual business survey of Interior Design Giants comprises the second 100 largest firms ranked by nterior design fees for the 12-month period ending December 31, 2019. The first 100 Giants firm ranking was published in January. Interior design fees include those attributed to: 1. All types of interiors work, including commercial and residential. 2. All aspects of a firm’s interior design practice, from strategic planning and programming to design and project management. 3. Fees paid to a firm for work performed by employees and independent contractors who are “full-time staff equivalent.� Interior design fees do not include revenues paid to a firm and remitted to subcontractors who are not considered full-time staff equivalent. For example, certain firms attract work that is subcontracted to a local firm. The originating firm may collect all the fees and retain a management or generation fee, paying the remainder to the performing firm. The amounts paid to the latter are not included in fees of the collecting firm when determining its ranking. Ties are broken by the dollar value of products installed. Where applicable, all percentages are based on responding Giants, not their total number. The data was compiled and analyzed by Interior Design and ThinkLab.
interiordesign.net/risinggiants20 for more projects by these firms 58
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JOSHUA MCHUGH
methodology
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Define Space. Share Ideas. Return to Productivity. Intersection Space. Panels. Stack. Slide. Weave. Flex. Media. In porcelain, glass, fabric, acousticor, custom metal, wood and more. Your workplace, redefined.
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TIVOLI
©2020 Aceray
THE LOOK OF SEATING
market
edited by Rebecca Thienes text by Georgina McWhirter, Jen Renzi, Rebecca Thienes, and Colleen Curry
A cross-cultural collection by Italian Roberta Mari and Polish-Brazilian Silvia Zylberman Pio for Carpet Edition is aptly named Siamo Tutti Uno, or We Are One. Six of the seven handtufted rugs in the line, which was conceived to give voice to indigenous people, come in New Zealand wool and arrowlike forms. Memby, a tribute to Amazonian tribes, converges sketched lines evoking childhood drawings, while geometric Exas telegraphs a message of good health. The Kyrin and Urihi patterns were inspired by traditional KayapĂł body art. The rugs can be laid individually or coupled and interlocked to make a larger floor covering (just as Exas Blue and Memby Yellow are paired here). Not only does the assortment look good but it also does good: A percentage of sales go to Survival International, a human-rights organization dedicated to defending indigenous populations.
of all stripes carpetedition.com
SIAMO TUTTI UNO
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PIATRO MOSAIC DINING
KELLY BEHUN
heritage status Italian designer Carlo Bugatti, Catalan architect Antoni Gaudí, Brazilian landscape architect Roberto Burle Marx. The influence of the works by that international trio permeates Kelly Behun’s new outdoor line, Piatro, for The Invisible Collection, the tony furniture brand founded by Isabelle Dubern-Mallevays and Anna Zaoui. Behun was inspired by the high-tech advances in outdoor fabrics to elevate furniture in the same category to heirloom status. Her After Burle table in ceramic mosaic riffs on its namesake’s black-and-white Copacabana boardwalks in Rio de Janeiro. Also mosaic, but in customizable combinations of marble and other stone, are two dining tables: one Gaudí-esque in vibrant blue, black, and white that began life as a custom piece for a client, and another featuring an abstract portrait originally made for Barneys New York. Finally, a lounge set predominately in African mahogany, bleached to look gently weathered, references Bugatti’s carved, tasseled seating. “His work is earthy, organic, rich, and layered,” Behun notes. The same could be said of hers. theinvisiblecollection.com
m a r k e t collection outdoor PIATRO LOUNGE
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“I’ve always had a thing for mosaic and Gaudí”
AFTER BURLE
PIATRO MOSAIC
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new kids on the block Run by sisters and co-founders Hopie and Lily Stockman, Block Shop is releasing its first line of upholstery fabrics. In European linen or Indian cotton, the 11 patterns launching in the fall boast boho names likes Sunwave, Mr. People Person, and Big Squiggle. They mix stripes, polka dots, and half-moons that have been hand-printed in Bagru, India, like the studio’s other textiles, in the Stockmans’ signature saturated blues, pinks, yellows, and greens. “This debut,” Hopie Stockman explains, “is inspired by the layered prints of our 1980’s child hood bedroom but made Bauhaus.” The fabrics will soon be joined by wallpaper and curtains in the same patterns. “The idea that wallpaper, bedding, and curtains in the same motif can coexist in one room feels like a refreshingly far cry from the familiar white-wall interiors of Instagram,” she continues. Also of note, the sisters invest 5 percent of annual profits in community health camps for the artisans with whom they work. blockshoptextiles.com
fabric
m a r k e t collection
“We’re envisioning ’80’s chintz-on-chintz exuberance, but in our own geometric, block-printed language” BIG SQUIGGLE
MR. PEOPLE PERSON
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SUNWAVE
HOPIE AND LILY STOCKMAN
RAPUNZEL
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M A R K E T scape
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Cyril Dundera for Lasvit
Patricia Urquiola for CC-Tapis
Daria Vasilkova of REDA
Enrico Fratesi and Stine Gam for Hay
product Globe-Metro. standout The Czech designer’s pendant fixture references the 1970’s round tiles in Prague’s metro, the flame-worked borosilicate-glass globe punctuated by concave hemispheres in an iridescent finish. lasvit.com
product Patcha. standout Emblematic of the Interior Design Hall of Famer’s yen for experimentation and upcycling, the handknotted rug is made of sustainably dyed Himalayan wool plus silk cast off from sari production. cc-tapis.com
product Short-SovSport. standout A cabinet topped by an opening for live plants is bedecked in ceramic tiles illustrated with the Russian designer’s ironic reworkings of USSR propaganda posters.
product Dorso. standout Inspired by a torso twisting, the surprise function of GamFratesi’s lounge chair is the 360-degree swivel of the seat, which is set upon legs of oak or powder-coated or chromed steel.
vasilkovadaria.com
us.hay.com
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Arthur Casas for +55 Design product Côncava. standout The walnut sideboard by the Studio Arthur Casas founder and Interior Design Hall of Famer is faced with mirror-finished stainless-steel doors inset with large and small concave circles. studio55.design
Utharaa L Zacharias and Palaash Chaudhary of Soft-Geometry
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Leo Aerts of Alinea Design Objects
Deborah Berke for Warp & Weft
product Elio #8. standout Capped by a luminous globe, the table lamp’s stacked resin base cast in a textured silicone mold evokes sugar-dusted sweets.
product Angelo M. standout The Belgian architect’s minimalist pedestal table is available in nine honed, polished, or brushed stones, including red travertine, as a circle or an oval, and in six sizes.
soft-geometry.com
alineadesignobjects.com
product Dawn 1. standout For the Deborah Berke Partners principal and Interior Design Hall of Famer, natural light is akin to a building material, a concept translated into a wool-silk rug, part of her firm’s first-ever product line. warpandweft.com AUG.20
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“The patterns are
playful and full of joyous color”
folk nouveau “The Kindred line started with a question: If we were to create a new global tribe, what would the visual language look like?” A Rum Fellow’s Dylan O’Shea recalls. He and studio co-founder Caroline Lindsell teamed with British fabric and wallpaper house George Spencer Designs for the fabric series, which launches September 1. Setting aside their trademark wovens, the designers explored such printing techniques as wood-block, screen, and etched-rotary, resulting in five rhythmic patterns: Anusi, Brakka, Kasma, Nikal, and Pumori. Inspired by Lindsell’s life and travels, with nods to folkloric motifs, textured cotton and linen are the base fibers for the textiles, which come in three weights suitable for upholstery, curtains, and cushions. georgespencer.com KINDRED
DYLAN O’SHEA, CAROLINE LINDSELL
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M A R K E T collection fabric
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market
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in the loop Design insiders are crazy for curvy, rounded, or conical fixtures 1. Neon Double sconce in brass by Magic Circus Éditions, magic-circus.fr. 2. Eye in the Sky pendant fixtures in matte-gold anodized aluminum by Ilfari, ilfari.com. 3. Hieroglyph pendant fixture in oak and brass by Workstead, workstead.com. 4. TRN pendant fixtures in glazed ceramic and brass by Pani Jurek, panijurek.pl. 5. Icones table lamps in aluminum finished in satin nickel, satin brass, and manganese by Tato, tatoitalia.com. 6. Disc Orb sconce in opaline glass in Cherry by In Common With, incommonwith.com.
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m a r k e t m i c r o flooring
STEFANIE VAN KEIJSTEREN, RENEE MENNEN
the color code manufacturer Moooi Carpets. products Blended 4 and Blended 5. standout Shifting gradients imbue abstract beauty underfoot.
Renee Mennen and Stefanie Van Keijsteren of Dutch duo Studio RENS take their signature chromatic explorations to a new level with a pair of rugs, each in two sizes and five colorways, including Candy Orange. The architectonic patterning and unique silhouettes derive from blocks of color—actually the same hue, but in different saturations and intensities—overlapping in a manner inspired by Riso, a printing technique. The rugs are available in wool or polyamide, either low-pile or soft-yarn. moooicarpets.com
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Landscape Forms and Loll Designs, a Natural Fit As two design-led companies, Landscape Forms and Loll Designs have much in common, but one shared quality stands above the rest– a profound passion for improving outdoor experiences. With this goal in mind, the two companies again join forces to introduce Americana and Glide, two new site furnishings designed to bring a relaxed, vibrant and playful spirit to public outdoor spaces. Designed by: Find us at landscapeforms.com or contact us toll free at 800.430.6205
M A R K E T seating
a real catch Over 50 years ago, Piero Gatti, Cesare Paolini, and Franco Teodoro invented an unstructured, pear-shape chair for Zanotta. Dubbed Sacco, the purposefully low-slung form issued an anti-establishment challenge to the uptight seating norms of the day. Fast forward to 2020 and the brand rolls out a version re-engineered to address sustainability. Eco-friendly updates to the 1968 design include a bio-plastic filling derived from renewable sugar cane in place of Styrofoam and covers made of nylon reclaimed from abandoned fishing nets and other plastics. The fabric’s crosshatch pattern, conceived by French designer Pierre Charpin, takes inspiration from the netting, and comes in numbered editions of 100 for each of the red, blue, and yellow colorways. zanotta.it
“We’re committed to a new approach guided by the principles of the circular economy”
SACCO
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G A R D E N I A OA K M AG N O L I A H I C KO RY
O R A N G E B LO S S O M H I C KO RY
O N Y X OA K
G I N G E R L I LY OA K JUNIPER MAPLE
N E R O L I OA K
AMBER PINE
L E M O N G R A S S OA K
S I LV E R N E E D L E OA K
ORRIS MAPLE
JA S M I N E H I C KO RY ORRIS MAPLE
L E M O N G R A S S OA K
NATURAL ART T H R O U G H CO LO R
CO LO R G O E S A L L T H E WAY TO T H E CO R E
CO LO R S TO P S S H O RT
TRADITIONAL CO LO R A P P L I E D O N LY TO T H E S U R FAC E
Nature is the greatest inspiration for creating beautiful objects. This is also true for the hardwood floors in our True Collection. What really sets these floors apart is the unique weathered and rich patina, combined with a color that goes all through the wood. They come in 12 colors, ranging from light to dark. The perfect choice for commercial installations. Learn more about the revolutionary True Collection on www.hallmarkfloors.com
H www.hallmarkfloors.com
Atop an office building in Eastern India, a celestial outdoor canopy by Abin Design Studio encourages an upward perspective
silver lining
“We sought to provide an ever-changing, enchanted atmosphere”
C ENTER fold
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architects, designers, engineers, and fabricators led by Abin Design Studio founder and principal Abin Chaudhuri
752 SPHERES
1 to 3 feet in diameter 11 structural columns 15 feet high 3 YEARS OF DEVELOPMENT
FROM TOP: ABIN CHAUDHURI; ABIN DESIGN STUDIO (2)
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1. An AutoCAD illustration shows the process of creating modules for Abin Design Studio’s rooftop installation at the RP–Sanjiv Goenka Group headquarters, an eightstory building in Kolkata, India. 2. A typical module consists of a trio of steel rings supported by an 8-inch-diameter steel structural column. 3. Fastened to each module are dozens of hollow spheres made by bending two stainless-steel sheets into round shapes of varying sizes, and then welding and mirror-polishing them.
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CLOCKWISE FROM TOP LEFT: EDMUND SUMNER (2); ABIN DESIGN STUDIO; EDMUND SUMNER; PAROMITA CHATTERJEE
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C E N T E R fold 1. The 10,000-square-foot terrace is the company’s guest entertainment area. 2. Visitors arrive via elevator into a circular foyer. 3. Panels of stainless steel fitted at the top with a fountain element surround the foyer. 4. Another water feature doubles as a 24-by-50-foot skylight for the building, for which ADS designed the interiors last January. 5. The canopy’s branching arrangement was inspired by grapevines.
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ALL IN THE MIX
aug20
Lush with inspiration
JOHN GOLLINGS AUG.20
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fertile ground Auer Weber’s multiple structures for a German university campus teach lessons in innovation and resourcefulness
text: rebecca dalzell photography: roland halbe
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Previous spread: Auer Weber capped the underground cafeteria for Germany’s 19-acre Bildungscampus Heilbronn, containing Heilbronn University, Baden-Württemberg Cooperative State University, and the Technical University of Munich, with a pair of lawns. Opposite top, from left: Done with the Italian sgraffito technique, layered-plaster figures animate a long wall in the cafeteria, which has flooring of oak end-grain parquet. Concrete shells support the walkable lawns. Opposite bottom: An interior courtyard, cut into one of the lawns, brings in daylight to the cafeteria, with chairs by Knudsen Berg Hindenes and Wolfgang C.R. Mezger tables. Top: Its pendant fixtures are custom. Bottom: The 10-story clinker-brick tower houses the Technical University of Munich.
Heilbronn, Germany, is undergoing transformation. In recent years, the southwestern port city has converted swaths of derelict industrial land into lively urban districts. Access has been gained to the Neckar River, now with a terraced park and wetlands, and a sculptural new science center has been erected on a revitalized island. Just north of downtown, where a power plant once stood, two hills form the verdant centerpiece of Bildungscampus Heilbronn by Auer Weber. “It’s not a normal campus as you know it, but a part of the city,” Auer Weber managing partner Achim Söding says of the site serving 10,000 students. Instead of leafy quads, you’ll find a dense cluster of buildings for three separate schools—Heilbronn University, the Baden-Württemberg Cooperative State University, and the Technical University of Munich—plus a communal library and cafeteria. The 19-acre Auer Weber portion is part of a large educational hub funded by a local nonprofit, the Dieter Schwarz
Foundation, and is a 10-minute walk from the center of Heilbronn. Based in nearby Stuttgart, the firm won a competition to design the campus in 2013, proposing a flexible master plan with room for the universities to grow. So far, Auer Weber has completed seven buildings, with another in
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Top, from left: Above Accoyatopped benches, a steel-and-glass bridge connects two Heilbronn University buildings. In the library serving the whole campus, linoleum covers the stair treads, risers, and balustrade. Bottom, from left: Lecture rooms circle the glass-walled atrium in a Heilbronn University building. Ceramic tiles floor its entrance hall. Opposite: Custom OSB plywood seating mounds covered in polyurethane rigid foam tiles and wool-viscose anchor the library’s five-story atrium. 86
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development, plus a footbridge and the campus parking garage. Söding was mindful that he was essentially creating a neighborhood, which demands more variety than a traditional campus. Students would spend the whole day there, needing different atmospheres to work and relax. “I don’t think it’s good for one architect to build a whole city,” he admits. “We were lucky to win the opportunity to design all these buildings, so we decided it should seem like there were other architects involved.” Making creative use of a compact site, the Auer Weber team, led by Söding and senior architects Andreas Lehr and Aleksandra Walter-Klonkowska, drew on its industrial history and other new developments around the Neckar to conceive a dynamic mix of structures. The five classroom buildings, which went up first, resemble scrubbed warehouses, with boxy footprints and clinkerbrick facades; inside, seminar and lecture rooms circle rectangular atriums. The library and cafeteria are distinctly contemporary: The former occupies a six-story glass cube, while the latter is buried under the green hills on the main square. Against the rigid lines of the universities, their curved, organic forms make them trippy outliers on campus. Not coincidentally, they are where the architects expect students to gather between classes. “The library was a protest against our own design,” Söding jokes. “We said to ourselves, ‘It can’t be another brick building. Let’s make something new.’” The glass-walled, 86,100-square-foot library is a contrast to the earlier structures, centering around an atrium of alternating radial curves. “The idea was to have an interplay between the edgy cube and the curvy elements,” Lehr explains. “It unites the geometries on campus.” The five-story atrium connects floors that transition from talking-permitted to silent. Students enter into a lounge, and then take a spiral staircase sheathed in red linoleum to an open study area on the second floor. As they ascend, modular Jehs+Laub seating systems and collaborative tables give way to individual desks. Glass lines the atrium on the top floor to ensure quiet. Noise was a major concern, so acoustic elements such as carpeting and micro-perforated paneling are integrated throughout. On the ceiling, sound-absorbing silver-fern slats clad the heating and cooling system. It’s remarkably effective, the architects report. Though students use every corner of the library and congregate on boulderlike gray mounds at the base of the atrium, the interiors stay hushed.
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Opposite top, from left: Panels of laminated safety glass enclose the atrium on the library’s quiet top floor. The alternating radial curves are made of drywall. Opposite bottom: Swivel chairs by Roland Schmidt Design and LED task lamps furnish a fourthfloor reading area. Top: A custom heating and cooling system integrates acoustic silver-fern cladding on the ceiling throughout the library. Bottom: MDF tables coated in a paper-resin com posite outfit a lecture room.
The underground cafeteria has a character all its own, too, peeking out from under the hills at the center of campus. One of the last structures to be built, it wasn’t part of the original brief—the client added it later—and had to be squeezed into an already crowded site. There was a large plaza, but it was one of the only open spaces on campus, thus worth preserving. So, Auer Weber’s clever solution was to bury the 37,000-square-foot cafeteria under a pair of pitched walkable lawns. “We applied a kind of landscape to the main square,” Walter-Klonkowska recalls. “After a long process using clay and foam models, we found the form of the green hills.” Their organic shape is similar to a patch of grass outside the library; the team cut the form in two to create a diagonal pathway that connects to the main campus axis. The hills have a gentle slope that dips at the bottom, so students can easily climb up. “The shell has an S form, convex at the bottom and concave at the top,” Walter-Klonkowska
continues. “It’s not a dome, so we had to plan interior pillars for support.” Entering between the hills, students descend into a surprisingly bright space that mirrors the curves of the greens above. Two courtyards—one for the 550-seat dining area, another for the kitchen—flood the space
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with natural light, which reflects off the white plaster walls and oak parquet flooring. “You don’t feel like you’re underground. It’s quite astonishing,” Söding marvels. Acrylic pendant fixtures, their rounded shapes matching the courtyards, float over tables lined with myriad red- and green-painted beech chairs. Concerned that one of the walls, 275 feet in length, would look bare, the architects embellished it with artsy gray silhouettes using sgraffito, the Italian layered-plaster technique. “It’s a meeting place that’s open all day for students,” Walter-Klonkowska notes. “It was important to design something special, more than a canteen.” The result is like a mod coffeehouse, the sort of “third place” essential to cities. The campus, bounded by train tracks and wide roads, still feels separate from the rest of Heilbronn. But Söding predicts that will change. As development continues on surrounding industrial lots, the campus will inevitably merge with the city. When it does, it will fit right in.
“Auer Weber conceived a dynamic mix of structures
PROJECT TEAM BRIGITTE DEPPERSCHMIDT; MORITZ GAISER; BIRGIT GIERLOFF; PETER GRAF; BENJAMIN HAHN; HEINRICH HUBER; DANIEL HÄNELT; TANJA HÄNSSLER-ROTT; ANNA JANZEN; EVA KIERSPEL; SUN JONG KWON; MIRIAM KÖNIG; SUSANNE LINDENTHAL; LUCA MENGHINI; JENS REITH; ADHAM SANNAA; JULIAN SCHMIDTKE; ANNA SCHÖNHOFF; CORNELIA SEMAR; TIM VOLZ; MARIE WALLBAUM; JOHANNA ZINNECKER; ILTER ÜNAL: AUER WEBER. GUGGENBERGER+OTT ARCHITEKTEN: SITE ARCHITECT. KOEBER LAND SCHAFTSARCHITEKTUR: LANDSCAPING CONSULTANT. MAYR LUDESCHER PARTNER; SCHLAICH BERGER MANN PARTNER: STRUCTURAL ENGINEERS. IFM; PBI: FACADE ENGINEERS. TRANSSOLAR ENERGIE TECHNIK: CLIMATE ENGINEER. SEDLACEK INGEN IEURE; ZWP INGENIEUR: MEP. AGC INTERPANE; GLAS MARTE; LINDNER: GLASSWORK. STADTS IED LUNG HEILBRONN: PROJECT MANAGER. PRODUCT SOURCES FROM FRONT ROSCHMANN: GLAZING (LAWNS). OPTI GREEN: LAWN. SOURCE INTERNATIONAL: CHAIRS (CAFETERIA). CRISTALLUX: CUSTOM PENDANT FIX TURES. PARKETT-STUDIO LADBERGEN: FLOORING. VIABIZZUNO: DOWNLIGHTS. BRUNNER: TABLES (CAFETERIA), SEATING SYSTEMS, SWIVEL CHAIRS (LIBRARY), CHAIRS (LECTURE ROOM). GERFLOR: LINOLEUM (LIBRARY). MARAZZI: FLOOR TILE (ENTRANCE HALL). KVADRAT: SEATING SYSTEM FABRIC (LIBRARY). CARPET CONCEPT: CARPET TILE. HESS: LIT COLUMNS. ZEEB INNENAUSBAU: DESKS. ERCO: TASK LAMPS. EKZ: CUSTOM BOOKSHELVES. GORACON: TABLES (LECTURE ROOM). THROUGHOUT PETERSEN TEGL: FACADE BRICK. KRONIMUS: CON CRETE. WESTERMANN: SLAT CEILING SYSTEM. VOR WERK: CARPET. ARCHILUMO; PLANLICHT: LIGHTING.
The campus, which has a total of seven buildings so far by Auer Weber, is part of a larger educational hub funded by the Dieter Schwarz Foundation, a local nonprofit.
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for the 19-acre campus”
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force of nature A rural Connecticut residence by Desai Chia infuses a serene and restorative setting with contemporary drama
text: jane margolies photography: paul warchol
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It came with a ramshackle cabin. But the property, 6 secluded acres in northwest Connecticut, was perfection. Situated off a winding road halfway up a mountain in Cornwall, it affords vistas of the Housatonic River in one direction and forested parkland in the other—with no sign of civilization in sight. This was part of what was presented to Desai Chia Architecture when the clients, a Manhattan couple seeking a weekend getaway, hired the firm. The owners bought the place for its location and view, but the existing structure, erected without insulation and added to haphazardly over the years, wasn’t worth saving. It did, however, offer a singular worthwhile element: its foundation. Grafted to a granite ledge over a steep dropoff, it was in good shape, according to a structural engineer called in to inspect, and well positioned to take full advantage of the extraordinary site. Re-using the foundation would reduce Previous spread: A standing-seam, factory-coated aluminum roof and charred cypress siding compose the exterior of a 2,400-square-foot weekend house in Cornwall, Connecticut, by Desai Chia Architecture. Opposite: In the open-plan living and dining area, precast concrete panels clad the double-sided gas fireplace. Top: The A-frame form is in keeping with those of the barns in the rural area. Bottom: In the living area, e15’s coffee table stands between a Carlo Colombo sectional and an Ole Wanscher daybed.
construction, time, and waste. Once the cabin was demolished, it became the base of a striking 2,400-square-foot, three-bedroom house by Katherine Chia and Arjun Desai. The architects took cues from an earlier project of theirs, a glass-walled guesthouse, which, after spotting it on Pinterest, was what led the clients to track them down. Creatives themselves— one is a partner in a media production company, the other an art director—the couple liked the guesthouse’s horizontal lines, openness to its surroundings, and expansive great room. For this house, Desai Chia also took inspiration from the barns and covered bridges populating the rural location. Although simple in form like those A-frame structures, the residence is meticulously crafted and detailed, with nods to Asian influences. Consider its shou sugi ban siding, which almost certainly had never previously been used in the area. The torching of the cypress—a Japanese technique used for centuries—highlights its grain and renders it bug- and rot-resistant, and therefore low-maintenance. The siding is attached with tidy horizontal rows of nails, adding subtle embellishment to the matte, charcoal surface. The roof, meanwhile, was set at a steep pitch so winter’s snow easily slides off and “stiffened up with plywood and nails,” Desai says. Its weight is borne by the short ends of the structure, allowing extensive glazing on the house’s long sides. AUG.20
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The roof system also eliminated the need for roof ties or horizontal cross members on the interior. As a result, the great room at the center of the home is one big sweep of space capped by a 19-foot peaked ceiling. It’s divided into kitchen, dining, and living areas, with a freestanding double-sided concrete fireplace separating the latter two while not interrupting the overall flow and a pair of generous 48-inch-diameter Isamu Noguchi lanterns illuminating overhead. “When designing a big, open space, it’s good to have a few anchoring devices,” Chia explains. Flanking the great room on one end of the house is the master bedroom suite; on the other are two guest bedrooms and a full bath. Carefully calibrated exposures give each room a unique vantage point. “If you place every window facing the same view, eventually you don’t even acknowledge it,” Chia continues. Instead, the floor-to-ceiling windows and sliding doors on the great room’s long sides—adding up to 45-foot-wide spans—open the space to the river valley on the west side of the house and woods on the east and provide natural cross ventilation. In the bedrooms, vertical windows frame tree trunks and rock outcroppings. “It’s like a camera lens that helps you focus in on things you didn’t notice before,” she adds, comparing the approach to traditional Japanese and Chinese landscape paintings, which present a microcosm of idealized nature. In fact, the window treatment is so successful, the owners decided that hanging any art on the walls was unnecessary. The clients also took the lead in selecting furnishings, taking great care in obtaining contem porary, streamlined pieces that harmonize with the architecture and hew to a calming palette of natural materials. They ordered Børge Mogensen’s oak and paper cord dining chairs only after
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Top: On the Housatonic River valley side of the house, Matthew Hilton chairs perch on the pine deck, which incorporates stadium seating and steps down to the rock ledge. Bottom: E15 also designed the dining table, which is joined by Børge Mogensen chairs and an Isamu Noguchi Akari lantern. Opposite top, from left: Carrara marble penny tiles wrap the master bathroom shower. European oak planks extend up from the floor to form a built-in bench and niche in the entry hall. Opposite bottom, from left: Next to a toilet by Sieger Design, the wall-hung vanity in the guest bathroom is custom. One of the two guest bedrooms features a Michael Anastassiades pendant fixture and a Faye Toogood chair.
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one of them, on a business trip to California, was able to stop in at a design store and test one out. They likewise held out on ordering Ole Wanscher’s white oak and leather daybed until the other saw it in person in London. They also chose the European oak floor planks, the master bathroom’s Japanese soaking tub, and the 1-inch penny-round Carrara marble tile enveloping both bathrooms. “They were much more involved than most clients,” Desai recalls. For several months after the project was completed, the couple spent weekends there just as they had intended, finding it exactly the antidote to urban frenzy they’d sought. Then the house became something more. When COVID-19 hit and the city became a hotspot, they relocated here to wait out the crisis. Late winter turned to spring and summer. Every morning, mist blankets the river valley until the sun burns it off. Every evening, the sunset dazzles. The house has given the new owners a front row seat to the cycles of nature and is, they texted their architects not long into their sojourn, “the best place they could escape to.”
PROJECT TEAM BRAD ISNARD; TROY LACOMBE: DESAI CHIA ARCHITECTURE. AB LANDSCAPING: LANDSCAPING CONSULTANT. DAVID KUFFERMAN PE STRUCTURAL ENGINEERS: STRUCTURAL ENGINEER. ARTHUR H. HOWLAND ASSOCIATES: CIVIL ENGINEER. BARTENSCHLAGER WOODWORK: WOODWORK. CLASSIC RENOVATIONS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ORTAL: FIREPLACE (LIVING AREA). GET REAL SURFACES: FIREPLACE SURROUND. NOGUCHI SHOP: PENDANT LANTERNS (LIVING AREA, DINING AREA). POLIFORM: SECTIONAL (LIVING AREA). ABC CARPET & HOME: RUG. CARL HANSEN & SØN: DAYBED (LIVING AREA), CHAIR (MASTER BEDROOM). THROUGH STILLFRIED WIEN: TABLES (LIVING AREA, DINING AREA). DESIGN WITHIN REACH: BENCHES, TABLES, CHAIRS (DECK), BEDS (BEDROOMS). FREDERICIA FURNITURE: CHAIRS (DINING AREA). BULTHAUP: ISLAND (KITCHEN). SAWKILLE: STOOLS. CEA DESIGN: SINK FITTINGS. PETER BROOKS STONE WORKS: SOLID SURFACING (KITCHEN), CUS TOM SINKS (BATHROOMS). KALLISTA: SHOWER FITTINGS, TUB FITTINGS (MASTER BATHROOM), SINK FITTINGS (BATHROOMS). THROUGH PIRCH: SHOWER DRAIN (MASTER BATHROOM). DURAVIT: TOILET (GUEST BATHROOM). HEM DESIGN STUDIO: RUG (GUEST BEDROOM). PLEASE WAIT TO BE SEATED: CHAIR. THE FUTURE PERFECT: PENDANT FIXTURES (BEDROOMS). MUJI: BENCH (MASTER BATHROOM). ZEN BATHWORKS: TUB. PINCH DESIGN: TABLES (MASTER BEDROOM). CALVIN KLEIN HOME: RUG. THROUGHOUT DELTA MILLWORKS: SIDING (EXTERIOR). ARCADIA: CUSTOM WINDOWS, CUSTOM DOORS. ALCOA: ROOFING. VELUX: SKYLIGHT. FLOS: TRACK LIGHTING. MADERA TRADE: WOOD FLOORING. KEBONY: DECKING. FOURTH STATE: CUSTOM DECK RAILING. BUILDER DEPOT: PENNY TILE. ENVIRONMENTAL LIGHTS: LEDS. BENJAMIN MOORE & CO.: PAINT.
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Top: The master bath’s ofuro, or Japanese soaking tub, is hinoki. Bottom: On the forested side, the property’s existing boulder was left in place as the focal point of the gravel courtyard. Opposite: Throughout, windows, all framed in anodized bronze-finished aluminum, are strategically placed to capture different outdoor views, like in the master bedroom, where the pendant is also by Anastassiades.
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rainbow connection In Stuttgart, Germany, the headquarters of industrial paint manufacturer Wörwag is awash with color courtesy of Ippolito Fleitz text: monica khemsurov photography: eric laignel
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From the outside, the new headquarters of Wörwag—a maker of industrial paints and coatings based in Stuttgart, Germany— resembles a glowing, elongated Rubik’s Cube. Even if you didn’t know the company specialized in color, one glance at the rainbow-banded building would offer a pretty substantial clue. That, of course, was the goal, and the reason why the manufacturer brought on Interior Design Hall of Fame members Peter Ippolito and Gunther Fleitz and their Ippolito Fleitz Group to design the project. Stuttgart is home to scores of important corporations, including Mercedes-Benz, Porsche, and Bosch. But most of them aren’t household names. Rather, they’re “hidden champions,” as Peter Ippolito puts it, behind-the-scenes yet globally influential B2B enterprises, many working in or adjacent to the automotive sector. While they may be outside the purview of the average consumer, however, these companies still need to stand out within their respective industries, which is where IFG comes in. “We have a saying, ‘Identity is the new facility,’” Ippolito continues. “Workplace design is not only about organizing processes but also about branding. If you don’t translate the company’s DNA into a space, it’s just a bunch of nicely arranged tables.”
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Previous spread: In Stuttgart, Germany, the Ippolito Fleitz Group’s headquarters for industrial paint manufacturer Wörwag includes a ground-floor cafeteria capped by painted drywall ceiling panels. Opposite top: Chairs by Lievore Altherr Molina and an Anderssen & Voll sofa stand before powdercoated aluminum screens in reception. Opposite bottom: A stretch-metal ceiling edged in LED strips runs above an office area’s meeting room. Top: In the lobby, custom displays showcase equipment finished in Wörwag paints. Bottom: Doshi Levien lounge chairs furnish a break-out area.
Wörwag was keenly aware of that principle. Having constructed a four-story, 38,000-square-foot building wrapped entirely in glass—already a big statement for a medium-size business—the manufacturer sought interiors that channeled its passion for color and commitment to technological innovation. It counted on Ippolito and Fleitz to use these brand signifiers to broadcast the company’s core values inside and outside the structure’s transparent walls. That effort begins in the lobby, the drywall panels of its folded-plate ceiling painted various shades of yellow—“an active color that has a sense of focus and clarity,” Fleitz notes. Behind the reception desk, backlit shelves showcase dozens of brightly painted car parts, bicycle frames, and other bits of machinery that illustrate a wide range of Wörwag coating applications. Right next to the lobby lies one of the project’s key elements: The company cafeteria, a facility that’s
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Left, from top: Solid surfacing forms the custom reception desk. Chairs by Simon Morasi Piperč ić and Franisco Roto line the cafeteria’s custom tables. Right: Thanks to fabric-covered ceiling panels adjacent to the windows, at night the 38,000-square-foot office glows like a rainbow.
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typically hidden away on an upper floor but is here given pride of place, a democratic mingling ground for visitors, management, and factory workers alike. Decked out with violet ceiling panels, neon-blue benches, dark-orange wall tiles, and draperies in a shade of red known to make food look more appetizing, it was conceived to foster unexpected connections. “The idea was, Can I get a finance employee to meet one from production and they learn something from one another?” Fleitz explains. “That’s when innovation happens. It’s a strong statement that the company chooses to put this kind of space front and center.” Upstairs, on the building’s three office levels, color plays an even larger role. The rainbow effect visible from outside is due primarily to a continuous ribbon of dropped ceilings that encircles each floor, progressing through a gradient of 70 different
shades along the way. Comprising textile-covered acoustic panels arranged in a folded plate similar to those in the lobby and cafeteria, each floating ceiling acts like a pitched roof above the open workstations lining perimeter walls, providing a feeling of privacy and a unique visual identity, “as in, Come find me in lemon-yellow,” Ippolito jokes. Similar multihued textile-covered panels, some shaped like Wörwag’s signature paint chips, are suspended vertically from the ceiling as moveable dividers between work areas. These elements reflect Ippolito and Fleitz’s theories about workplace culture and how it informs their design decisions: “We always talk about it like an onion,” Ippolito states. “The first layer is, ‘I’m proud to be part of the company.’ The next is, ‘I’m proud to be in the building,’ and then, ‘my department, my team, and
“If you don’t translate the company’s DN A into a space, it’s just a bunch of nicely arranged tables”
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my desk.’ We try to enable that sense of belonging on every level.” Even in an open-plan setup, he says, “You have to make people feel special, so they don’t feel like a number.” While individual workstations and a gradient ceiling mark the perimeter of each floor, the inner areas have a very different vibe. They are devoted to meeting rooms and other collaborative spaces, marked by a palette that’s primarily gray and white, including stretched-metal ceiling panels sharply framed by LED strips. The effect is much more futuristic and technological compared to the multicolored playfulness of the outer zones, a contrast that ties back to the original design brief to capture the company’s spirit. “Wörwag isn’t Farrow & Ball,” Ippolito points out. “The staff are largely engineers—pragmatic types—as are their clients. We needed to create an atmosphere that had a closeness and a sensuality, but it couldn’t be too soft, because they don’t think like that. We had to find a balance between them to hit the right tone.” Similar considerations led the designers to outfit the cafeteria and reception lounge with angular standing screens, hard-edged black elements that help mitigate the softness of the window treatments and upholstered furnishings. Even with those nods to industrial precision, the Wörwag headquarters achieves a level of personality and authenticity that its old home—which Ippolito describes as an uninspiring “single-office, traditional work environment”—never did. Although it happens to be just across the street from the rainbow cube, in every other sense, it’s light-years away.
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Opposite top: Wool upholsters a pair of banquettes in a privacy alcove. Opposite bottom: Across from tables by Morten & Jonas, custom height-adjustable workstations are separated by acoustic panels. Top: Some of the panels are shaped like Wörag’s paint-sample cards. Bottom: The steel-andglass building is by Gurk Architekten.
PROJECT TEAM ARSEN ALIVERDIEV; NADINE BATZ; CHRISTIAN KIRSCHENMANN; CLAUDIA LIRA; VERENA SCHIFFL; SIMRANPREET SINGH; ANKE WANKMÜLLER; ANDREA MARTINEZ; CHRIS MISCHKE; JUSTINE FREGONI; ELENE JIKIA; VLADISLAV KOSTADINOV: IPPOLITO FLEITZ GROUP. GURK ARCHITEKTEN: BUILDING ARCHITECT. STOCKHAMMER INGENIEURE: ELECTRICAL ENGINEER. GREIPL+ROCHE: STRUCTURAL ENGINEER. DOBERGO: WOODWORK. BAUPROJEKTM ANAGEMENT: PROJECT MANAGER. LÜDDECKE AKUSTIKBAU-RAUMTECHNIK: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT PROSTORIA: ARMCHAIRS (CAFETERIA). LAPALMA: SIDE CHAIRS. CAMIRA: BLUE BANQUETTE FABRIC. HK LIVING: BLACK PENDANT FIXTURES. AKTTEM: ROPE PENDANT FIXTURE. WÄSTBERG: PINK PENDANT FIXTURES, BLACK LINEAR FIXTURE. 41ZERO42: WALL TILES. MAYER ESTRICH: FLOOR ING (CAFETERIA, LOBBY). ARPER: CHAIRS (RECEPTION). MUUTO: SOFA. TAKE ME HOME DESIGN: TABLES. BRUNNER: CHAIRS (MEETING ROOM). PEDRALI: TABLE. LUZISSIMO-LEUCHTEN: PENDANT FIXTURE (OFFICE AREAS). DEVORM: TALL TABLE (BREAK-OUT AREA). HAY: LOUNGE CHAIRS, LOW TABLE (BREAKOUT AREA), TABLE (YELLOW ALCOVE). NORTHERN: TABLES (TEAL ALCOVE). THROUGHOUT DOBERGO: CUSTOM FURNITURE. DESSO; OBJECT CARPET: RUGS, CARPET. DE PLOEG; KVADRAT: UPHOLSTERY FABRIC, PANEL FABRIC. CRÉATION BAUMANN: CURTAIN FABRIC. DURLUM; LÜDDECKE: CUSTOM CEILING SYSTEMS. HELDELE/LÜDDECKE: LED STRIPS. A.L.S.: DOWNLIGHTS. CAPAROL; SIKKENS: PAINT.
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The classical interiors of Felix Meritis, a landmarked Enlightenment building in Amsterdam, get a thoughtful update from i29 text: joseph giovannini photography: ewout huibers
rational values AUG.20
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Previous spread: In reception at Felix Meritis, a cultural center and events venue in an 18th-century Amsterdam building, i29 installed custom tufted-shag wall covering based on an etching of a meeting of the Enlightenment society whose clubhouse it once was. Top: The Neoclassical building was designed by Dutch architect Jacob Otten Husly in 1788. Center: Mirror glass clads the reception desk and forms the LED information screen behind it. Bottom: Painted oak frames the entrance to Felix, the center’s restaurant. Opposite top: Reception’s custom modular ottomans stand on oak flooring. Opposite bottom: Restaurant arm chairs are by Mentsen, the side chairs by Ronan and Erwan Bouroullec.
In 1788, on a canal in Amsterdam, the Enlightenment society Felix Meritis—Latin for Happy Through Merit—built a namesake clubhouse where members, pursuing knowledge for their own intellectual betterment, studied music, the natural sciences, drawing, commerce, and literature. Neoclassical architect Jacob Otten Husly’s building—a Corinthian-style-temple facade fronting rooms shaped as pure geometric volumes—was itself a case study in rational Enlightenment thinking. After the society dissolved a century later, its splendid home survived incarnations as a printing factory, the Dutch Communist party headquarters, and a 1960’s cabaret. Worse for wear, it nonetheless remained architecturally intact over the decades. In 2014, Amerborgh, an investment company with an interest in the arts, bought the landmarked Felix Meritis for use as a cultural center with programs to be supported by renting out its renovated rooms as event venues. Charged with transforming the 50,000-square-foot interior, i29’s motivating idea was to bring the storied building “into the now,” co-founder and partner Jeroen Dellensen says. The firm would respect the original architecture yet dial up the design heat to make it cool for a younger generation. Refreshing history but making it contemporary necessitated a delicate balance of deference and surprise, conservation and invention. The i29 team found a solution to the paradox in the way the building had been used by the Felicians (as its founding occupants were known), who organized it by departments. “Different rooms had different functions and stories, which we decided to evoke,” co-founder and partner Jaspar Jansen adds. Working alongside MATH Architecten, which oversaw structural matters, Dellensen and Jansen would cultivate the individual character of each space. A grand, wooden staircase surrounding a five-story void divides the long building roughly in half, with the main rooms on staggered floors in the front and back— 11 levels in all. One city requirement was the faithful restoration of two historically important spaces: the oval Concertzaal, one of Europe’s most celebrated small
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classical-music halls, on the rear ground floor; and the Zuilenzaal, a colonnaded reception room on the front piano nobile. In the Concertzaal, where Ludwig van Beethoven’s Ninth Symphony had its Dutch premier, a chromatic study revealed the walls between the white pilasters encircling the room were originally brown-tinted beige, a color that gives the restored space an unusual serenity. But along with reinstating such historical niceties, i29 had to update the hall for contemporary music. Dellensen and Jansen hung discreet, pivoting wall panels that modulate the acoustics while concealing electronic equipment, and MATH wove new mechanical systems throughout the shell, achieving complete invisibility in the auditorium. When it came to the majestic Zuilenzaal, beyond stripping bare the elegant boiserie and cracked wood columns, i29 left the room in its found condition, turning it into an un-Photoshopped selfie celebrating the building’s age. Such raw authenticity did not come easily: All the fragile woodwork was carefully dismantled and then just as carefully reassembled so that the room could be retrofitted with modern ventilation and sound systems. The Zuilenzaal has proved one of the most popular venues. The interior architects ramped up visual diversity in the remaining rooms, using color and texture as primary tools to differentiate the spaces, and creating crisply geometric, built-in cabinetry and furniture, often mirrored, to contrast with the classical surroundings. “We gave the rooms a sense of identity and importance that rivaled the two better known historic spaces,” Dellensen explains.
A pair of superbly proportioned rooms flank the main entry: to the right, reception with a mirrored front desk, ticket counter, and sitting area; to the left, Felix, a 100-seat restaurant. In the former, two walls are covered with a luxuriant, tufted-shag textile that reproduces an 18th-century etching of a Felician meeting, so that 21st-century visitors are greeted by a ghostly rendition of their Enlightenment counterparts. Walls in the adjacent restaurant are wrapped in equally tactile woven textiles replicating photographs of the skies over Amsterdam, as if diners were in the middle of a Dutch landscape painting. Originally a physics lab, the domed, oval room directly above the Concertzaal became a hip nightspot in the ’60’s when flamboyant Dutch singer Ramses Shaffy and his theater group regularly Opposite top: Custom polyamide carpet appoints an anteroom. Opposite bottom: Adjoining it is the domed Shaffyzaal, named for Ramses Shaffy, who performed there, its acoustical perforated-steel paneling spray-painted. Top: A balcony, originally used to observe physics experiments, rings the same space. Bottom, from left: Oak side tables by Hay serve custom seating in Hulsy, the café on the top floor. More Bouroullec chairs line tables by Jens Korte. AUG.20
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Discreet, pivoting acoustic panels are among the few visible additions to the Concertzaal, one of Europe’s most famous small classical-music halls. AUG.20
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Top: Rubber flooring and timber beams define the Koepelzaal, an attic event space. Center: Dining chairs apart, all furnishings in the covered patio off Felix are custom. Bottom: A five-story stairwell with faux-mahogany painted oak balustrades divides the 50,000-square-foot building in half. Opposite top: Nørgaard & Keychayas lounge chairs populate the perimeter of the Teekenzaal, originally the club’s drawing studio. Opposite bottom: With unpainted boiserie and cracked wood columns, the Zuilenzaal was left largely as found, though it was retrofitted with ventilation and sound systems.
performed there. Named the Shaffyzaal in his honor, the balconied space evokes its psychedelic past with perforated-steel acoustic wall panels that fade, ombre-style, from deep to pale blue. “We set the contemporary and the historical in contrast to give more energy to each,” notes Jansen, who could just as well be referring to the attic Koepelzaal, where timber roof beams are left exposed, lending the room a modern angularity. Narrative is a differentiator, too. “We like to hide stories in the design that give the interior another dimension,” Dellensen reveals. In the Teekenzaal, formerly the club’s drawing studio, rectangles of filmy fabric hanging from the ceiling not only diffuse strip lighting but also recall the sheets of paper on which the Felicians once sketched—a diaphanous image that brings the spirit of the Enlightenment to life. PROJECT TEAM NINA VAN AS; JOEP ESSELING; EGLE JACINAVICIUZE; EVELIEN KRANSTAUBER: I29. MATH ARCHITECTEN: ARCHITECT OF RECORD. VERLAAN & BOUWSTRA: RESTORATION ARCHITECT. SOOKHA COMPANY: CONCEPTUAL CONSULTANT. DE FABRYCK: HISTORICAL CONSULTANT. EASY CONTROLS; HUISMAN & VAN MUIJEN; MEGA ELEKTRA: INSTALLATION CONSULTANTS. LICHTCONSULT: LIGHTING CONSULTANT. LEVEL ACOUSTICS & VIBRATION; PEUTZ: ACOUSTICS CONSULTANTS. SID STUDIO: STRUCTURAL ENGINEER. B3 BOUWADVISEURS: PROJECT MANAGER. JURRIËNS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ICE CARPETS: CUSTOM RUG (RECEPTION). XAL: PENDANT FIXTURES (RECEPTION, RESTAURANT). SAINT GOBAIN: MIRROR (RECEPTION, RESTAURANT). STUDIO BELÈN: CUSTOM WALL COVERING (RECEPTION, RESTAURANT), CUSTOM PANELING (ZUILENZAAL). HAY: COFFEE TABLES (RECEPTION, HUSLY, TEEKENZAAL). HOOGSTRATEN: CUSTOM DOORS (RECEP TION, RESTAURANT), CUSTOM BALUSTRADE (STAIRCASE). ZILIO: ARMCHAIRS (RESTAURANT). MAGIS: SIDE CHAIRS (RESTAURANT, HUSLY, PATIO). MOOOI CARPETS: CUSTOM CARPET (ANTEROOM, BALCONY). THROUGH M4FOUR: CUSTOM VINYL FLOORING (SHAFFYZAAL). TDE-LIGHT TECH: SPOTLIGHTS (HUSLY). EGE: RUG (HUSLY), CARPET (TEEKENZAAL). CASALA: TABLES (HUSLY, TEEKENZAAL). THROUGH BRONNENBERG: CUSTOM CHANDELIERS (CON CERTZAAL, ZUILENZAAL), CUSTOM LANTERNS (PATIO). NEW WORKS: LOUNGE CHAIRS (TEEKENZAAL). GABRIEL: LOUNGE CHAIR FABRIC. BOLON: FLOORING. D E PLOEG: CEILING PANELS (TEEKENZAAL), WALL COVERING (ZUI LENZAAL). THROUGHOUT LENSVELT; STOOFF INTERIOR PROJECTS: CUSTOM FURNITURE. KVADRAT; OHMANN; PALOMA; VYVA FABRICS: UPHOLSTERY FABRIC. LED LINEAR: LEDS. SEASONS PROJECT PARKET: OAK FLOOR ING. NORA: RUBBER FLOORING.
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a whole new world
JSA Architecture and Nomah transform a 19th-century Mexico City structure into the boutique Hotel Umbral
text: edie cohen photography: rafael gamo
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headline goes here Deck for well story goes here deck for well story goes here
text: jesse dorris photography: douglas friedman
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Previous spread: A century-old structure in Mexico City is now Hotel Umbral, a 59-key property by JSA Architecture and Nomah that’s entered through a reception area defined by marble flooring and walls, a custom granite desk by JSA, and Nomah’s custom bench. Opposite top, from left: The lobby stair is from 1924, but its treads and risers, clad in terrazzo, are new, as is the stainless-steel balustrade. Brass marks the transition from the groundfloor public space to back-of-house offices. Opposite bottom, from left: A suite’s foyer has a custom aluminum sconce. Now part of Hilton’s Curio Collection, with restored wooden window frames, the 43,000-square-foot, five-story building’s limestone facade and rooftop signage also date to the early 20th century. Below: Intentionally tempering scale, the decorative brass ceiling grid is custom by Nomah.
Here’s a quick Spanish lesson. Umbral means threshold. But it’s also the name of a chic contemporary hotel in Mexico City as well as the idea behind its signature concept. Mere steps from central Zocalo Square, Hotel Umbral is one of the city’s few design hotels, a surprising fact given the dynamic restaurant, bar, and arts scene that has been flourishing there pre-pandemic. Another fact about Hotel Umbral is the full-scale collab oration between JSA Architecture’s Javier Sánchez and Nomah, the interiors studio helmed by founder Laura Natividad and partner Dania Gutiérrez, that brought the project to fruition. Working for years with Sánchez at JSA, the two women became fast friends before launching and joining, respectively, Nomah. “We can’t say where one stops and the other begins,” Sánchez says of the built-in collegiality that so successfully converted this five-story, pink limestone structure, now part of Hilton’s Curio Collection. “The building dates to the 19th century, when it was built as an office building, and went through four renovations,” the architect continues. “And its height was increased three times.” Then came the 1920’s. That’s when the historic edifice was totally restructured with steel and masonry to house office suites, 59 of them to be exact. By the time JSA and Nomah came on board, it had been derelict for years. But its salient features, symbolic of the industrial age, were still there in full glory. The entry level’s gracefully curved stairway with stainless-steel railings is one such feature. More indicative is the skylight-capped atrium with its long corridors, runs of glass-block ceiling, and original glass mosaic flooring. It’s there that the building’s bones and its essence are celebrated. In accordance with the city’s landmark commission, JSA kept it intact. The architecture and interiors teams, however, established the story line from the first step in. Guests literally and figuratively cross over from the din of the crowded, lively city streets to the quiet of the sedate, noir lobby, rendered so with dimmed lighting, black marble, tinted plaster, and a hefty granite
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reception desk. Only a decorative ceiling composition of brass rods adds a glowing spark while simultaneously lowering scale. That’s the first threshold, and it’s unexpected. “Today, people assume to see everything at first view,” Sánchez notes. “This is a decompression chamber, it’s for resting.” The team also notes that the hushed sensibility was influenced by In Praise of Shadows, Jun’ichiro Tanizaki’s essay on Japanese aesthetics. From the lobby, guests are drawn to the ceremonial stair, set against its existing pink terrazzo backdrop with flooring created to replicate the original. Procession from the lobby up to the start of the atrium on the second floor marks the next threshold. It’s essentially one from dark to light. The only design intervention here is the walls’ two shades of textured plaster, another part of the chiaroscuro story. Otherwise, everything is original to 1924, including the doors leading to the 47 standard guest rooms and 12 suites. Again, JSA Architecture and Nomah adhered to existing conditions. (Nomah, incidentally, is Natividad’s made-up word with no known meaning. “I didn’t want my own name on the studio,” she explains.) Back in the day, when accommodations housed lawyers and accountants, each consisted of a small reception area preceding the office proper. The arrangement, in effect a mini suite, perfectly suits the building’s new incarnation. Now, each anteroom is seductively moody and dark, with more black plaster and terrazzo, while the sleeping area is its opposite: crisp and bright, with white draperies, marble flooring, and textured plaster walls. It’s This page: Brass also marks the transition from a suite’s anteroom to its sleeping area, where the desk, lamp, and bed are custom by Nomah. Opposite: In the style of the industrial age, the 1920’s atrium has newly plastered walls.
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Opposite top, from left: All guest room walls are painted plaster. Under a steel canopy, sandblasted marble surrounds the new rooftop pool. Opposite bottom, from left: Back corridors are enhanced with a hanging garden formed from metal chains. Marble flooring runs beneath a suite’s custom vanity in white oak and solid surfacing. Below: Guest room sleeping areas include linen and velvet window treatments and a brass pendant fixture, all custom.
scenographic and, according to Natividad, emotional. “It’s a sensuous experience,” Gutiérrez concurs. Meanwhile, the contrast is underscored at the portal between the two. A shiny brass archway marks the trans ition, a device employed throughout the Umbral. As for sizes, standard rooms encom pass approximately 425 square feet, the dozen street-fronting suites 600. Truly special are the furnishings, nearly all custom by Nomah and made locally. They include a compact desk and sofa-daybed, both in walnut, for the anteroom, an oak bed and vanity, and a brass armoire. Inspiration came from Adolf Loos. “We aimed for func tionality, only what was necessary,” Nativi dad states. “For example, you don’t need a drawer in the nightstand.” She and Gutiér rez’s lighting fixtures are similarly minimal— an L-shape desk lamp, a conical pendant at bedside, both brass. Umral’s major architectural intervention came on the roof, now considered the hotel’s sixth floor. Sánchez installed lush landscap ing and sandblasted Mexican marble slabs around a serene 30-foot lap pool. Steps away is Terrazza, the hotel’s restaurant and bar, ready for reservations, post-pandemic. Then, JSA set it all under an immense steel canopy, keeping these amenities hidden from street view, per a landmark committee fiat—and the property’s mystery and history alive.
PROJECT TEAM CARLOS MAR; CARLOS CHAUCA; ALEJANDRA MONTER; RODRIGO ÁLVAREZ: JSA ARCHITECTURE. SAMUEL TORRES; ANUAR POR TUGAL; GABRIELA GONZÁLEZ; KAREN OSORIO; REBECA YÁÑEZ: NOMAH. PAAR-TALLER: LANDSCAPING CONSULTANT. LUZ EN ARQUITECTURA: LIGHTING CONSULTANT. CTRL_EDIT: CUSTOM GRAPHICS. JOSÉ ALFONSO MÉNDEZ V.: STRUCTURAL ENGINEER. SEI SISTEMAS ESPECIALES DE INGENIERÍA: MEP. ELECTRON 14: WOODWORK, FURNITURE WORKSHOP. PRODUCT SOURCES FROM FRONT OPALAB: PENDANT GLOBES (LOBBY). TON: CHAIR (SUITE). VIVENDA: LINENS (GUEST ROOMS). SUN BRELLA: FURNITURE UPHOLSTERY (ROOF). DOMUS: LOUNGE CHAIR (GUEST ROOM). THROUGHOUT SANTAMARGHERITA THROUGH GRUPO ARCA: FLOORING, BASEBOARDS. COREV: PLASTER PAINT. VITROSOL: CUSTOM WINDOWS. LUTRON: AUTOMATED LIGHTING SYSTEM.
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room to breathe
Wood-clad or light-filled, rural or urban, these private residences share an invigorating architectural vision text: nicholas tamarin
See page 132 for RTA Studio’s house on New Zealand’s Tawharanui Peninsula. Photography: Simon Devitt/Photofoyer.
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Crosson Architects site Kuaotunu, New Zealand. standout Wrapped in native totara reclaimed from a swamp, and located in a historical goldrush town, the retreat references mine shafts with its four protruding light wells, strong forms that do double duty as thermal chimneys. photography Simon Devitt/ Photofoyer.
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“Here, the shafts are inverted, mining the sunshine and starlight, extending into the sky as opposed to the earth”
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Wood Marsh Architecture site Toorak, Australia. standout With a nod to the late artists Christo and Jeanne-Claude’s curtainlike Running Fence installation, the sculptural house is comprised of a sinuous concrete facade and a series of austere zinc-topped arcs, all counteracted with abundant landscaping. photography John Gollings.
“Challenging standard notions of domesticity,the abstract form of the building curves around the sloping site”
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RTA Studio site Tawharanui Peninsula, New Zealand. standout Enclosed in stained cedar, pre-coated steel, and low-E glazing, the residence simultaneously stands out from and is contextual to its bush-covered setting, a hillside overlooking Christian Bay, populated with bottlenose dolphins and orcas. photography Simon Devitt/Photofoyer.
“The thermal envelope maintains passive warmth over winter and passive ventilation and shading in summer�
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Craftworks site London. standout Carved out of a derelict chapel built in 1935, the now four-bedroom home is faced with reclaimed rusticated bricks outside and centers inside on a vaulted main living area lined in polished lime-plaster, capped by a new skylit roof. photography Edmund Sumner/Photofoyer.
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“Elements such as the pulpit and altar were interwoven with forms of domestic furniture to serve everyday activities”
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Philip Johnson: A Visual Biography
Louis Kahn: Architecture as Philosophy
by Ian Volner New York: Phaidon, $150 400 pages, 600 illustrations (130 color)
by John Lobell New York: Monacelli Press, $50 200 pages, 225 illustrations
This book could well be titled 10 Ways of Looking at Philip Johnson, since that’s the number of phases the 600-image account of the architect’s life and career is divided into: Son, Traveler, Modernist, Politician, Architect (one of two headings in boldface), Socialite, Transformer, Collector, Postmodernist, and Icon. The Son chapter shows Johnson (1906-2005) growing up in Cleveland and takes him to Harvard. Traveler finds him in Europe, seeing a lot of architecture and encountering Ludwig Mies van der Rohe, whom he thought was, “The greatest man I have yet met. . .He is a pure architect.” That admiration continues in Modernist, which also records his first links with the Museum of Modern Art. Politician chronicles his often-overlooked flirtation with fascism. The 70 pages of Architect include 25 on his Glass House and 23 on the Seagram Building and its Four Seasons restaurant. Socialite pictures him with Presidents Carter and Reagan and their wives, with Anna Wintour, Jacqueline Kennedy Onassis, the John D. Rockefellers, and many more. A surprise among these is a developer named Donald Trump for whom Johnson designed several projects, “none terribly successful either aesthetically or financially.” In Collector we see his getting a friendly buss from Andy Warhol, and we meet David Whitney, Johnson’s “last and longest romantic partner.” The star of Postmodernist is the Chippendale-topped AT&T building, of which he said, “It seems to me a bit of fun.” The book ends with his last addition to the Glass House property, a gatehouse called Da Monsta, described as “an almost menacing bit of Expressionism.” Not the greatest of his achievements, but it showed that, until the end, he had “a bit of fun.”
There is much interesting theorizing about architecture in general and modernism in particular in both this book’s introductory essays and in its Appendices, such as “Kahn in Relationship to Theories of his Time.” But the book’s core is its detailed consideration of five buildings: the Richards Medical Research Building, Philadelphia, finished in 1960; the Salk Institute, La Jolla, California, 1965; the Philips Exeter Academy Library, Exeter, New Hampshire, 1972; the Kimball Art Museum, Fort Worth, Texas, 1972; and the Yale Center for British Art, New Haven, Connecticut, 1974. Lobell examines each of these from a disciplined list of 13 aspects: from “Background and Context,” through “Structure” and “Light,” to “Comparisons and Influences.” In addition to teaching architecture, “creativity,” and “consciousness” at New York’s Pratt Institute, Lobell has an interest in mythology (he studied with Tai Chi masters and the Dalai Lama) and brings an intriguing slant to Kahn literature. This includes his own 2008 book, Between Silence and Light: Spirit in Architecture of Louis I. Kahn, along with books by Vincent Scully, by Kahn’s daughter Alexandra Tyng, and the authoritative 1991 Louis I. Kahn: In the Realm of Architecture. However, one of that last book’s co-authors, David G. De Long, is not named in Lobell’s bibliography, suggesting—along with three misspellings on that page alone—that the editing has been less impeccable than we expect from Monacelli. Another quibble is the use of red-orange rather than black ink for some of the text and all the illustrations, which—to these old eyes—robs them of clarity. Still, this is a welcome and characterful look at one of the towering talents of our time.
BOOKs
edited by Stanley Abercrombie
What They’re Reading... White Fragility: Why It’s So Hard for White People to Talk About Racism
Ámbar Margarida “I bought this book the old-fashioned way, at Revolution Books in New York. It was recommended Principal at during a companywide discussion shortly after the death of George Floyd that led to the Black Lives Spacesmith Matter protests in New York. A few of my white colleagues and I recognize we need to do more to create lasting change and that a big part of it is understanding, looking at, and changing how we, as white people, are responsible for racism because we were/are socialized in a white supremacist society. One of my primary goals (which many of my coworkers share) is to recognize how the system of racism shapes our lives, how we uphold that system, and how we might interrupt it. In this book, Robin DiAngelo talks about how “Racism—like sexism and other forms of oppression—occurs when a racial group’s prejudice is backed by legal authority and institutional control. This authority and control transforms individual prejudices into a far-reaching system that no longer depends on the good intentions of individual actors; it becomes the default of the society and is reproduced automatically.” Increasingly, Spacesmith finds that social equity is a critical aspect of our design work for nonprofits like SCO Family of Services in Brooklyn and Queens and for public agencies like the Staten Island Family Justice Center. Yet it is also essential for workplaces across the board, including major corporations, universities, and even smaller companies that we have been hired to help. There is only one reason to engage in emotionally fraught conversations about racism, and that is to end it. I am using this this text as the starting point—rather than the ending point—to educate myself on racism. Going forward it is important to continue to seek out more information. Interrupting racism takes courage and intentionality. We will never interrupt it if we remain comfortable.” 136
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BOTTOM RIGHT: TANYA BRAGANTI/COURTESY OF SPACESMITH
by Robin DiAngelo Boston: Beacon Press, $16 192 pages
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connecting & engaging the A+D community
tune in facebook.com/interiordesignmagazine
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c o n ta c t s DESIGNER IN WALK-THROUGH Ghislaine Viñas (“Love-All,” page 37), ghislainevinas.com.
DESIGNERS IN SPECIAL FEATURE
PHOTOGRAPHER IN WALK-THROUGH
Craftworks (“Room to Breathe,” page 126), craftworks.co.uk.
Mick Hales (“Love-All,” page 37), mickhales.com.
Crosson Architects (“Room to Breathe,” page 126), crosson.co.nz. RTA Studio (“Room to Breathe,” page 126), rtastudio.co.nz. Wood Marsh Architecture (“Room to Breathe,” page 126), woodmarsh.com.au.
PHOTOGRAPHERS IN FEATURES
DESIGNER IN CENTERFOLD Abin Design Studio (“Silver Lining,” page 77), abindesignstudio.com.
PHOTOGRAPHER IN CENTERFOLD Edmund Sumner (“Silver Lining,” page 77), edmundsumner.co.uk.
Rafael Gamo (“A Whole New World,” page 118), rafaelgamo.com. Roland Halbe (“Fertile Ground,” page 82), rolandhalbe.eu. Ewout Huibers (“Rational Values,” page 108), ewout.tv. Eric Laignel Photography (“Rainbow Connection,” page 100), ericlaignel.com. Paul Warchol (“Force of Nature,” page 92), warcholphotography.com.
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Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, August, and 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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Infinity Drain Slot Linear Drain Designed to disappear, Infinity Drain’s Slot Linear Drain has a narrow 3/8-inch drainage gap that integrates seamlessly for a beautiful, barrier free bathroom. An easily accessible clean-out tray simplifies the process of debris removal. infinitydrain.com
design
annex
InteriorArts Design Laminates Put it in neutral and glide. InteriorArts introduces “Fresh Data,” 20 new HPL laminates characterized by luxurious neutrals and fine textures. Representing an international design aesthetic, Fresh Data is sourced in Italy and stocked in the USA. Samples? t. 800.807.7341 ialaminates.com
Spyker Indoor/ Outdoor Seating SpykerTM is a refined, high quality and lightweight stacking chair that can be used both indoors and out. Spyker armchairs don’t skimp on size and are comfortable enough for hours of people watching, or a long overdue catch t. 800.220.1900 globalfurnituregroup.com
AUG.20 INTERIOR DESIGN
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HONORING INDUSTRY P R O D U C T
& PEOPLE
CONGRATULATIONS TO OUR 2020 WINNERS! PRODUCT WINNERS ACCESSORIES
HOSPITALITY: FLOORING
WORKPLACE: DESK PARTITIONS
Boost Ottoman, Carnegie
Guest Rooms, Interface
Fence, Ergobond
ACOUSTICAL APPLICATIONS
HOSPITALITY: SEATING
WORKPLACE: MOBILE WALLS
Saga, Nordgröna thru Scandinavian Spaces
Twig, Skandiform thru Scandinavian Spaces
Be! Clear, Clarus
MATERIALS
Fenix®, Formica Corporation GREEN MATERIALS
Oceanic, Camira Fabrics LIGHTING
Coil Collection, LightArt TECHNOLOGY
Ply, OE Electrics EDUCATION/GOVERNMENT/ INSTITUTIONAL: FLOORING
HOSPITALITY: LOUNGE SEATING
WORKPLACE: HARD PARTITIONS/ WALL SYSTEMS
Proto, +Halle thru Hightower
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HOSPITALITY: WALL COVERING
WORKPLACE: SOFT PARTITIONS/ WALL SYSTEMS
Repeat Offenders, Wolf-Gordon OUTDOOR
Ginkgo Rope, Davis Furniture WORKPLACE: FABRIC + TEXTILES
Mutable Matter, Luum Textiles WORKPLACE: FLOORING
Suitable, Bentley Mills
Smart City, Mohawk Group
EDUCATION/GOVERNMENT/ INSTITUTIONAL: SEATING
WORKPLACE: HARD FLOORING
iQseat, Götessons thru Scandinavian Spaces EDUCATION/GOVERNMENT/ INSTITUTIONAL: STACKING CHAIRS
Stakki, VS America HEALTH + WELLNESS: FABRIC + TEXTILES
Biophilia 2.0, Designtex HEALTH + WELLNESS: FLOORING
Social Factor, Milliken HOSPITALITY: FABRIC + TEXTILES
Larsen Performance Collection, Larsen Textiles thru Sunbrella
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Tailored, Shaw Contract WORKPLACE: FURNITURE
Division Twelve, Keilhauer WORKPLACE: FURNITURE SYSTEMS
International, Dfm WORKPLACE: TABLES
Still, Stylex WORKPLACE: MEETING ROOMS
Pergola, Haworth WORKPLACE: PODS
Patkau Cocoon, Nienkamper WORKPLACE: SEATING
Dela, Stylex WORKPLACE: TASK SEATING
Swurve, Keilhauer WORKPLACE: BENCHES/STOOLS
Soft Top, Skandiform thru Scandinavian Spaces WORKPLACE: LOUNGE SEATING
Lud'o, Haworth
Sly, Studio TK
WORKPLACE: MODULAR SEATING
WORKPLACE: CONFERENCE TABLES
SoMod, Davis Furniture
Status, Andreu World WORKPLACE: WORK/TRAINING TABLES
Rec, Studio TK
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THANK YOU TO OUR SPONSORS
AND SELECT PARTNERS
PEOPLE WINNERS DESIGNER: LIFETIME OF HIPNESS
MANUFACTURER: LEADER
Tom Polucci, HOK
Kari Pei, Interface
DESIGNER: WORKPLACE LEADER
MANUFACTURER: RISING STAR
Joe Connell, Perkins and Will
Brian Wilson, Pair
DESIGNER: HOSPITALITY LEADER
MANUFACTURER: HIP FOR GREATER GOOD
Chris Evans, Rottet Studio
Joni Juergens, Patcraft
DESIGNER: HEALTHCARE LEADER
MANUFACTURER: MARKETER
Ana Pinto-Alexander, HKS
Bill Grant, Grant Design Collaborative
DESIGNER: GRAPHICS + BRANDING LEADER
MANUFACTURER: SELLER
Elizabeth Vereker, Studio O+A
Eric Stroud, Studio TK
DESIGNER: HIP FOR THE GREATER GOOD: SMALL FIRM
Kia Weatherspoon, Determined By Design DESIGNER: HIP FOR THE GREATER GOOD: LARGE FIRM
Ambar Margarida, Spacesmith DESIGNER: RISING STAR: WORKPLACE
Fitgi Saint-Louis, Gensler DESIGNER: RISING STAR: HOSPITALITY
Alex Gong, Rockwell Group PRODUCT DESIGNER
Kelly Harris Smith MANUFACTURER: CREATIVE DIRECTOR
Reesie Duncan, Shaw Contract
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Visit idhipawards.com for the full list of winners and honorees.
7/10/20 2:33 PM
Trying to stay on the forefront of an ever-changing industry? Join In to participate in leading research that’s shaping the future of the design industry.
Visit thinklab.design/join-in to get involved.
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I N T E R vention
true blue ALONA VIORNE
At a Sydney high-rise, an outdoor amenity space alludes to a cherished national site. But it’s 1,500 miles away. “The developer requested a water color familiar to Australians, so it is the exact same shade as the Great Barrier Reef,” Koichi Takada explains of the appearance of the swimming pool and hot tub serving the Infinity by Crown, a 20-story mixed-use tower by Koichi Takada Architects. Dubbed the “organic architect,” Takada aims to, he says, “naturalize” city buildings, an approach he developed after living in Tokyo, where he was born, New York, and London, where he studied under Rem Koolhaas at the Architectural Association. For the Infinity project, he and his team positioned the pool and tub on a wedge-shape platform atop the building’s groundfloor retail component, between the 326 apartments and the 90-room hotel. They achieved the famous aquamarine of the world’s largest coral reef system by lining them in a careful mix of ceramic mosaics in three different light blues. They then installed decking of Victorian ash, a local hardwood, and travertine cement, lush landscaping, and custom rattan cabanas in the form of seashells. “It’s an urban oasis,” Takada confirms. One that, due to COVID-19, has just reopened. —Mairi Beautyman AUG.20
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Enter your best projects, products and people by September 10 at boyawards.com
Enter your best Projects, Products and People by September 11 For more information visit boyawards.com
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